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THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO 
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DOCTOR 


THE COMPLETE HISTORY 
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INFERNO, 
TERROR OF THE AUTONS, THE MIND OF EVIL 
AND THE CLAWS OF AXOS 


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VOCTOR 


WHO 


THE COMPLETE HISTORY 


INFERNO 

TERROR OF THE AUTONS 
THE MIND OF EVIL 

THE CLAWS OF AnOS 


EDITOR JOHN AINSWORTH 
EDITORIAL ASSISTANT 
ART EDITOR PAULVYSE 


1B] BIC} 


DOCTOR 


WHO 


THE COMPLETE HISTORY 


EMILY COOK 


ORIGINAL DESIGN RICHARD ATKINSON 
COVER AND STORY MONTAGES LEE JOHNSON 
PRODUCTION ASSISTANT PETER WARE 


ORIGINAL PRODUCTION 


ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON, 


ALISTAIR McGOWN 

WITH THANKS TO RICHA 
CHIBNALL, PAUL CONDON, 
GAVIN, DEREK HANDLEY, 
HUBBARD, BRIAN MINCHI 
P 
VINCENT RUDZKI, GARY RU 
ATT STREVENS, STEPHE 


NOTES ANDREW PIXLEY 


RD BIGNELL, DAVID BRUNT, CHRIS 
KEVIN DAVIES, JAMES DUDLEY, MARTHA 
ARCUS HEARN, DAVID J HOWE, NIC 
, STEVEN MOFFAT, KIRSTY MULLEN, JON 


REDDLE, JUSTIN RICHARDS, STEVE ROBERTS, JULIE ROGERS, JAN 


SSELL, JIM SANGSTER, TOM SPILSBURY, 
JAMES WALKER, MARK WARD, JO WARE, 


ARTIN WIGGINS, BBC WALES, BBC STUDIOS AND BBC.CO.UK 


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CYBERMAN and K-9 (word marks and devices) are trade marks of the 
British Broadcasting Corporation and are used under license. BBC logo © 
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INTRODUCTION 


PUBLICITY 


Contents 


INFERNO 
10 18 28 


STORY PRE-PRODUCTION PRODUCTION 
BROADCAST MERCHANDISE CAST ANDCREDITS 


POST-PRODUCTION 


GE 


PROFILE 


INTRODUCTION 


PUBLICITY 


INTRODUCTION 


PUBLICITY 


1971 SERIES 
50 


OVERVIEW 


TERROR OF THE AUTONS 
58 62 70 


STORY PRE-PRODUCTION PRODUCTION 
BROADCAST MERCHANDISE CAST ANDCREDITS 


THE MIND OF EVIL 
98 104 110 


STORY PRE-PRODUCTION PRODUCTION 
127 130 132 
BROADCAST MERCHANDISE CAST ANDCREDITS 


POST-PRODUCTION 


PROFILE 


124 


POST-PRODUCTION 


134 


PROFILE 


140 


INTRODUCTION 


PUBLICITY 


THE CLAWS OF AHOS 
142 146 154 


STORY PRE-PRODUCTION PRODUCTION 
163 165 167 
BROADCAST MERCHANDISE CAST ANDCREDITS 


171 


INDEX 


DOCTOR WHO | THE COMPLETE HISTORY 


161 


POST-PRODUCTION 


PROFILE 


4 


VOLUME 16 » sioniessss7 ; = 


Welcome 


Right: 
Anthony Ainley 
played the 
Master in 

the 1980s. 


ith hindsight, it perhaps 
seems quite surprising 
that Doctor Who had 
been going for eight 
years before it was 
decided to give the 
Doctor an opponent with whom he would 
regularly do battle. As has often been said 
before, the Master was designed to be the 
Doctor’s ‘Moriarty’, a fellow Time Lord, 
equal in intelligence and ability, but at the 
opposite end of the spectrum in terms 
of morality. 

Prior to the Master, there had been 
just one villain who had returned - just 
the once - to cause more trouble for the 
Doctor. The Meddling Monk, introduced 
in The Time Meddler [1965 - see Volume 
5], was also a Time Lord with a TARDIS 
of his own. However, unlike the Master, 
the Monk was more a figure of fun and 
a source of humour. The Monk made 


iv. 


a 


DOCTOR WHO | THE COMPLETE HISTORY 


SX\N\NNNNAAR 


his second and (to date) final television 
appearance in The Daleks’ Master Plan 
[1965/6 - see Volume 6]. 

The Master proved to be a very 
successful character, and became an 
important part of the Doctor Who universe. 
The intention had been to kill off the 
character in the Third Doctor’s final 
adventure, Planet of the Spiders [1974 - see 
Volume 21], but when Roger Delgado, who 
played him, died in a car crash, no closure 
could be given to the character. 

Of course, the Master is a Time 
Lord, and just like the Doctor is able to 
regenerate, allowing a new actor to take 
on the role. However, Delgado’s portrayal 
had been so strong that the Doctor Who 
production team was initially reluctant to 
re-cast the part. The Deadly Assassin [1976 - 
see Volume 26] brought the character back, 
but as a decaying creature at the very end 
of its life. 

In 1981, the Master was given a proper 
revival, with Anthony Ainley assuming 
the role in The Keeper of Traken [1981 
- see Volume 33]. With a Delgado-like 
appearance, Ainley’s Master would make 
regular appearances over the next eight 
years of the show. 

Following Ainley, a further four actors 
have played the part on TV, giving new 
twists to the character - including the first 
female version, known as Missy, played by 
Michelle Gomez. Missy’s final appearance 
in World Enough and Time/The Doctor Falls 
[2017 - see Volume 89] saw her apparently 
killed by one of her previous incarnations. 
But the Master never really dies... 


i John Ainsworth — Editor 


OvED TO BE 
L CHARACTER.’ 


‘THE MASTER PR 
A VERY SUCCESSFU 


DOCTOR WHO | THE COMPLETE HISTORY © 


» STORY 54 


A top-secret drilling project, led by the 
obsessed Professor Stahlman, is on the verge 
of penetrating the Earth’s crust. A trip to an 
alternative reality gives the Doctor a glimpse 
of the catastrophe that will be unleashed. 


& DOCTOR WHO | THE COMPLETE HISTORY 


INFERNO 


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The parallel 
version of 
Jackie Tyler 

in Rise of the 
Cybermen/The 
Age of Steel. 


Introduction 


t has been said that the key to 

making a successful Doctor Who 

story is a good idea. Inferno 

demonstrates, however, that a lot 

of it is in the execution. 

Aired as the final story of the 

1970 series, it is one of two Third Doctor 
stories that share their ‘good ideas’ with 
Second Doctor story The Underwater 
Menace [1967 - see Volume 9]. Inferno 
revisits the idea of drilling into the crust 
of the Earth, with apocalyptic results, 
while The Time Monster [1972 - see Volume 
18] has a second stab at telling a story 
about the destruction of Atlantis. But 
while neither The Underwater Menace nor 
The Time Monster is very highly regarded, 
Inferno is a fan favourite. 

Of course, the tense countdown to 
destruction and the vicious creatures 
created by the primordial gloop that 
bubbles up from beneath the surface of 
the Earth are only part of its success. It is 
also memorable for its visit to a parallel 
Earth, where we meet alternative versions 
of the series’ regular cast. It’s worth noting 
that while the production team was trying 
to establish a new, modern style of Doctor 
Who for the 1970s, they did, in part, return 
to one of the show’s original concepts - 
the idea of ‘sideways’ trips (in contrast to 
travelling backwards or forwards in time). 
With time travel off the table owing to 
the Doctor’s exile, this introduced some 
additional variety to the series. 

Surprisingly, given this early precept, 
parallel universes hadn't been tackled by 
the series before. The odd doppelganger 
had cropped up - but not from a parallel 
world. Although Doctor Who would 


«&) DOCTOR WHO | THE COMPLETE HISTORY 


a 


venture into other universes in the decades 
that followed, it wasn’t until Rise of the 
Cybermen/The Age of Steel [2006 - see 
Volume 52] that the TARDIS arrived 
somewhere where we met parallel versions 
of familiar characters once more. 

Another appealing quality of Inferno is 
its unusual structure. Its unwieldy seven- 
episode duration is broken up by four 
parts in the middle that chiefly revolve 
around the events in the alternative reality. s 

It’s surprising that a story like this 
might be considered the best of the Third 
Doctor’s adventures - like the other 
stories in the 1970 series it’s not typical 
of his era as a whole. And yet by taking 
intriguing concepts and presenting them 
in an unusual way, this disaster story has 
become considerably more than the sum 
of its parts. 


Introduction 


APOCALYPTIC RESULTS. 


DOCTOR WHO | THE COMPLETE HISTORY 


INFERNO 


» STORY 54 


he Doctor drives Bessie through 
T an industrial complex, home of a 

project to drill into the Earth’s crust. 
It is the brainchild of Professor Stahlman 
and he is not pleased when the executive 
director of the project, Sir Keith Gold, 
orders a deceleration due to a fault in an 
output pipe. An engineer called Slocum 
examines the pipe and is burned by some 
green, slimy substance. [1] 

Sir Keith informs Stahlman’s personal 
assistant Petra Williams that he has sent 
for a drilling consultant called Greg 
Sutton. Slocum informs Stahlman the 
fault has been repaired and Stahlman 
orders the drilling to accelerate to make 
up for lost time. [2] 

Outside, Slocum begins to revert to 
a primordial state and beats a technician 
to death with a wrench. [3] 

The Brigadier has an office in the 
complex. He informs the Doctor about 


DOCTOR WHO | THE COMPLETE HISTORY 


the attack and that Slocum has gone 
missing. Strangely, when the wrench was 
recovered it was red hot. 

Greg arrives in the control area and 
learns from Sir Keith that the drill 
has reached a depth of 20 miles. They 
intend to tap pockets of ‘Stahlman’s 
gas’, a powerful energy source. Sir Keith 
introduces Greg to Stahlman. [4] The 
Doctor enters and switches power over to 
his own “little project”. 

The Doctor intends to leave using 
the TARDIS console, which he has set 
up ina workshop. He tells Liz to turn on 
the power. 

Slocum sneaks into the nuclear reactor 
switch room and increases the output. 

The Doctor finds himself in a strange 
limbo [5] until Liz disconnects the power 
and he returns to the workshop. 

The power surge causes the drill to 
overheat. Stahlman tries to release the 
coolant. The Doctor races to the switch 
room with the Brigadier and Benton. 

A primordial Slocum bursts in... [6] 


utton helps Stahlman get the 

WM coolant flowing. 
Me Petra calls the switch room. There, 
a UNIT soldier, Wyatt, uses the distraction 
to get behind Slocum. He shoots at 
Slocum twice before Slocum hurls him 
across the room. Slocum then collapses. 
[1] The nuclear reactor control lever is still 
red hot, so the Doctor uses the Brigadier’s 
pistol to move it. 

Sutton takes Petra aside, hoping to get 
her to talk some sense into Stahlman. [2] 

The Doctor goes outside with the 
Brigadier and explains that he thinks 
Slocum was suffering a retrogression of 
the body cells. Benton arrives to inform 
them that Wyatt has disappeared, and 
then the Doctor spots the infected soldier 
on a high gantry. The Doctor confronts 
him and Wyatt falls to his death. [3] But 
someone else has been infected - Bromley, 
the switch room technician. 


Stahlman tells Petra to accelerate the 
drilling even further. The Doctor arrives 
in the control area and Sir Keith shows 
him a jar containing a sample of the green 
substance, saying it has defied analysis. 

[4] The substance threatens to shatter 
the jar so Stahlman puts it in a metal box. 
The Doctor then tells him to check the 
project computer, which is warning that 
drilling should be stopped immediately. 
In response, Stahlman decides to cut the 
power to the Doctor’s workshop. 

Stahlman has become infected by the 
substance and removes a micro-circuit 
from the computer. The Doctor catches 
him just as he is about to destroy it, and 
overpowers him. [5] 

The Doctor restores the power to his 
workshop and returns there to begin 
another trial run on the console. He sends 
Liz away, but when she reaches the control 
area she realises something is up. She 
returns to the workshop with the Brigadier 
in time to see the Doctor dematerialise 
with the console and Bessie! [6] 


DOCTOR WHO | THE COMPLETE HISTORY 


12 


INFERNO 


» STORY 54 


6% tahlman cuts off the power to the 
“iq workshop, preventing the Doctor’s 
MP return. The Brigadier goes to the 
control area to ask Stahlman to reconnect 
it, but he refuses. Sir Keith decides to 

go to London to refer the matter to 

the Minister. [1] 

The Doctor wakes up in his workshop 
with the console and Bessie. He drives 
outside in Bessie, where a security guard 
tries to shoot him. He gets away, only to 
be pursued by a platoon led by a man 
who resembles Benton. The Doctor 
escapes by hiding in a bin [2] and climbs 
onto a high walkway, where he is attacked 
by a primordial Bromley. The Doctor 
stuns him using a fire extinguisher but 
is then attacked by another primordial 
Wyatt! [3] Benton’s men shoot him and 
he falls to the ground. 

The Doctor spots Liz and approaches 
her. She pulls a gun on him and takes 


DOCTOR WHO | THE COMPLETE HISTORY 


him to an office where he is astonished 
to see Lethbridge-Stewart wearing an 
eyepatch! [4] The Doctor realises he is in 
a parallel universe where the Brigadier 

is a Brigade Leader and Liz Shaw is a 
Section Leader. 

The Brigade Leader takes the Doctor 
to the control area to meet Stahlman. 
In this universe, the drilling is more 
advanced and Sir Keith has been killed 
in a driving accident. 

The Brigade Leader takes the 
Doctor back to his office and informs 
him that he will soon be shot. [5] 

Then the Brigade Leader is called to 
the control area, leaving the Doctor 
under the guard of Platoon Under 
Leader Benton. The Doctor overpowers 
him and escapes, making his way to 

the control area while the staff is 
distracted with an emergency. The project 
computer has been sabotaged, so the 
Doctor tries to repair it. But Platoon 
Under Leader Benton catches him in 
the act. [6] 


ection Leader Shaw lets the Doctor 
S finish repairing the computer. He 

succeeds; the computer reports that 
the pressure and heat are overwhelming 
the drill head. [1] The Doctor suggests 
they reverse all the systems and Greg 
Sutton thinks it is worth a try. 

The Doctor’s suggestion works and the 
emergency abates. Petra warns Greg that 
he has only been allowed to live because 
of his technical skills. Stahlman resumes 
the drilling, even as his primordial 
infection progresses. [2] 

The Brigade Leader and Shaw 
interrogate the Doctor, but fail to believe 
him when he tells them the truth. 
Stahlman joins them, and the Doctor 
notices that he has also been infected by 
the green substance. Stahlman orders the 
Brigade Leader to have the Doctor killed. 

The Doctor is locked in a cell by 
Platoon Under Leader Benton. Shaw 


arrives to continue the interrogation and 
sends Benton outside. Once he’s gone, 
she tells the Doctor she thinks he is from 
a free-speech group. [3] He denies this, so 
she leaves. 

Back in the Doctor’s universe, the 
Brigadier informs Liz that his men have 
failed to find any sign of the Doctor. [4] 

Meanwhile, the Doctor hears the 
man in the adjoining cell growling. It 
is Bromley. [5] He pulls apart the bars 
of his cell and the Doctor’s, enabling the 
Doctor to escape. The Doctor climbs into 
the back of a Land Rover and changes 
into a hazard suit as it proceeds through 
the complex. 

The Doctor enters the control area with 
the ‘disaster crew’ as the computer counts 
down the remaining time to ‘Penetration 
Zero’. The Doctor makes a desperate 
attempt to stop the drilling: “If you break 
through the Earth’s crust now, you'll 
release forces you never dreamed could 
exist!” [6] Stahlman levels a gun at the 
Doctor as the countdown reaches zero. 


DOCTOR WHO | THE COMPLETE HISTORY 


14 


INFERNO 


» STORY 54 


he ground shakes and there is panic. 
Stahlman walks into the drill head 
room, impervious to the heat. The 

Doctor and Greg follow him inside but 
Stahlman stuns Greg with a metal bar 
and the Doctor is forced to take him 
back into the control area. [1] Stahlman 
closes the room from the inside, but even 
the blast doors won't be strong enough 
to contain the forces he has unleashed. 
The Doctor informs the Brigade Leader, 
Greg, Shaw and Petra that their world 
is doomed. [2] 

The primordial Bromley bursts in. The 
Doctor uses a fire extinguisher on him, 
which kills him. The Doctor realises the 
infected are vulnerable to cold. [3] 

The Doctor tells the Brigade Leader 
and Shaw that he can use the TARDIS 
to save their counterparts in the other 
universe. They go to the workshop, where 
he gives them a demonstration of the 


DOCTOR WHO | THE COMPLETE HISTORY 


console. [4] But to return to his own 
universe, he needs to reconnect the power 
- and the Brigade Leader realises that the 
Doctor could take others with him. 

In the control area, Petra hears 
Stahlman calling via the intercom. The 
Doctor returns with the Brigade Leader 
and Shaw. Petra opens the blast door 
and Stahlman staggers out with some 
other workers, all transformed into a 


primordial state. [5] Benton walks in 
and the creatures drag him over to 
Stahlman who infects him. The Doctor 
and the others retreat into the Brigade 
Leader’s office. 

In the Doctor’s universe, Sir Keith is 
being driven back to the complex. His 
driver, under orders to prevent Sir Keith's 
return, takes his eyes off the road and 
doesn’t see the approaching car until it is 
too late... [6] 

The Doctor persuades Greg and the 
others to help him return to his universe 
- but then one of the ‘Primords’ starts to 
smash its way in! 


EPISODE 6 


he Doctor repels the Primord with a 
Ti: extinguisher, then explains that 

he needs the others’ help to connect 
the TARDIS console to the nuclear reactor. 
The master switch is in the control area, 
so they go back in, the Brigade Leader 
fending off the Primords. Then Greg uses 
a hose of coolant to temporarily paralyse 
Stahlman. [1] He stays with the Doctor 
while the Brigade Leader, Shaw and Petra 
emerge into the complex, which is now 
filled with a heat haze. 

In the Doctor’s universe, Greg visits Liz 
in the Doctor’s workshop and informs 
her that Sir Keith has vanished. Benton 
is literally forced to drag Stahlman to the 
Brigadier’s office, where the Brigadier 
formally requests that Stahlman delays 
Penetration Zero. He refuses. [2] 

In the other universe, the Doctor fixes 
the master switch and flees with Greg. 
They meet up with the others and the 


Doctor drives them in Bessie to the 
nuclear reactor switch building. [3] Petra 
starts rerouting the electrical system 
while the Doctor and Greg continue 

to the Doctor’s workshop to start 
connecting the console. 

The drill-head shaft begins to split 
open. Stahlman bursts into the switch 
room, [4] and the Brigade Leader, Petra 
and Shaw are forced to flee. They reach 
the Doctor’s workshop and give him the 
bad news that Petra has failed to reroute 
the power. But then Petra runs back to 
the switch room. Greg finds her there 
and fends off Stahlman as Petra gets the 
reactor working. [5] 

The central column of the TARDIS 
console begins to move and Greg and 
Petra return to the workshop. The 
Brigade Leader tells the Doctor to take 
them with him, and then a shot rings 
out. The Brigade Leader collapses, having 
been shot by Shaw. The Doctor struggles 
with the controls... as a tide of molten 
lava approaches! [6] 


DOCTOR WHO | THE COMPLETE HISTORY 


15 


16 


INFERNO 


STORY 54 


iz finds the Doctor lying unconscious 
of the floor of his workshop, back in 
his own universe. [1] 

In the control area, Stahlman instructs 
Petra to boost all power circuits to 
accelerate the drilling. She discusses 
this with Greg, who is convinced that 
Stahlman is cracking up. 

An alarm sounds, and the Doctor 
regains consciousness. Remembering what 
happened in the other universe, he tells Liz 
they must reverse all systems immediately. 
Liz hurries to the control area and passes 
on the Doctor’s suggestion. Greg gives it a 
try, and the crisis is averted. 

Liz returns to the workshop, where the 
Doctor explains to her and the Brigadier 
that he has visited a parallel world. Then 
there is a knock at the door; it’s Sir Keith, 
injured from a car crash but still alive. [2] 
The Doctor realises this means that the 
pattern of events can be changed. 


DOCTOR WHO | THE COMPLETE HISTORY 


He rushes to the control area and, 
when Stahlman refuses to stop the 
drilling, starts smashing the controls. He 
is dragged away, but tells Liz there is a 
micro-circuit missing from the computer. 
Then Stahlman goes into the drill head 
room, orders everyone else out, and 
closes the blast door. [3] 

The Doctor knocks out his guards 
and climbs onto a high walkway, where 
he encounters Bromley again. [4] The 
Doctor stuns him with a fire extinguisher. 

Liz repairs the computer and discovers 
that it advises they stop the drilling. 
Then the blast door opens and Stahlman 
emerges, transformed into a Primord. [5] 
The Doctor and Greg knock him out with 
fire extinguishers, then Petra and Greg 
stop the drill with the Doctor’s help. 

Later, the Brigadier informs the 
Doctor that the project is being 
abandoned. The Doctor makes another 
attempt to leave using the TARDIS 
console, only to land a short distance 
away, in the rubbish tip. [6] 


Pe 44 
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The Professor 
was very angry 
that his name 
had been spelt 
incorrectly on 
his badge! 


INFERNO 


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idway through October 

1969, Barry Letts moved 

from directing BBC soap 

opera The Doctors to 

producing Doctor Who 

- only to find that the 
final story of the 1970 series remained 
undecided. Earlier, on Monday 17 
February, script editor Terrance Dicks had 
commissioned Doctor Who and the Mists of 
Madness from his old schoolfriend Brian 
Wright, an actor who had appeared in The 
Ark [1966 - see Volume 7]; although due 
to be delivered on Monday 3 March, the 
storyline which concerned an artificially 
created community of humans being 
discovered by the Doctor hadn’t reached 
the production office until Friday 9 May 


ag DOCTOR WHO | THE COMPLETE HISTORY 


GC [)] 


- and it progressed no further because 
Wright had taken an academic writing post 
in Bristol. An apparent contender for the 
final slot was Doctor Who and the Shadow 
People, a seven-part storyline submitted 

on spec on Monday 10 November by 
Charlotte and Dennis Plimmer, a married 
couple who had been writing for Thirty 
Minute Theatre; however, the Plimmers 
became involved in a pay dispute and 

by December the story was abandoned. 
Around this time, William Emms, who had 
previously written Galaxy 4 [1965 - see 
Volume 6] contributed a revised version of 
The Harvesters, an unused Second Doctor 
‘alien invasion’ storyline reworked for the 
new format of the series; this was now 
entitled The Vampire Planet and saw Earth's 


energy being drained away by strange 
missiles which arrived from space to sink 
probes into the planet. Dicks, however, 
put forward the name of former Crossroads 
script editor Don Houghton, the man who 
had given Dicks a break on the ATV soap 
opera; Letts also knew Houghton from his 
work on Emergency Ward 10, and invited 
him in for a discussion. 

Born in Paris in 1930, Don Houghton 
became fascinated by writing during bouts 
of childhood illness. He sold his first short 
story in 1948, wrote for radio from 1951 
and entered film and television in 1958 — 
around when he also travelled to Australia 
with Jon Pertwee. Early television credits 
included Emergency Ward 10 and Crossroads; 
Houghton became a script editor on the 
latter. He was also attempting to write 
fantasy film scripts for Amicus - and, 
after writing Inferno, worked on Thames 
Television's fantasy series Ace of Wands and 
Yorkshire’s children’s drama The Flaxton 
Boys. He had been an “irregular viewer” 
of the series since the William Hartnell 
era and enjoyed its concept. 


oughton’s story idea concerned 
hi a scientific drilling project, and 

was inspired by a science journal 
article he had read around 1964. The item 
covered an American plan to drill through 
the Earth’s mantle in the Pacific and 
penetrate the Mohorovicic Discontinuity 
as the USA's contribution to Geophysical 
Year. This had received considerable 
publicity at the time, but later became 
shrouded in secrecy. Houghton suggested 
a disaster arising from such a project and 
Letts proposed that the threat should 
involve volcanoes. To ensure sufficient 
material for seven episodes, Dicks and 
Letts also suggested that some of the story 


should be set on a parallel Earth situated in 


another dimension, where counterparts of 
all the characters except the Doctor could 
be found. Houghton was commissioned on 
Thursday 27 November to deliver a seven- 
part storyline entitled Doctor Who and the 
Mo-Hole Project by Friday 19 December, 

but actually delivered it early on Thursday 
4 December. 

Houghton started researching drilling 
operations, only to find that various 
organisations were reluctant to release 
information. The American Embassy told 
him that Project Mohole was classified; 
the US Information Office declared that 
the project was progressing satisfactorily - 
but then rang him urgently two days later, 
saying it had been abandoned. The British 
Science Museum believed drilling was 
still continuing, having received no data 
on the project since 1966; it was thought 
that Project Mohole now exceeded the 4.8 
miles of the Phillips Petroleum Test Well 
at Pecos in Texas. There was also talk of a 


Russian operation, Project Anti-Cosmos, 
which was rumoured to have reached a 
depth of 5.5 miles at Karelia in Finland. 


DOCTOR WHO | THE COMPLETE HISTORY a 


Pre-production 


Below: 

The pressure’s 
on atthe 

drill head. 


INFERNO »stows« | 


Right: 
The Doctor 
explores, 


Armed with this information, plus data 
from the Petroleum Information Bureau, 
Ministry of Power, Institute of Mining 
and Metallurgy and the Russian Embassy, 
Houghton set to work. 

By coincidence, a similar idea had 
previously been suggested to Terrance 
Dicks by his assistant script editor Robin 
Squire who worked on Doctor Who during 
late 1969. Squire had assembled an outline 
for a drilling story with an alternative 
time line, having also read of the Russian 
venture and also being inspired by a 
television drama which he had seen in 
which technology was less advanced 
because the Second World War had 
never happened. 

Houghton delivered a four-page 
storyline, Operation: Mole-Bore, on Thursday 
4 December. Set in ‘the near future’, the 
drilling project directed by Professor 
Eric Stahlman (‘a vain, brilliant but 
psychopathically ambitious genius’) took 
place under the authority of the Ministry of 
Energy and Power. UNIT provided security 
for the plant. With only days to go before 
penetration of the Earth’s crust, Stahlman 
was in conflict with Sir Keith Mulvaney. 
Houghton suggested that the Doctor could 
attempt to reactivate the TARDIS using 
only the console, having been secretly 
feeding power into it. There was a flash, 
and the Doctor was hurled back; when he 
recovered, he walked to the Central Control 
Area, only to be fired upon by sentries. 

The Brigadier and Liz did not recognise 
him; they were now wearing ‘a sort of Nazi 
type uniform’ (suggesting that the Nazis 
had won World War II in the other warp), 
and the Brigadier acted like an SS officer. 
Official notices in the Control Area were 
written in a phonetic English. Stahlman 
was in complete control of Operation: 
Mole-Bore. The Doctor deduced that he 
was in a parallel warp - Earth Mark II. 


oe DOCTOR WHO | THE COMPLETE HISTORY 


When he attempted to get information 
from the computer to disprove Stahlman 
Il’s theories about penetration of the 
Mohorovicic Discontinuity, Stahlman 

II sabotaged the computer. The Doctor 
got free but was recaptured, imploring 
the Brigadier II and Liz II to help him. At 
penetration, scorching jets of Stahlman’s 
gas erupted, starting to displace Earth II’s 
atmosphere; as the surface temperature 
rose, the planet would shrivel up and die. 
The Doctor made for the shed where he 
had been working on the TARDIS, but the 
reactor broke down and he was stranded; 
his other potential power source was the 
gas from the bore, and he convinced the 
Brigadier II and Liz II that they must 
work together to activate the console. 
The Doctor blacked out again; when he 
recovered, he was recognised by a sentry 
- the trip to Earth II had taken only a few 
minutes. The Doctor’s only proof of his 
adventure was the micro-circuit which 

he salvaged from the Earth II computer. 
Stahlman did not believe that the Doctor 
could have foreseen such dangers on 
another world in only a few minutes, 

and arrested the Doctor for sabotage. As 
Stahlman sabotaged the computer, the 
Doctor persuaded Liz to help him, but was 
hunted in the same manner as he was by 
the Brigadier II. As H-Hour approached, 
the Doctor gained access to the computer 
and substituted the Earth II component, 


sounding the alarms. Going berserk, 
the Doctor doubled the reactor’s power 
output and blew the systems. The Doctor 
was vindicated in the last moment of the 
countdown when a trickle of Stahlman’s 
gas revealed the danger. Stahlman was 
discredited, and the Mole-Bore was filled in. 
Letts and Dicks liked the storyline, 
asking Houghton to start writing scripts 
to enter production in March 1970; 
Houghton was asked to add a traditional 
monster element, prompting the 
regression of humans into ‘Primeords’ 


when infected by seepage at the drill head. 


T: script for Episode 1 was delivered 


AO WEN 


on Thursday 8 January; the scripts 

were retrospectively commissioned 
on Friday 9 as Doctor Who and the Mo-Hole 
Project, with a target delivery date of Friday 
27 February. 

The revised Episode 1, dated Sunday 11 
January, had the working title Dr Who and 
the Mole-Bore. The script opened with two 
UNIT soldiers at the entrance to Project 
Mole-Bore. Central Control was dominated 
by ‘a large, illuminated, diagrammatic 
plan of the drilling operation. It shows 
the depth of the bore... indicated by a 


series of vertical lights. The 
bore is now at a depth of 
105,000 ft... and very close to 
a target line of 108,000 ft... 
There is also a countdown 
indicator [which] shows 
there is 72 hrs 18 mins to 
deadline.’ Professor Eric 
Stahlman was ‘an aggressive 
and domineering man’; Sir 
Keith Mulvaney was ‘a more 
benign, scholarly person, 
totally opposite in character 
to Stahlman’; and Petra 
Williams was ‘Stahlman’s 
attractive, but rather austere 
assistant’. The infected Harry Slocum 
killed a UNIT sentry, not a technician. 
Greg Sutton - ‘a nuggety, tough-looking, 
rugged individual. A Troubleshooters type’ 
(a reference to the BBC1 industry drama 
which had been developed from the series 
Mogul in 1966) - was to arrive at the plant 
in a chauffeur-driven limousine. The 
chauffeur found himself stuck behind 

‘Dr Who in his veteran car’ and honked 
his horn impatiently. 

After the Doctor had waved the limo 
past, he accelerated and overtook it, 
belching clouds of multi-coloured smoke 
and announcing via a loudspeaker: 
‘Courtesy on the roads saves lives. It 
may save yours one day. Thank you for 
listening. Message ends.’ Chiding Stahlman 
about the state of his liver, the Doctor 
suggested he use ‘Sister Pickersgill’s 
Herbal Tonic Water’. The technician at 
the ‘nucleur’ [sic] reactor was not named 
in the scripts. The power surge sent the 
Doctor into a ‘nightmare, Dali-esque 
scene. Strange disproportionate shapes 
are outlined against a horrific landscape. 
Weird tendrils wind and twist between 
coloured mists..’ The tendrils attempted 
to wrap themselves around the Doctor 


DOCTOR WHO | THE COMPLETE HISTORY & 


Pre-production 


Connections: 

Screaming 

® Recalling his trip to 
Krakatoa in 1883, the 
Doctor comments that he 
has heard the screaming 
noise of the Primords 
before, This is areference 
to the massive eruption on 
Pulau Rakata which began 
in May 1883 and ended on 
27 August with a sound that 
could be heard over 2,000 
miles away, in Australia, 


Left: 
Slocum was 
feeling a bit 
off-colour. 


INFERNO » stors« | 


Connections: 


Mohole 


® Project Mohole was a bid 
the mysteries of 
et's interior - a 

c effort to bore 

ore than three 

les into the Earth's crust 
g up geological 
moles. In 1961, scientists 


to 
th 
SC 


aholem 


m 


Sd 


solve 
e plan 
ientifi 


dbrin 


te 


being 6 


d engineers drilled five 
st holes (the deepest 
01 feet) in the 
San Diego Trench 
off the coast of 

Y Baja California, 


and the console. The Doctor 
returned to his hut - and, 

for an instant, saw ‘another 
warp... [which] looks 
completely changed’; he then 
reached his real hut, telling 
Liz that he’d just seen her 
alter-ego on another Earth. 
There was a further sequence 
of the Doctor driving around 
the plant to Central Control, 
and then going to the reactor 
with the Brigadier and his 
Sergeant. In the cliffhanger, 
the Doctor pointed to 
Slocum’s hands: ‘His fingers 
have turned into grotesque 
claws - his hands and arms 
are covered with thick, matted haivr...’ 

In Episode 2, delivered on Thursday 15, 
Houghton incorporated several elements 
which Dicks had asked for over the phone, 
including a fight between the Doctor and 
an infected soldier called Peters, a new 
sort of karate to be used by the Doctor, 
and a confrontation between the Doctor 
and Stahlman in the Brigadier’s office. 

The script had deliberately been written 
long, and included sequences to be shot 
on film showing an ambulance arriving for 
both Peters and the technician infected by 
Slocum, plus extended dialogue between 
Sir Keith and Sutton about the power of 
volcanoes. There was a scene in which 

the Brigadier details Lt Munroe to search 
for the technician, and the Doctor told of 
how Peters fell to his death. In one Central 
Control scene, Sutton spoke at length 

to Petra about a horrific bore blow in 
Maracaibo, Venezuela, which had killed 21 
men and wrecked a town; the coolant used 
at the drill head was named mellascine. 
Talking to Stahlman, the Doctor called 
him an “apsaheinson... a descriptive word 
used by the Malvordenites... of the planet 


(™) DOCTOR WHO | THE COMPLETE HISTORY 


Malvordae in the eleventh galactic cluster 
beyond Andromeda... [meaning] ‘a person 
with a head-full of sky’. Rather interesting 
really, considering the Malvordenites 

do not have heads as such...” When the 
Doctor found Stahlman sabotaging the 
“computor” [sic], he paralysed him by 
placing a finger on his collar-bone: “It’s 
an old trick I picked up from the Feltian 
people... a sort of Feltian karate.” In the 
cliffhanger, the Brigadier and Liz arrived 
at the hut by jeep; by the time they had 
entered it, the Doctor, console and car 


had all gone. 


‘Uzandthe Brigadier 


pisode 3’s script arrived on Thursday 
29 January. In the opening scene, 


the Brigadier suspected that the 
Doctor may simply have left by car, but 
Liz said that the car was evidently “in the 
active scope-radius of the console”. There 
was more dialogue between Liz and the 


Brigadier about the Doctor, the former 
stating that he was never happy on Earth, 
and that the TARDIS was part of him. 
Arriving on the ‘duplicate-warp II world’, 
the Doctor found a calendar showing 50 
days to a month, 10 days to a week and the 
month name of ‘Kwortumae’; outside the 
hut was a sign reading: ‘Pryvat. Kep Owt!’ 
The UNIT soldiers were now ‘Sekurite’ 
guards in ‘Nazi-ish’ black leather jackboots 
and a uniform bearing the MB (‘Mole- 
Bore’) logo. The Doctor used his car’s 
smoke device to evade the soldiers. When 
he saw Liz, ‘her hair is dark, she looks 
thin-lipped and stern - and she wears a 
uniform skirt and blouse. On her sleeve 

is the armband with the word “Sekurite” 
on it. Meeting the Brigadier, the Doctor 
saw that he had ‘no moustache and there 
is an old duelling scar down the side of his 
face... His appearance looks quite Prussian. 
His uniform jacket is similar, but over 

it he wears a black leather Sam Browne 
belt, complete with Mauser-type pistol 


holder. Instead of trousers, he wears riding 
breeches and highly polished black 
military riding boots.’ Seeing the scar, the 
Doctor joked, “Did you by any chance 
cut yourself shaving this morning?”; 
during interrogation, he gave his name 
as “Dr Who”. The Doctor learnt about 
the duplicate world’s republic from 
Liz; meanwhile, the Brigadier sent a 
‘radio-photo’ of the Doctor to Central 
Records. At the cliffhanger, Liz found the 
Doctor looking for a micro-circuit when 
a screeching was heard from the drill head. 
“That, my girl,” said the Doctor, “is the 
sound of this planet screaming out its 
rage. It’s the sound of the Apocalypse, 
of Armaggedon [sic]. It is also a death 
cry.” This was rewritten to lose the speech, 
and have the Doctor found by the 
trigger-happy Sergeant. 

Episode 4 was completed on Monday 
2 February and delivered the next day. 
When Liz interrogated the Doctor, she 
asked, “Who are you?” - to which he 
replied, “No. Paradoxically - 1am Who.” 
When questioned as to how he entered the 
complex, the Doctor said: “I sprouted a 
pair of rather elegant peacock’s wings and 
flew in - over the guards and the barbed 
wire and the watchdogs.” Houghton 
suggested that the Earth I scenes could 
be pre-recorded, to avoid costume and 
make-up changes; here, Sir Keith turned 
down the Brigadier’s offer of a UNIT 
escort through the congested roads to 
London. On Earth II, the Doctor was 
attempting to steal the sentry’s keys when 
he saw the mutated technician in the next 
cell. Stahlman entered, and clearly had the 
creature under control; he then took the 
keys in his claw-like hands and entered the 
Doctor’s cell, saying that the Doctor was 
the only person stopping him from getting 
beneath the Earth’s crust. The mutated 
technician attacked - and the distraction 


Left: 

Director 
Stahlman 
tolerates the 
presence of the 
Brigade Leader. 


DOCTOR WHO | THE COMPLETE HISTORY 


Above: 

The Doctor 
steals power 
for his repairs 
on the TARDIS 
console. 


——“T wag 


oo 
Fie" 


a 


allowed the Doctor to escape and climb 
into a truck. This sequence was rewritten 
to eliminate Stahlman; the Doctor saw that 
the technician had mutated further into 

. 

a deformed ape-like figure - its huge arms 


reaching forward... The face is twisted 
and horrific’ (Houghton noted that ‘the 


technician has not been fully transformed 
into a Primeord Monster. He is still 
half-man half-beast’). The dialogue from 
the abortive Episode 3 ending was reused, 
the Doctor adding: “There’s a nightmare 
waiting for you down at the bottom of 
that shaft!... Have you ever stood on the 


Comnections: 
Hot honours 


® Joking about the intense 


heat, Sutton offers to 


have 


anew medal struck: “The 


Order of the Turkish B 


This is a pun on the O 
of the Bath, an order of 


ath.” 


rder 


% 
x 


chivalry founded 
x George !on18 
Ze Bay May 1725. 


by 


lip of Vesuvius or Stromboli? 
That’s the sound!” 

Episode 5, dated 9 
February, was delivered on 
Thursday 12. Discussing 
the forces which have been 
unleashed, the Doctor talked 
of “pressures that have 
remained hidden and sealed 
away since long before the 
Ice Age”; at this point, the 
gases were still supposed to 
displace the atmosphere, 


(i DOCTOR WHO | THE COMPLETE HISTORY 


reversing the process of evolution. When 
the mutated technician entered Central 
Control, the Doctor identified him as 
being a half-Primeord. As with several of 
the episodes, Houghton offered optional 
film sequences - in this case, showing 
personnel fleeing the complex; a radio 
bulletin announced seismic disturbances 
in Leningrad, Cape Town and Rio de 
Janeiro. On emerging from the drill 
head, Stahlman and the technicians were 
unrecognisable as full Primeords: ‘Vaguely 
humanoid in form, their appearance is 
apelike - nightmarish creatures resembling 
some grotesque “missing link” type horror. 
The Sergeant became a Primeord when the 
green liquid seeped into Central Control 
and attacked his feet. The cliffhanger had 
the Primeords starting to break down the 
barricaded door to the Brigadier’s office. 
Tuesday 17 February saw the arrival of 
Episode 6. The Doctor used his car to take 
his party to the ‘Newkleer Reaktor’ - and 
when Sutton saw the TARDIS console, the 
Doctor thought he must have expected 
“some sort of space rocket with Buck 
Rogers at the controls”. The brief scene 


on Earth I with Sir Keith and Patterson 
was inserted into this episode, rather than 
Episode S. As the Doctor prepared to 
depart, Liz said: “And give my regards to 
the other Liz Shaw.” The episode was to 
end when the junction box which supplied 
power to the TARDIS exploded... and the 
complex erupted. 

By now, a production team had been 
assigned to the story under veteran Doctor 
Who director Douglas Camfield. Camfield 
had last worked on The Invasion [1968 - 
see Volume 13], and had apparently been 
earmarked for the final story of the 1970 
series prior to Letts’ arrival; he and Letts 
had known each other since 1958's The 
Black Arrow, in which Letts was an actor 
and Camfield was the assistant floor 
manager. Since The Invasion he had been 
directing episodes of Z Cars and the BBC1 
anthology Detective, but most recently had 
been working on Paul Temple, the series 
which Letts’ predecessors, Peter Bryant 
and Derrick Sherwin, had been moved 
on to; although he had wanted to break 
with Doctor Who, Camfield was lured back 


by the chance to direct a 
dark, apocalyptic nightmare. 
Visual effects were supervised 
by Len Hutton, who had 
worked on Fury from the Deep 
[1968 - see Volume 12]. 
Christine Rawlins continued 
to design the costumes, as 
she had done for all of the 
1970 series, while make-up 
designer Marion Richards 
had joined during Doctor Who 
and the Silurians [1970 - see 
Volume 15]. The set designer 
was Jeremy Davies, who had 
previously worked on both the The Mutants 
(AKA The Daleks) [1963/4 - see Volume 1] 
and The Ice Warriors [1967 - see Volume 
11]. Special sound was created as usual by 
Brian Hodgson of the BBC Radiophonic 
Workshop who was assigned to the story 
in February 1970 and would create 35 new 
backgrounds and effects for the serial. 


he Primeords were a major problem. 
Te Letts envisaged the creatures as 

apes, indicating an earlier evolution 
of man; however, Douglas Camfield saw 
them as werewolves. Each Primeord 
required dental appliances, coarse wigs, 
facial make-up and a humped back. 
Unfortunately an error in budgeting 
combined with Camfield’s insistence that 
the result should look frightening meant 
that only six Primeord make-ups could be 
achieved rather than nine. Cast and crew 
were impressed with the finished result. 

When the Drama Early Warning 

Synopsis was issued on Thursday 19 
February, the serial had been retitled 
Project Inferno, and Sir Keith Mulvaney had 
been first renamed Sir Keith Rose before 
becoming Sir Keith Gold. The final script 


DOCTOR WHO | THE COMPLETE HISTORY 8 


ae Pre-production 


Connections: 

Royal friends JS 

® Discovering that inthe \a 
parallel world, the Royal 
Family has been executed, 
the Doctor reminisces 


about meeting Queen 
Elizabeth II's great- 
grandfather in Paris. King 
Edward VII was in Paris in 
April 1904, prior to the 
signing of the Anglo-French 
entente cordiale treaty, 


Left: 

Liz double- 
checks her 
calculations, 


INFERNO »storvsc 


Connections: 


Superhero 


» The Doctor makes a 


reference to Batman, the 
DC comic super hero, made 


popular in the 1960s in the 
camp TV series of the same 
name, which starred 
Adam West as 
the titular crusader. 


Below: 
Bromley in the 
early stages 
of becoming 
aPrimord. 


was completed on Sunday 
22 and delivered five days 
later. On returning to Earth 
I, the Doctor was found 

by Liz and taken to the 
Brigadier’s office, where 

he was attended by a 
physician (whose dialogue 
was eventually given to Liz). 
When Sir Keith arrived, he 
was fascinated by the theory 
of the alternative Earth. 
Escaping his UNIT guards, the Doctor 
went to the nuclear reactor switching 
room where he encountered the infected 
semi-Primeord technician - and escaped, 
pursued by UNIT. The mutating Stahlman 
appeared in Central Control, carrying a 
jar of the green liquid, and was defeated 
when the Doctor told the Brigadier to 
shoot at a nearby coolant pipe; the gas 
frosted over Stahlman and dispersed him. 
The closing scene had the Doctor singing, 
“Shine on, shine on, Martian moons up 
in the sky,” and, “Oh, the Old Milky Way, 


SV. KAAAARRARARAS 


she ain’t what she used to be.” Instead of 
taking a test flight, the Doctor shuddered 
as Liz used a hand drill on a rectifier: “I 
don’t want to see or hear another drill, of 
any sort, again as long as I live. And that, 
in case you don’t know, covers an awful lot 
of time!” 

Casting Project Inferno, Camfield wanted 
actress Kate O’Mara to play Petra Williams 
- but O’Mara would be shooting the 
Hammer film The Horror of Frankenstein 
over March and April 1970. In her place, 
Camfield cast his wife, Sheila Dunn, 
whom he had used in smaller roles in 
both The Daleks’ Master Plan [1965/6 - see 
Volume 6] and The Invasion. The part of 
Stahlman went to Olaf Pooley, a writer/ 
actor whom the Camfields knew socially; 
Pooley had starred in The Master for 
Southern Television while Camfield had 
directed him in episodes of Detective and 
Paul Temple. Derek Newark, playing Greg 
Sutton, had guested in the first Doctor Who 
serial, 100,000 BC [1963 - see Volume 1], 
on which Camfield had been a production 


ae Pre-production 


assistant. Ian Fairbairn, playing the 
infected technician Bromley, was another 
friend of Camfield’s and had also recently 
been directed by him in Paul Temple; he 

had appeared in both The Macra Terror 
[1967 - see Volume 10] and The Invasion. 
Playing Harry Slocum was Walter Randall, 
a Camfield associate since the Garry 
Halliday serials of the early 1960s; although 
Randall’s Doctor Who début had been in The 
Aztecs [1964 - see Volume 2], Camfield had 
cast him in The Crusade [1965 - see Volume 
5], The Daleks’ Master Plan and The Invasion. 
Action sequences were handled by the stunt 
agency Havoc, run by Derek Ware, who 
had worked on Doctor Who with Camfield 
since the first serial and more recently on 
the BBC1 police drama Z Cars; here, he was 
cast as Private Wyatt (as Peters had been 
renamed). Another Havoc stuntman, Roy 
Scammell, was cast as the RSF sentry in 
Episode 4. 


he Primeord actors were Dave 
T Carter, Pat Gorman, Philip Ryan, 

Peter Thompson and Walter Henry: 
Carter, a walk-on since 1966, had become 
friends with the show’s star, Jon Pertwee, 
after Doctor Who and the Silurians, Gorman 
had been a walk-on since 1964, gaining 
his first credit for The Invasion alongside 
Thompson; Ryan, a stuntman on The 
Web of Fear [1968 - see Volume 11], had 
appeared in The Mind Robber [1968 - see 
Volume 13]; and Henry had been a walk-on 
since 1965. 

As the unnamed ‘Sergeant’, Camfield cast 
John Levene, a bit-part player he had used 
in The Web of Fear and The Invasion - and, 
most recently, in the new title sequence 
for Paul Temple. In The Invasion, Levene 
had played UNIT Corporal Benton, and 
it was decided that this character should 


be promoted to sergeant; Levene was 
contracted on Monday 23 February, and 
the character was then written into the 
preceding serial, The Ambassadors of Death 
[1970 - see Volume 15]. When Levene was 
concerned about playing the transformed 
version of the sergeant, Camfield took him 
to Richmond Park and coached him in his 
movement, saying that he should drag his 
leg, and put a dog leash around his neck to 
make him walk like a hunched animal. 

Concerned that Doctor Who might 
not be renewed after Project Inferno, 

Letts and Dicks set up new projects of 
their own. Letts developed Snowy White, 
a series about an Australian cowboy in 
London which he hoped would star Mark 
Edwards, while Dicks submitted a pilot 
for a sitcom, Better Late, in May 1970. 
However, by early March, Letts received 
the go-ahead for another series of Doctor 
Who from his superior, Shaun Sutton; 
ratings for Jon Pertwee’s first two serials 
had proven healthy. 

Rehearsal scripts were completed during 
March. In Episode 2, the Doctor’s martial 
art was renamed ‘Venusian karate’, and 
the Doctor gave his name as “Doctor 
John Smith” in Episode 3, maintaining 
continuity to the alias 
established in Spearhead from 
Space [1970 - see Volume 15]. 
In Episode 7, the Doctor’s 
heart rate was given as 170 
beats per minute (it had 
been 10 per minute in 
Spearhead from Space). The 
Brigadier’s alter-ego was 
renamed the Brigade Leader, 
and the script noted: ‘As 
the Brigadier turns we 
see he has an eye patch, 
and duelling scar but no 
moustache. The Primeords 
were renamed ‘Primords’. 


Connections: 

Hot and 

bothered 

® Inferno was the title 
of the first part of 
Dante Alighieri's epic 
allegorical poem, The 


Divine Comedy. Published 
in the fourteenth century, 
Inferno tells the story of 
Dante's journey through 
the circles of Hell, where 
the damned are subjected 
to various torments. 


DOCTOR WHO | THE COMPLETE HISTORY & 


INFERNO 3» storvs« 


Production 


Right: 
APrimord 
takes a fall. 


ocation filming for Inferno took 
place at Berry Wiggins & Co, an 
oil and bitumen manufacturing 
plant at Kingsnorth on Medway, 
near Strood in Kent. The 
location had been found by 
Douglas Camfield when travelling to view 
the site of the Kingsnorth Power Station 
on the Isle of Grain. Because many volatile 
products were stored at the plant, cast and 
crew were subject to a strict smoking ban, 
with apples, crisps and gum being offered 
to distract the smokers. The location shoot 
ran for four days from Tuesday 31 March, 
with each day starting at 8am and finishing 
at 6pm, apart from the final day which 
finished an hour early. 
Shooting on 16mm film began on 
the first day with the opening sequence 
showing the Doctor driving and singing 
La donna é mobile (Woman Is fickle) from 
Act Three of Giuseppe Verdi's 1851 
opera Rigoletto, on the ‘real’ Earth which 
Camfield’s notes referred to as ‘Warp I’. 
Scenes among the huts on the alternative 
‘Warp II’ Earth followed, included the 
Doctor being hunted by RSF soldiers 
and hiding in the Land Rover (Russian 
Simonov SKS semi-automatic carbine 
rifles were used by the RSF, while UNIT 
troops, as usual, carried the Belgian- 
designed FN FAL rifles known as SLRs). 
It was production assistant Chris D’Oyly 
John’s idea that the Doctor should hide in 
dustbins from the RSF. In the afternoon, 
the crew moved to the high tank area, to 
continue filming the RSF’s hunt; acting 
atop the storage tanks worried Pertwee, 
who hated heights - and so two Havoc 
stuntmen, Alan Chuntz and Terry Walsh, 


oe DOCTOR WHO | THE COMPLETE HISTORY 


SALAKANNAARARRS 


took him by the arms and spent 15 
minutes marching the star around some 
150 feet off the ground. The day ended 
with the Warp I sequence in which the 
Doctor encountered the infected Wyatt. 
For their scenes as the infected Wyatt and 
Bromley, Ware and Fairbairn (who was also 
scared of heights) wore green make-up. 
Actress Caroline John wore a dark wig to 
differentiate Warp II’s Section Leader Shaw 
from her usual role as Liz Shaw. Camfield 
disliked the new, futuristic UNIT uniforms 
created for The Ambassadors of Death and 
instead preferred a look similar to that of 
the regular army. 


she Uoetor on Catwalh 
ednesday 1 April began with 
Wy of the Doctor on Catwalk 
A for Episode 3, followed by 
the confrontation with Wyatt in Episode 
2 - which was the subject of a photocall, 


with Scammell doubling Wyatt’s fall from 
the gantry; although Ware - himself a 


stuntman - was playing Wyatt, Scammell 
had already been booked for the stunt 
before Ware’s casting. Brigadier actor 
Nicholas Courtney rejoined the team at 
this point. The crew moved to the red tank 
area for the meeting between the Doctor 
and Bromley in Episode 3; here, Pertwee 
used a fire extinguisher on Fairbairn, but 
because Fairbairn didn’t drink, he was 
unable to take advantage of the brandy 
offered to him as a warmer after being 
sprayed with the freezing carbon dioxide. 
Shooting for the RSF chase sequence 
resumed on Catwalk A. Over lunchtime, 
Pertwee filmed the railway/towerlift area 
scene in which the Doctor overpowered 
two UNIT guards. Further work that 
afternoon included high-angle shots 

of Benton and the RSF troops plus the 
fallen Wyatt. 

As this was 1 April, Jon Pertwee and the 
crew played an April Fool’s joke on Havoc 
stuntman Derek Martin by leading him to 
believe that his cherished Jaguar 2.8 had 
had its front smashed in at the unit hotel 
by a brewer’s delivery van. 


~ ; ‘t - , , 
Work under Camfield was fast; as soon as 
the unit had wrapped at one location, the 
director wanted them to swiftly move to 
the next to continue work and had planned 
the use of the different areas of the plant 
most meticulously. 

The first scene filmed on a sunny 
Thursday 2 showed the Doctor hiding 
in the Land Rover, after which the crew 
moved to Area R201, which featured as 
the operational building; various scenes 
were filmed here, including Slocum’s 
attack on the technician (stuntman Alan 
Chuntz), Bromley watching Liz (Caroline 
John retaining her blonde wig from The 
Ambassadors of Death) and the Doctor 
infiltrating the disaster crew. The crew 
then moved to Area R223, where Benton 
drilled the RSF troops. Red filters were 
employed in the afternoon for scenes 
showing the Doctor’s party and the 
Primords running through the complex 
in Episode 6 (this included work in the 
‘low flash avenue’). Scenes were then 
filmed outside the nuclear switching area, 
followed by other shots of the Primords 


lan Fairbairn 
gives asmile 
before a take. 


DOCTOR WHO | THE COMPLETE HISTORY © 29 


INFERNO » stow ss SA AKAANARARARARAREES 


. and Benton for the end of to the Doctor, the Brigade Leader’s party 
Connections: Episode 6. For these Warp arriving and the Doctor emerging to be 
For the chop II scenes, Courtney wore an attacked by the RSF; this included all the 
# The Doctor utilises eyepatch over his left eye scenes with David Simeon as Latimer. The 

cea karate to with a make-up scar beneath final sequence filmed was the hazardous 
dane aclu by it applied by Judy Cain; ‘high tank fall’ in which Scammell, as 
simply placing nls Sum Camfield had suggested that RSF Private Wyatt, fell SO feet in a multi- 
ona pressure point en his this was a ‘Heidelberg scar’, camera shot, setting a world record for the 
collar bone. He explains: named after characteristic stunt. Lack of time meant that the final 
‘Hold it renig@nougn and duelling injuries received at scene on the schedule - Benton and the 

\ the teres a nineteenth-century fencing UNIT soldiers searching around the huts 


school in Germany. Courtney § and Slocum killing Collins, a UNIT soldier 


paralysed.” 


Right: 

Jon Pertwee 
rehearses 
ashotin 
the studio. 


based his performance as 

the Brigade Leader on the 
bullying wartime leader of Italy, Benito 
Mussolini; it was during this location 
shoot that the life-long friendship between 
Courtney and Pertwee was cemented. 
Although April Fool’s Day had passed, 
Randall managed to trick Caroline John 
into eating a mustard sweet - much to her 
annoyance. Shooting was covered by The 
Chatham, Rochester and Gillingham News, 
which printed pictures of the production 
the following day under the title Dr Who 

at Hoo!. A similar item was entitled Which 
doctor went to Hoo? Why, Dr Who and 
featured comments from Camfield about 
the location which would feature in Inferno 
on BBC1 from Saturday 9 May. 

The final location day, Friday 3, began 
with the scene in which the Doctor, driving 
Bessie, evaded RSF soldiers on some waste 
ground. Chuntz was accidentally hit by the 
vehicle when it was travelling at 35mph, 
injuring his leg. D’Oyly John took Chuntz 
to hospital, where he had a number of 
stitches; Chuntz insisted on returning to 
work, aware that Pertwee would be upset if 
he knew that the accident had caused real 
problems. With work delayed, Camfield 
pressed on with parts of the ‘end of the 
world’ sequence which concluded Episode 
6. The crew then moved to the Doctor’s 
hut for the scenes showing Latimer talking 


(a) DOCTOR WHO | THE COMPLETE HISTORY 


- was abandoned. 

Pre-filming continued on Monday 6 at 
Stage 2 of the BBC Television Film Studios 
at Ealing, where scenes showing Pertwee, 
the console and Bessie appearing and 
vanishing from the Warp I hut and passing 
through the ‘Nightmare Warp’ were 
recorded. For the Nightmare Warp, picture 
distortion effects were achieved by the 
use of special camera lenses and rippling 
a flexible reflective plastic surface called 
Mirrorlon. The TARDIS console prop had 
undergone a degree of refurbishment, 
notably with a new metal plate fitted over 


en 


one of its fascias which had apparently 
been damaged. 

Tuesday 7 was devoted to the model 
shots of the drilling complex, with 
saucepans being used for the chemical 
tanks in sequences shot on high speed 
35mm film; close-ups showing the drill 
head under emergency conditions, with 
steam and slime (actually the hand-cleaner 
Swarfega) added, were also filmed. The 
model drill head was built by visual effects 
assistant lan Scoones using four-inch 
vacuflex tubing which was purchased from 
a Halesowen firm. 


was spent on the transformations of 

Benton and Stahlman into Primords 
for Episodes 5 and 7. These were done 
in several stages: green make-up and 
eyebrows were added first, then coarse hair 
on the hands and face, next a false nose, 
and finally the full make-up complete with 
false teeth. Pooley objected strongly to the 
sequence as he disliked the make-up, which 
annoyed Camfield. The film sequences 
were dubbed on Thursday 9 and Friday 10; 
these included the Primord growls, which 
were created by Brian Hodgson at the BBC 
Radiophonic Workshop using a device 
known as a ‘wobulator’. 


T: final filming day, Wednesday 8, 


Production 


London rehearsals began on Monday 
13 April at St Helen’s Church Hall. Script 
changes were called for by the cast, notably 
when Courtney argued that the Episode 3 
scene in which Section Leader Elizabeth 
Shaw interrogated the Doctor would be 
more suited to the Brigade Leader; Letts Left: 


and Camfield agreed, and the scene was Jon Pertwee, 
changed, upsetting Caroline John. For Wi pe 
Inferno, as the serial had now been retitled, Caroline john 
Letts was able to introduce a new working rehearse 
ascene. 


schedule, inspired in part by his memories 
of the BBC serialisation of The Small House 
at Allington in which he had appeared 
during 1960; for this, producer Michael 
Leeston-Smith had allowed an extra 

week of rehearsals, overlapping work on 
two consecutive episodes. To allow more 
rehearsal time, the producer planned to 
record two episodes every fortnight rather 
than one a week; this meant sets would 

be erected less frequently, minimising 
damage. Concurrently, this approach 

was also taken with the BBC Sunday 
afternoon classic serial The Black Tulip, the 
six episodes for which would be recorded 
in three fortnightly blocks from mid-April 
through to mid-May, starting a week 
before Inferno and effectively alternating 
with it. Consequently, Camfield’s first 
studio session spanned Thursday 23 and 
Friday 24 April in Television Centre Studio 
3. Due to the high proportion of pre- 
filming, Camfield used the Thursday for 
camera rehearsals, recording Episodes 1 
and 2 between 7.30 and 10.30pm on the 
Friday evening. 

As with The Ambassadors of Death, a 
unique set of opening titles was devised 
for Inferno at the suggestion of Camfield. 
After the standard opening, colour 
16mm film of a volcano shot by Polish- 
born volcanologist Haroun Tazieff for 
Contemporary Films was shown; captions 
giving the story title, the author’s name 


DOCTOR WHO | THE COMPLETE HISTORY ® 


INFERNO »stows« — 


Below: 

The Brigade 
Leader 

has seen 
some action. 


and the episode number were bled in 
over the film. Barry Letts disliked this 
inconsistent approach, and the variant 
titles would subsequently be dropped. 

Colour Separation Overlay (CSO) 
outside the door of the Doctor’s hut set 
was used to show the complex outside. 
With the TARDIS console prop now in the 
electronic studio, Letts noted that it was 
extremely battered; the central column was 
noticeably damaged even after its recent 
refurbishment. Recording continued with 
Episode 2 - but, a short way in, Camfield’s 
patience was tried when Pertwee refused 
to pick up a telephone on the reactor set in 
a certain way. Pertwee’s performance did 
not fit in with Camfield’s camera moves, 
and Pertwee argued with D’Oyly-John 
about this. Camfield descended from the 
gallery in an almost uncontrollable rage to 
remonstrate with the star; Dunn attempted 
to calm things down, persuading Pertwee 
to co-operate rather than upset her 
husband any more. 

Pressure on Camfield came to a head 
when rehearsals restarted on Monday 27, 
when D’Oyly-John telephoned Letts to say 


> DOCTOR WHO | THE COMPLETE HISTORY 


AL KAKA NNARAR|RAS 


that Camfield had collapsed. Arriving at 
the hall, Letts found Camfield looking very 
pale. Dunn explained that, unbeknown to 
the cast and crew, her husband had a heart 
murmur, an intra-fibulation which he had 
suffered with since the age of 25, and was 
taking medication to keep his high heart 
rate down. Suddenly, Camfield had found 
himself unable to breathe, and it was 
necessary that he should not be exposed 
to further production pressures. Letts 
considered bringing in another director, 
but since Camfield’s preparation for Inferno 
had been so meticulous, Letts decided 

to take over himself while still allowing 
Camfield the full credit for the production. 


he second studio session took place 
T= Thursday 7 and Friday 8 May 

in TC3. This time, Camfield had 
planned his studio so that all the Warp I 
scenes for Episodes 3, 4 and 6 would be 
pre-recorded on the Thursday, avoiding 
costume and make-up changes, since 
Warp II scenes formed the bulk of the 
narrative. Recording took place between 
9pm and 10pm; a spinning silver drum 
superimposed and defocused was used to 
indicate the transition between Warps. 

Most of Episodes 3 and 4 was recorded 

between 7.30pm and 10.30pm on Friday 8. 
A photocall showing the Warp II characters 
was held during camera rehearsals, with 
John wearing a different dark wig to the 
one used on location. The ‘UNITY IS 
STRENGTH’ poster seen on the Warp II 
sets bore a picture of the state’s figurehead 
- actually a photograph of special effects 
head Jack Kine (this was an in-joke relating 
to the 1954 BBC Television production 
of George Orwell’s Nineteen Eighty-Four, in 
which photographs of ‘Big Brother’ had 
shown BBC head of design Roy Oxley). As 


a 1 
. 7\ 


* 


the counterpart Professor, Pooley wore a 
white Pandit Nehru suit specially made 
for him by theatrical costumiers Bermans 
and Nathans. During camera rehearsals, 
Courtney’s first scene as the eye-patch- 
sporting Brigade Leader had been the 
occasion of a joke by Pertwee and the rest 
of the cast; Courtney had swung around 
in his chair to find Pertwee, John and 
Levene all wearing eye-patches. Having 
overcome the dangers of ‘corpsing’ during 
a theatrical summer season, Courtney 
carried on unperturbed, causing the 
jokers themselves to break up giggling. 
During the interrogation scenes, the mild- 
mannered Levene found it difficult to look 
sufficiently brutal when pulling Pertwee’s 
head back and found that the show’s 

star was very understanding and did his 
best to put him at ease; indeed, Pertwee 
encouraged the nervous Levene to hone 
his acting skills, as did Courtney. Dummy 
bendable bars were used for Bromley’s 
escape in the cell sequence in Episode 4. 
Fairbairn also provided the loudspeaker 
voice in Episode 4. 


* 


“ = 
in wen as 


Production 


hm 


Rehearsals for Episodes 5 and 6 began a. 
ir Keit 
on Monday 11 May. Gold visits 
During rehearsals on Monday 18, it ‘Project 
Inferno. 


was agreed that Walter Henry could be 
released from his contracted appearance 
as a Primord in Episodes 5 and 6. Letts 
also found that one of the episodes 
was running short and asked Dicks for 
some more material; Dicks wrote in an 
additional quarrel between the characters 
of Petra and Greg. 

Although planned for TC3, taping 
on Thursday 21 and Friday 22 actually 
took place in TC6, and was heavily out 
of sequence. Scheduled to run between 
9pm and 10.30pm, recording on Episode 
5 started on the Thursday with the later 
scenes featuring Pooley as the transformed 
Stahlman, and continued to the end of 
the episode (including the Warp I scene 
involving Sir Keith and his chauffeur), 
where a toffee-glass window in the office 
door was smashed by a Primord arm. 
Thirteen minutes into studio taping, the 
main videotape recorder broke down, 
which cost Letts valuable time. The middle 


DOCTOR WHO | THE COMPLETE HISTORY &® 


INFERNO 


A violent scene 
is captured by 
the film crew. 


STORY 54 


of the episode was recorded next, while 
Pooley had his Primord make-up removed; 
in these scenes, Courtney was nervous of 
firing blank pistol shots when the Brigade 
Leader shot Bromley. For the radio scene 
in the Brigade Leader’s office, Pertwee 

had persuaded Letts to allow him to 
pre-record the announcer’s voice, adopting 
the tones of William Joyce (nicknamed 
‘Lord Haw-Haw’), who had broadcast Nazi 
propaganda on Radio Hamburg during 
World War II; a calendar on the Brigade 
Leader’s desk gave the date as 23 July. 

A roll-back-and-mix effect was used to 
make the Doctor and console vanish on 
the hut set. With Pooley out of Primord 
make-up, Pertwee changed into a disaster 
crew suit to record the start of Episode 

5; also in a suit and mask, Walsh doubled 
for Pertwee in the drill head fight with 
Stahlman. Recording overran the 

10.30pm deadline due to the breakdown 
of the videotape machine. 


Fight sequence 


pisode 6 was recorded between 

8.30 and 10pm the following 

night, with Pooley and Levene in 
Primord make-up. Courtney disliked 
the fight sequence he performed with 
Newark, thinking that a double should 
have been used. Similarly, the then- 
pregnant John was unhappy about firing 
a gun in the scene where Shaw shot the 
Brigade Leader; the actress arranged for 
the armourer to fire the actual shot off- 
camera. In the final scene, model film 
showing the lava flow was placed outside 
the hut doors using CSO. Although the 
main recording was completed, Letts 
needed an overrun to transfer all the 
film sequences. 

Rehearsals for Episode 7 began on 

Monday 25 May, leading up to the 


DOCTOR WHO | THE COMPLETE HISTORY 


recording in TC6 (again planned for TC3) 
between 8.30pm and 10pm on Friday 

29; during this period, Dicks extended 
the closing scene of the serial when Letts 
found it to be underrunning. Starting 
with the announcement to studio, “Let’s 
make this show a real humdinger - one 
they'll remember forever,” taping was 
again heavily out of sequence, starting 
with the closing scenes requiring Pooley in 
Primord make-up. A prop plywood chair 
was used by Pooley in the scene where 
Stahlman broke a chair across the Doctor; 
the crew, including Letts, performed the 
offscreen shutdown voices. After this, 
Pooley and Pertwee went to make-up, and 
the earlier Central Control scenes were 
taped without either of them. Following 
this, scenes in the Doctor’s hut were taped, 
after which the rest of Episode 7 was 
recorded in sequence with Pooley as the 
pre-transformation Stahlman. 


During recording of Inferno, Letts visited 
Caroline John in her dressing room before 
one of the studio sessions and confirmed 
that she would not be contracted to 
appear in the 1971 series of Doctor Who. 
From Letts’ point of view, the informed 
scientist character of Liz Shaw created by 
Sherwin and Bryant did not work, and the 


PRODUCTION 

Tue 31 Mar 70 Berry Wiggins & CoLtd, 
nr Rochester, Kent [Warp |: Main Gates; 
Rooftop Nuclear Reactor; Warp II: Huts; 
High Tanks] 

Wed 1 Apr 70 Berry Wiggins &Co 


Ltd [Warp |: Catwalks; Railway; Warp II: 
Catwalks; Red Tank Area] 

Thu 2 Apr 70 Berry Wiggins & Co 

Ltd [Warp |: Operational Building; 
Nuclear Switchroom; Warp Il: Roadway; 
Operational Building; Low Flash Area; 


Nuclear Switchroom] 

Fri3 Apr 70 Berry Wiggins & Co Ltd [Warp 
|: Doctor's Hut; Warp Il: Wasteground; 
Doctor's Hut; High Tank Fall] 

Mon6 Apr 70 Ealing Film Studios Stage 
2. Int. Doctor's Hut; Nightmare Warp 

Tue 7 Apr 70 Ealing Film Studios Stage 2: 
Drill Head; Complex Model 

Wed 8 Apr 70 Ealing Film Studios Stage 
2: Central Control; Drill Head 

Fri24 Apr 70 Television Centre Studio 3: 
Episodes 1 and2 


Production 


changes he had made to the role had not 
been effective. He felt that the character 
lacked a rapport with Pertwee’s Doctor, 
and although Pertwee thought she was an 
excellent actress, he also felt that she was 
wrong for Doctor Who. The announcement 
came as no surprise to John, who had 
become pregnant in January and was 
planning on leaving to start a family; 

she also felt that Liz’s role had become 
frivolous. Auditions for a new regular 
companion were booked for Wednesday 
24 June. 

Recovered, Camfield attended the 
series wrap party at Walter Randall’s 
restaurant, Davina’s, in Fulham; he 
thought that the finished version of 
Inferno had been more brightly lit than 
the nightmare he had wanted to attempt. 
Camfield was soon working again, on 
Re-Take, an episode of Paul Temple made 
over June and July. Pertwee set off fora 
holiday in Morocco and the Sahara Desert, 
followed by a Berber wedding in the 
Atlas Mountains and appearances at 
Butlin’s in Clacton; he also filmed a 
sequence for the Amicus horror movie 
The House That Dripped Blood (which 
started shooting at Shepperton Studios 
on Monday 13 July) before beginning work 
on the 1971 series. 


Thu 7 May 70 Television Centre 
Studio 3: Episodes 3, 4 and 6: 
Warp|scenes 

Fri 8 May 70 Television Centre 
Studio 3: Episodes 3, 4 and 6: 
Warp llscenes 

Thu 21 May 70 Television Centre 
Studio 6: Episode 5 

Fri 22 May 70 Television Centre 
Studio 6: Episode 6: Warp Ilscenes 
Fri 29 May 70 Television Centre 
Studio 3: Episode 7 


DOCTOR WHO | THE COMPLETE HISTORY i 


Action by 
Havoc! 


pisodes 1 and 2 were edited 

on Monday 27 and Tuesday 

28 April 1970. Episodes 3 and 

4 were edited on Monday 11 

and Tuesday 12 May. A short 

sequence was removed from the 
start of Episode 3: in Central Control, Greg 
checked the coolant pipes and explained 
to Petra that the coolant could be used 
as a fire extinguisher to deal with flash 
fires; Petra said they had a million and a 
quarter gallons of the coolant which could 
solidify molten rock, and Greg was pleased 
that they wouldn't end up as “pot roasts”. 


DOCTOR WHO | THE COMPLETE HISTORY 


i \ 


- 


IOaUc 


Later on, the end of the scene in which Liz 
and the Brigadier discussed the Doctor’s 
disappearance was trimmed; after telling 
Liz that he was worried, the Brigadier 
originally added: “Cheer up, Liz. I can tell 
you one thing about the Doctor. He’s very 
good at looking after himself... wherever 
he is.” 

Episodes 5 and 6 were edited on Sunday 
24. Letts made an edit to Episode 5; 
thinking the radio announcer’s voice was 
too easily identified as being Pertwee’s, 
he removed the 28 seconds of the radio 
announcement (this material would, 


however, be retained on the tapes and films J and its subsequent variations. Derbyshire’s 


used for overseas sales). pieces used on Inferno included The Delian 
Further editing on Episode 6 was Mode and Blue Veils and Golden Sands, 
undertaken on Sunday 31, alongside both taken from the 1968 BBC Radio 
editing of Episode 7. For timing reasons, Enterprises LP BBC Radiophonic Music Olaf Pooley has 
four cuts were made to Episode 7. (REC 25M). an itchy nose. 


Originally, after Stahlman realised that 
even Petra had betrayed him, the Central 
Control scene had continued with Greg 
telling Petra that he hoped Sir Keith 
could talk sense into Stahlman; when 
Petra pointed out that Sir Keith was 

not present, Sutton said that he had 

met him by the main gate five minutes 
previously (“Hopping mad he was too. 

He says Stahlman tried to kill him”). Greg 
explained that Sir Keith had gone to see 
the Brigadier - and, with Sir Keith and 
“the Doc” back, maybe they now stood 

a chance. The start of the next Central 
Control scene was also cut: just before the 
Doctor entered, Greg wondered where Sir 
Keith had got to. A further Control scene 
was cut: following the Doctor’s arrest, Liz 
looked through a tool bag, explaining to 
Sir Keith that the computer was missing 
a micro-circuit; Sir Keith believed this 
confirmed the Doctor’s story, and Liz 
insisted that he must stop Stahlman 
before it was too late. The final deletion 
was the 32-second film sequence showing 
Stahlman becoming a Primord. 


Library tracks 


ouglas Camfield opted to use library 

tracks rather than pay for a specially 

composed score for Inferno - which 
was the last Doctor Who serial to use stock 
music alone. A variety of pieces by several 
different composers were used, including 
some by Delia Derbyshire of the BBC 
Radiophonic Workshop who had been 
responsible for the unique arrangement 
of the original Doctor Who theme in 1963, 


DOCTOR WHO | THECOMPLETE HISTORY © 37 


<> ee 


Publicitu 


Inferno Episode 1 was promoted in 
The TARDIS : , j 
Radio Times by a four-page article on 
console takes 2 
the Doctortoa Thursday 7 May; Dr Who’s Who’s Who 
parallel Earth. by Deirdre Macdonald was a look 
behind the scenes on the new season 
in which she spoke to the crew and 
to Pertwee. Episode 1’s listing was 
accompanied by a photograph of 


38 =DOCTOR WHO | THE COMPLETE HISTORY 


the Doctor and the TARDIS console; 
several weeks later, Episode 6’s billing 
was graced by a shot of a Primord. 


Jon Pertwee was the subject of a colour 
portrait in Radio Times’ ‘Favourites’ 
series in the issue of Thursday 11 June, 
promoting Episode 6. 


Publicity | Broadcast 


SEEN 


Broadcast 


» Broadcast in the summer, Inferno’s ® During the serial’s broadcast, on 


ratings tailed off somewhat towards 
the end of the story, although its 
audience reaction figures were steady. 
The story aired against ITV series 
including the US science-fiction 

show Voyage to the Bottom of the Sea 

(in London's LWT region as well as 
Granada, Border and Ulster), the US 
animal adventure Flipper (Yorkshire/ 
Tyne Tees), the wartime adventure 
series Garrison’s Gorillas (Granada/ 
Anglia/Westward/Channel/Grampian), 
the Western Bonanza (Scottish/ 
Grampian), the Supermarionation 
series The Secret Service (Southern), 

the US sitcom Julia (ATV), the US 
period sitcom F Troop (Southern) and 
repeats of the 1950s swashbuckler The 
Adventures of Robin Hood (HTV). 


Monday 25 May The Daily Telegraph 
carried the story MP Attacks ‘Dr Who’ 
Kits, which reported on how a question 
was to be asked in the House of 
Commons about the ‘sale to children 
of Government surplus chemical 
warfare kits as “Dr Who” toys’. This 
was also covered the same day in The 
Guardian which explained how the kits 
had been on sale in Oxfordshire since 
November and were known to contain 
tablets with carcinogenic properties. 


At the BBC Programme Review Board 
of Wednesday 27 May, head of plays 
Gerald Savory commented to his 
colleagues that he felt that recent 
editions of Doctor Who had been more 
grown up and that Jon Pertwee was 
making the Doctor ‘too real’; the 


: Left: 
actor’s casting was defended by other Stahiqnantetn 
board members, including the former Keith and Greg 


head of serials and now head of drama, 
Shaun Sutton. 


Doctor Who got a generally negative 
review on BBC1’s Junior Points of View 
on Friday 29 May where one young 
viewer opined that ‘Dr Who would be 
better in time and space again. He isn’t 
the same on Earth’ 


“Dr Who” Goes to the Rif Mountains’ 
was the title of a personal ad in The 
Times on Friday 5 June; this was an 
offer giving ‘four keen followers with 
humour and discrimination’ the 
chance to join Jon Pertwee for a 


DOCTOR WHO | THE COMPLETE HISTORY {am 


Sutton discuss 
the progress of 
the drilling. 


INFERNO 


Right: 

Director 
Stahlman stays 
cool in the heat. 


two-week land cruise in Morocco from 
22 June to 6 July. The following day, 
the Daily Mirror ran Clifford Davis’ 
interview with Jon Pertwee under 

the title Who’s the joker in the cloak!. 
Pertwee was due to be performing his 
cabaret act at Butlin’s holiday camp 
in Clacton the following evening and 
told the paper how he wanted to play 
the Doctor “dead straight” and make 
the show “more adult”. Daughter 
Dariel also commented: “I cried 

the other week... ‘cause Daddy was 
surrounded...” 


» On Tuesday 23 June, Houghton 
wrote to Letts to congratulate 
Camfield on his direction: “It’s not 
often these days that a writer can see 
his work interpreted with such care 


- but, given an ‘A’ rating, it was 

not shown at this time. The story 
also formed part of a syndication 
package sold to the USA in 1972. 
The Philippines purchased Inferno in 
1976, followed by Saudi Arabia in 
1977. Around this time, the colour 
videotapes of Inferno were wiped, 


and imagination.” 


although BBC Enterprises retained the 


black-and-white 16mm film copies. 
® At the BBC’s programme review board 
meeting, on Wednesday 24 June, 
Ronald Marsh, the recently appointed 
head of serials, commended the serial 
for ‘holding an audience’, despite the 
warm weather. 


® 525-line colour videotapes of Inferno 
were returned to the BBC from Canada 
in 1985, meaning the serial could be 
remarketed in colour. 


® Inferno was run episodically and as a 
compilation on UK Gold from May 
1993. The serial was screened on BBC 
Prime from 1995. 


» Inferno was purchased by ABC 
in Australia in April 1971 asa 
monochrome 16mm film recording 


ORIGINAL TRANSMISSION 
EPISODE DATE 

Episode1 
Episode 2 
Episode 3 


CHANNEL 
Saturday 9 May 1970 id BB 
Saturday 16 May 1970 J BB 
Saturday 23 May 1970 J BB 
Saturday 30 May 1970 BB 
Saturday 6 June 1970 ; BB 
Saturday 13 June 1970 BB 
Saturday 20 June 1970 BB 


DURATION RATING (CHART POS) 
23721 5,7M (72nd) 
22'04" 5,9M (66th) 
24'34" 48 ) 
) 
) 


PPRECIATION INDEX 


7 
= 


Episode 4 
Episode5 
Episode 6 
Episode 7 


24'57" 6.0M 
23:42" 
23'32" 
24'33" 


Fy ot |) iy th ey € 
or ry 


40 DOCTOR WHO | THE COMPLETE HISTORY 


was 


Broadcast | Merchandise 


Merchandise 


n 1973, the Target novelisation 
programme got underway, but 
Dicks advised the publishers 
Universal-Tandem not to include 
either Inferno or Houghton’s 
other serial, The Mind of Evil 
[1971 - see page 94], in the initial selection 
of titles. Dicks eventually novelised 
Houghton’s serial as Doctor Who: Inferno, 
which was published in hardback by WH 
Allen in July 1984, with a cover painting by 
Nick Spender; a Target paperback followed 
in October. The paperback was included 
in The Seventh Doctor Who Gift Set, released 
late in 1985. AudioGO released a four-CD 
audiobook of this novelisation, read by 
Caroline John, in April 2011. 


BBC Video released 
Inferno asa VHS 
double-pack in May 
1994, with cover art 
by Colin Howard. 
Episode 7 of the 
serial had previously 
been released on a 
special BBC video 
The Pertwee Years in 
March 1992. BBC 


Inferno on DVD in 
June 2006. This . 
release came with these special features: . 
‘ : Clockwise 
» Commentary with actors Nicholas Courtney fconilenn 
and John Levene, producer Barry Letts and The 
script editor Terrance Dicks novelisation, 
> audiobook and 
» Production notes video Comm 
» Digitally remastered picture and for Inferno. 
sound quality 
» Can You Hear the Earth Scream? - Making 


Inferno - actors and 00g 
INFERNO 
WA 


production team recall 
_ 


working on the Story in this 
specially shot featurette 
featuring Terrance Dicks, 
Barry Letts, Caroline John, 
John Levene, Nicholas 
Courtney, lan Fairbairn, 
Derek Ware and Alan Chuntz 
} Visual Effects in 
Television - an excerpt 
from an early attempt to 
‘sell’ the experience and 
facilities of the BBC visual 
effects department to 
new clients. This short film 
features model effects 
filming from Inferno 


Starring 


JON PERTWEE 
OOUBLE VIDED PACK 


DOCTOR WHO | THE COMPLETE HISTORY @® 


INFERNO 


Right: 

The original 
and special 
edition 
releases 

on DVD. 


»} Deleted scene featuring a rather too obvious 
Jon Pertwee as the voice of a radio presenter in 
Episode 5 

»} The Pertwee Years Intro - a short 
introduction to the story's final episode from 
Jon Pertwee, originally presented as part of BBC 
Video's The Pertwee Years VHS release 

» Photo Gallery 

} The UNIT Family: Part One - a featurette 
looking at the Earthbound Doctor's ‘family’ 
during his exile to Earth and his new role as 
the scientific advisor to the United Nations 
Intelligence Taskforce featuring Terrance Dicks, 
Derrick Sherwin, Nicholas Courtney, Derek Ware, 
John Levene, Caroline John and Barry Letts 

} Easter Egg - clean opening title backgrounds 
including the special ‘volcano’ graphics used for 
this story 

» Easter Egg - VT countdown clock for 
Episode 7 

} Doctor Who Annual - an Adobe PDF version 
of the 1971 Doctor Who Annual, supplied as a 


ae DOCTOR WHO | THE COMPLETE HISTORY 


NAVAN ANANXARRAREE 


PC-ROM feature for access by PC and Mac users 

» Radio Times listings in Adobe PDF format 
In November 2006 The Third Doctor 

box set, which contained Inferno, was 

exclusively available to Amazon. The serial 

was also available with issue 44 of the 

Doctor Who — DVD Files, published by GE 

Fabbri in September 2010. The Inferno 

— Special Edition DVD was released by 

2|entertain in May 2013. This release came 

with these special features: 

» Commentary with actors Nicholas Courtney 
and John Levene, producer Barry Letts and 
script editor Terrance Dicks 

» Production notes 

} Digitally remastered picture and 
sound quality 

» Can You Hear the Earth Scream? - 
Making Inferno 

» Hadoke v Havoc - presenter Toby Hadoke 
reunites surviving members of the Havoc stunt 
team and trains with them to perform a stunt 


i Merchandise f 


himself With stunt arranger Derek Ware and 
stuntmen Roy Scammell, Derek Martin and 
Stuart Fell 

» Dr Forever! - Lost in the Dark Dimension - 
the penultimate instalment of a five-part series 
looking at how Doctor Who was kept alive in the 
years between the end of the classic series and 
the beginning of the new. With former Doctor 
Who Magazine editors Tom Spilsbury, John 
Freeman and Gary Russell, former BBC range 
editor Steve Cole, actor David Burton, writer 
Adrian Rigelsford, director Graeme Harper and 
Russell T Davies 

» The UNIT Family: Part One 

» Visual Effects in Television 

» Deleted scene 

» The Pertwee Years Intro 

» Photo Gallery 


» Easter Egg 1 - clean opening title backgrounds 


including the special ‘volcano’ graphics used for 
this story 
» Easter Egg 2 - VT countdown clock for 
Episode 7 
» Easter Egg 3 - Being David Burton - actor 
David Burton talks at greater length about his 
career and ‘casting’ as the Doctor 
» Doctor Who Annual - an Adobe PDF version 
of the 1971 Doctor Who Annual, supplied as a 
PC-ROM feature for access by PC and Mac users 
® Coming Soon - a trailer for the DVD release of 
The Mind of Evil. 
» Radio Times listings in Adobe PDF format 
» Programme subtitles 
The music tracks, Blue Veils and Golden 
Sands and The Delian Mode represented 
the serial on the CD and cassette Doctor 
Who: Earthshock released by Silva Screen 
in November 1992. Sound effects from 
the serial were included on Doctor Who at 
the BBC Radiophonic Music — Volume 2: New 
Beginnings released by BBC Music in May 
2000. Incidental music from the serial 
was released on Silva Screen’s 11-disc CD 
Doctor Who: The 50th Anniversary Collection 
in September/November 2014. The tracks 


NICHOLAS COURTNEY 


— = 


§ 


< 


Left: 

The DVDs 
included a 
selection 

of extras. 


were: TARDIS Control On & Warp Transfer, 
Blue Veils and Golden Sands, The Delian Mode 
and Battle Theme. The Delian Mode and Blue 


Veils and Golden Sands, both composed by 
Delia Derbyshire, were also available on 
seven-inch black vinyl from Silva Screen. 
In 1999 Slow Dazzle issued a set of 
postcards depicting Colin Howard’s Doctor 
Who art from the covers of the books 
and videos he had been responsible for, 
including Inferno. The Stamp Centre issued 
a cover for Inferno in 2008, with copies 
signed by Nicholas Courtney. M 


DOCTOR WHO | THE COMPLETE HISTORY ss 


INFERNO » stowss ~ CX AANANRARRARARES 


Cast and credits 


CAST DGTOK WALE.....sossciiciscisssisiines Private Wyatt [1-3]? 
JOM Pertwee wines Doctor Who Walter Randall... Harry Slocum [1-2] 
with an Fairbairn vice Bromley [1-5, 7]* 
Caroline JOAM............cccues Liz Shaw [1-4, 6-7]/ Roy ScammMell........ccsesssnn RSF Sentry [4] 
Section Leader Elizabeth Shaw [5]? ENTE GIMIOS | co ssscscsscscsssscsterssvseesiecssssnnn Patterson [5] 

Nicholas Courtney... scorer eRe Dave Carter, Pat Gorman, Philip Ryan, Peter 
Brigadier Lethbridge-Stewart [1-4, 6-7]/ MENQUIRNPISONM scsccctisctrssscssssusccessssssesvannessnseess Primords [5-6] 
Brigade Leader Lethbridge-Stewart [5]? Walter Henry Primord [6] 

and 


Olaf Pooley........... Professor Stahlman [1-4, 6-7]/ ‘On-screen credits named ‘Warp II’ characters only 
Director Stahlman [5]? when the ‘Warp I’ character did not feature in that 
Christopher Benjamin....... Sir Keith Gold [1-5, 7] episode. Section Leader Elizabeth Shaw appears 


Derek Newallk..........cccccscss Greg Sutton [1-7]? in 3-7; Brigade Leader Lethbridge-Stewart in 3-6; 

Sheila Dunm..............00ccc Petra Williams [1-4, 7]/ Director StahIman in 3-6; Dr Petra Williams in 3-7; 
Below: Dr Petra Williams [5-6]* and Platoon Under Leader Benton in 3-6 
el John Levene............... Sergeant Benton [1-2,6-7]/ §} ?On-screen credits did not differentiate between 
Beanie Platoon Under Leader Benton [3-5]" ‘Warp I’ and ‘Warp II’ characters. ‘Warp I’ characters: 
another trip. David SIMEOMN..............e Private Latimer [1,3]* Bromley [1-2, 7]; Sutton [1-3, 6-7]; Latimer [1]; 


and Wyatt [1-2]. ‘Warp II’ characters: Bromley [3-5]; 
Sutton [3-7]; Latimer [3, billed in Radio Times as 
‘RSF Private Latimer’]; and Wyatt [3, billed in Radio 
Times as ‘RSF Private Wyatt’] 


UNCREDITED 
Sheila Knight, Patricia Matthews, Corinne 
Skinner, Joan Harsant, Valerie Bland................. 
Pee Freres crssivsvsctrsesssssoesssssses Warp! & Il Technicians 
Alan Clements, Keith Norrish, Richard 
Cooper, Richard Lawrence, Richard King, 
Robert Birmingham, Derek Hunt, Michael 
Earl, Norton Clarke, Bertie Green, Keith 
BUST caress sessivevsiisersvsesess Warp | & II Technicians/ 
Warp II Disaster Crew [incl Phillips] 
June Gray, Harry Tierney......... Warp! Technicians 
Alan Chunitz........ Technician [attacked by Slocum] 
Roy Scammell, Alan Chuntz, Terry Walsh, 
Billy Horrigan, Roy Street, Derek Martin........ 
aiaiieecouneetec har eee RSF Soldiers/Disaster Crew 


he DOCTOR WHO | THE COMPLETE HISTORY 


Natalia Lindley, Marcelle Elliott, Colin James. 
ssairiei tied iiiedl arisen centile apeeteeae Warp | & II Technicians 
Nick Hobbs, Royston Farrell........... RSF Soldiers 
BG Heath, Bruce COX..........:ccccieen Drivers 
Ronald Gough....Warp || Technician/Disaster Crew 
Barry Ashton, Cy Town....... Warp Il Technicians/ 

Disaster Crew/Warp | Technicians 
Lan FairbDaiifn cen Loudspeaker Voice 
Judith Pollard, Steve Tierney nice 
AnGUAinTauaONNATRATATERAMNTE Warp! & Il Technicians 


Les Conrad) innaccsustunonuanuannnnn RSF Soldier 
Terry Walsh.........05 Doctor Who 
Jon Pertwee... Radio Voice? 


Alan Chuntz, lan Elliott, Terry Walsh, Derek 

IT Soldiers 
Sue Patterson, Alistair [email protected] 
bpeiseacte tees iii csi een VRE Warp | Technicians 
Barry Letts [and two othe®s]........cen 
Peete hia cs iissiiaiaeemtannauicnrate Loudspeaker Voices 


3 Omitted from UK broadcast 


Written by Don Houghton 
Action by Havoc [2-3] 
Title Music by Ron Grainer 
and BBC Radiophonic Workshop 
Visual Effects by Len Hutton 


Costumes: Christine Rawlins* 
Make-Up: Marion Richards* pe 
Film Cameraman: Fred Hamilton (pointing) 
Film Sound: Graham Hare directs a scene 
Film Editor; Martyn Day onesie 
Studio Lighting: John Green? 
Sound: John Staple® 
Special Sound: Brian Hodgson 

and BBC Radiophonic Workshop? 
Script Editor: Terrance Dicks 
Designer: Jeremy Davies 
Producer: Barry Letts 
Directed by Douglas Camfield® 
* Credited on Episodes 1 and 7 
° Credited on Episode 7 only orwiieeeees 
® Credited solely for all episodes; Barry Letts commineninn 
directed studio material for Episodes 3-7 her work, 


DOCTOR WHO | THE COMPLETE HISTORY 


45 


INFERNO = » stows ~CAANANNAARARRS 


| 
John’s father, a tough Geordie, returned 
from wartime service as an Army sergeant 
to find ason he didn’t know. John later 


JOHN LEVENE 


complained his father’s lack of affection 
impacted on his life. Ill in childhood with a 
blood disorder, he missed almost five years 


Sergeant Benton of education but later attended the local St 
Thomas's School. 

ohn Anthony Woods arrived via Woods left home at 21. At a well- 
a breach birth at five minutes to built 6’2”, some friends suggested he try 
midnight on 24 December 1941. modelling but instead he stayed in Jersey 
Raised in the village of West for four years, before moving to London, 
Harnham in Salisbury, Wiltshire, where he worked in gents’ outfitters Hope 
his mother Vera (née Blake) worked Brothers in Regent Street. 

in service locally and had married Edward One day in summer 1966, Woods served 


Austin Woods in early 1941. movie star Telly Savalas, then shooting 


NN 


The Dirty Dozen at MGM’s Borehamwood 
studios. Savalas suggested Woods might 
be suitable for work as an extra in the film 
and naively he went along to the studios, 
only to be asked for his Equity card. Woods 
tried wangling a card from Equity’s offices 
in Harley Street, but there was already a 
Shakespearean actor named John Woods 
on Equity’s books. Woods needed another 
name. The offices of boxing promoter Harry 
Levene opposite provided his new identity. 

Now John Levene, he joined the Denton 
de Gray agency for walk-ons. His stature 
made him a natural for policemen and 
heavies, his first role coming as an SS guard 
in the final episode of Adam Adamant Lives! 
aired 25 March 1967. 

Levene won walk-ons in 70 shows in 
the next two years, in everything from 
The Newcomers to The Troubleshooters, most 
notably as a desk constable in Z Cars from 
March through to September 1967. 

His first brush with Doctor Who came as 
a Cyberman uncredited in film sequences 
for The Moonbase [1967 - see Volume 9] and 
soon after he was one of four Yeti used in 
The Web of Fear [1968 - see Volume 11]. He 
recalled the latter experience to Doctor Who 
Magazine's Richard Landen in 1983: “My 
agent said, ‘It’s £20 a day. Yeti. Four days, 
two days studio. Boy, was I thrilled. There 
I was with Patrick Troughton and Frazer 
Hines. My heroes. I watched them at home.” 

Filming in Covent Garden, Frazer Hines 
as Jamie pinned a dancer’s number to the 
back of Levene’s Yeti and waltzed around 
while Patrick Troughton commentated. 
This helped make Levene known to the 
show’s leading man, who later told him; 
“You have an interesting face, John. Use it.” 

For The Invasion [1968 - see Volume 
13] director Douglas Camfield had noted 
Levene’s presence after using him as a 
Victorian police detective in the Detective 
(1968) episode Crime of Passion. Thus in The 


Profile 


Invasion, the character of Corporal Benton Above: 
was developed ad hoc over eight episodes, COrELae 
j : Barry (right) 

first appearing as a plain clothes secret directs Roger 
agent before being seen in uniform driving mech and 
: : John Levene 
jeeps and lobbing grenades down manholes. in the 1971 

Never dreaming he would be Benton Doctor Who 
again, Levene returned to other walk-ons serial, The 

Demons. 


including a youth in Softly, Softly (1969), 

a prison officer in The Expert (1969), 
another policeman in A Handful of Thieves 
(1969), as an Interceptor pilot in Gerry 
Anderson’s UFO episode Close Up filmed 
October 1969, drinking in the Rovers 

in Coronation Street (1969), as a miner in 
Germinal (1970) and in single play Lay 
Down Your Arms (23 May 1970). 

He also briefly returned to Doctor Who as 
the Yeti featured in the trial sequence in The 
War Games [1969 - see Volume 14}. 

For Pertwee’s first two stories the 
Brigadier had other aides-de-camp, but 
Benton reappeared in later episodes of The 
Ambassadors of Death [1970 - see Volume 
15], now promoted to Sergeant. With 
Levene’s champion Douglas Camfield 
directing the next story Inferno, Benton’s far 
greater involvement saw Levene also playing 
his Platoon Under Leader alter-ego and 
transformed into a Primord. 

With the ‘UNIT family’ of regulars 
established during the following 1971 


DOCTOR WHO | THE COMPLETE HISTORY a 


INFERNO 3» storvs« 


Right: 
Playing tough 
with Katy 
Manning on 
location for 
The Demons. 


Below: 

With Nicholas 
Courtney 

and Elisabeth 
Sladen on 
the set of 
Invasion of 


the Dinosaurs. 


season, Benton became part of the show’s 
format, featuring in four of five stories. A 
key role in The Demons [1971 - see Volume 
17] saw him get a notable slice of the action. 
Soon Levene was getting fanmail - notably 
from over 600 female northern factory 
workers demanding more of Benton. 

A loyal, simple, good soul who would lead 
his troops bravely into battle, the character 
was also often used for comic relief; having 
his cheese and wine stolen by Captain Yates 
in Day of the Daleks [1972 - see Volume 17], 
appearing naked at the comedic send-off 
to The Time Monster [1972 - see Volume 
18], forming a partnership with the Second 
Doctor in The Three Doctors [1972/3 - see 
Volume 19] and ad-libbing “and pink for 
yer actual pterodactyl”, in Invasion of the 
Dinosaurs [1974 - see Volume 21]. 

Tom Baker later recalled the character 
fondly as “a dolt, straight out of The Phil 
Silvers Show”. Levene meanwhile summed 
up the approach to Nick Briggs in a Myth 
Makers video taped in 1986: “I just kept 
Benton innocent really. Sounds a bit naive 
but yes I think Benton was pretty innocent.” 

While on Doctor Who, other, mostly 
uniformed, roles included a policeman 
in The Rivals of Sherlock Holmes (1971), 

The Regiment (1972), Callan (1972), The 


oe DOCTOR WHO | THE COMPLETE HISTORY 


Pathfinders (1972), a pilot in The Adventurer 
(1973), a military policeman in The Jensen 
Code (1973), and comedy Whoops Baghdad! 
(1973). Movie supporting roles included 

a soldier in Zeppelin (1971), a police desk 
sergeant in cult horror Psychomania, shot 
late 1971, a director in Go for a Take (1972), 
and a doctor in horror Dark Places (1973). 

With a couple of UNIT stories in each 
season for 1972-4, by Tom Baker’s début 
Robot [1974/5 - see Volume 22], Benton was 
promoted to Warrant Officer class and the 
rank of Regimental Sergeant Major. Now 
addressed as ‘Mister Benton’ as is military 
custom, the character was still named as 
Sergeant in Robot’s end credits. 

Though RSM Benton remained part of 
the team for Terror of the Zygons [1975 - see 
Volume 23], UNIT’s days were numbered 
and Levene made his last appearance as 
Benton, and his android double, in The 
Android Invasion [1975 - see Volume 24], 
now the last man standing from the Pertwee 
UNIT family. “I didn’t enjoy doing it at all,” 
he recalled to Nick Briggs. “The atmosphere 
was dreadful.” It was a low-key send-off 
after 16 stories. 

Levene found small TV roles as a motorist 
in The Growing Pains of PC Penrose (1975) 
and a soldier in Carry on Laughing! (1975), 
while his big movie break in thriller 
Permission to Kill (1975) was greatly reduced 
with subsequent rescheduling. Douglas 
Camfield auditioned him for George Carter 


in The Sweeney in 1974, though the part 
went to Dennis Waterman. 

Tiring of not gaining bigger roles, 

Levene considered leaving the business. He 
reflected in 1986: “I would never have made 
an actor, I think I was more of a screen 
presence in a little way that complemented 
the main whole.” Levene gave up acting to 
become a partner in corporate audio visual 
company Genesis Communications in 1977. 
He created presentations for companies 
such as British Airways, British Caledonian, 
British Telecom, British Gas, KFC and Ford, 
winning a gold award in 1982. 

Sadly his marriage broke up in 1980 after 
20 years and three years later he turned 
down a cameo appearance in The Five 
Doctors [1983 - see Volume 37] feeling the 
small part belittled Benton, who as scripted 
didn’t recognise the Second Doctor. 

Taking various jobs including private 
detective, he contracted TB while working 
at a chemical factory. He was already 
low when friend Douglas Camfield died 
suddenly in January 1984. Levene was a 
pallbearer at the funeral. “I missed Douglas 
so much, because he was one of the few 
men who believed in me,” he told Doctor 
Who Magazine's Chris Howarth and Steve 
Lyons in 1995. “He believed in my dreams 
and he’d made my dreams come true by 
giving me Benton.” 

Benton returned however in stage play 
Recall UNIT! or The Great Tea Bag Mystery 
(1984, Edinburgh Festival), Levene making 
his stage début, reunited with Richard 
Franklin as Captain Yates. 

By the mid-80s he was a bingo caller in 
Streatham, but after Douglas Camfield’s 
widow Sheila spotted a job advert he spent 
two years on cruise ships to the Caribbean 
and South America as a stand-up comic and 
bingo caller ‘Gentleman Johnny Bingo’. 

He was residing in the US by the end 
of the decade, having taken his mother’s 


maiden name as John Anthony Blake, later 
admitting he hated the name Levene. He 
helped run gala events for Robert Wagner’s 
Wings charity for three years and also read 
books for the blind. He met Jennifer Wegner 
at a convention in Minneapolis and they 
married in April 1992. 

Benton returned for independent spin-off 
video Wartime (1987), bringing Levene’s first 
leading role. It also established Benton’s first 
name as John, though Levene remembered 
this was generally accepted during the 
Pertwee era if never stated on screen. Video 
documentary Return to Devil’s End (1993) 
reunited cast members of The Demons. 

Levene’s US acting roles included 
BeetleBorgs (1996) and CanniBallistic! (2002). 

He released an album of songs The Ballads 
of Sergeant Benton in 2012. Also appearing 
on CD were Big Finish Benton revivals in 
Companion Chronicles release Council of War 
(2013) and past and present team-up UNIT: 
Assembled (2017). 

He has two grown-up children, Samantha 
and Jason. After 21 years in the States, 
Levene returned to his Salisbury birthplace 
to care for his elderly mother. Both featured 
in Living with Levene, an interview for 2012’s 
special-edition DVD for The Claws of Axos 
[1971 - see page 138]. Ml 


DOCTOR WHO | THE COMPLETE HISTORY ss 


Above: 
Reunited 
with Second 
Doctor, Patrick 
Troughton, 

in The Three 
Doctors. 


j 
a 


. 


Above: 

The 1971 
regular cast. 
(From left to 
right) Roger 
Delgado, Katy 
Manning, 

Jon Pertwee 
and Nicholas 
Courtney. 


ust five stories after the end of 

the black-and-white era of Doctor 

Who, new producer Barry Letts 

sneaked his radicalism in under 

the veneer of the recognisable. As 

in the 1970 series, Jon Pertwee’s 
Doctor is still the flamboyant, dashing- 
but-testy scientist, exiled to Earth and 
helping military organisation UNIT to 
combat alien invasions and saving the 
world from apocalypse. But Letts then 
begins augmenting the format with 
different shapes and colours. The grim 
tone and lengthier structure of the 1970 
series stories (three out of four being seven 
episodes long) give way to a bouncier pace 
and a zingier, more colourful feel. 

The Third Doctor is embracing his own 

flamboyance - he was always frilly but 
now he starts getting colourful as well, 


© DOCTOR WHO | THE COMPLETE HISTORY 


1971 Series) 


swapping his black velvet jacket for a red 
one, along with a cloak with a purple 
lining. And he will never be seen in a 
T-shirt again. Conversely, while the UNIT 
costumes of the previous year suggested a 
world slightly divorced from our own, this 
year the uniforms would fit quite easily 
into any recognisable army unit. This helps 
to make the contrast between them and 
the Doctor even more stark. 

Soberness is also being cast off 
elsewhere. In the 1971 series we see the 
burgeoning of a stock figure who will 
become a trademark of the Pertwee era 
from now on - the official buffoon. First 
Brownrose, a one-scene character in 
Terror of the Autons [1971 - see page 54], 
who appears in the story for one purpose 
only - to be obstructive and then dealt 
with, rather stormily, by a name-dropping 


Doctor. We are not supposed to feel much 
sympathy for him; it is clearly intended 
that the audience should view him with 
some disdain (and the fact that his name 
is a quick slip away from ‘Brown Nose’ 
should be some sort of clue). Any doubters 
as to where the programme’s loyalties 

lie in the battle between the Doctor and 
bureaucracy only have to wait until The 
Claw of Axos [1971 - see page 138] for the 
Doctor’s encounter with Mr Chinn for any 
uncertainty to be clarified. 

Peter Bathurst’s Chinn is clearly a figure 
of fun who has his buffoon-o-meter turned 
up to 11. His ambition and stupidity are 
key factors in the success of the Axon 
plan to capitalise upon our avarice and 
selfishness, and the Doctor clearly has 
disdain for him from the very beginning. 

Morality is now obviously something 
the programme-makers want to explore 
during this period of the show: it 
becomes injected into the very DNA of 
the programme. The Claws of Axos tackles 
greed, Colony in Space [1971 - see Volume 
17] is about evil capitalist companies and 
Terror of the Autons has a subtext about 
the exploitation of commercialism. The 
Doctor himself is a ferocious force of 
moral indignation. He is a liberal crusader 


SOS ON ae 


with a frilly shirt - but there 
is nothing wishy-washy 
about him. He berates Chinn 
for his “England for the 
English” attitude, he heckles 
when Professor Kettering 
quite reasonably attempts to 
demonstrate what he believes 
to be a humane method of 
prisoner rehabilitation in The 
Mind of Evil [1971 - see page 94] and his 
first meeting with Captain Dent in Colony 
in Space finds him on the attack - about 
company profits and not turning planets 
into slag heaps. 


1971 series 


® The Mind of Evil 
® The Claws of Axos 
® Colony in Space 

(see Volume 17) 


» The Demons 
(see Volume 17) 


whose work is totemic of the Pertwee 

era as much as anybody, sets out his 
stall fairly blatantly. In the cliffhanger 
to Episode Two of Colony in Space, the 
Doctor is about to be killed by ruthless 
IMC man Morgan who tells him that his 
dispatch is “purely business... nothing 
personal”. Business! For Hulke, hunger 
and capitalism are more real dangers than 
space dragons - quite literally here because 
the monster is a fake. 


T= Malcolm Hulke, a writer 


® Terror of the Autons 


Colony in Space, though, is an anomaly. 


ee : Left: 
The majority of the 1971 stories are Jotends to the 
hidebound by the now-established format Doctor in The 
of the Pertwee era - alien invasions. All Mind Gye 


taking place at locations no more than 
half a day’s travel from Television Centre. 
The key challenge for the production team 
was to try to tell a variety of stories within 
this format. 

With the 1971 series opener, Terror 
of the Autons, the tone might not be as 
serious as the stories in the 1970 series, 
but the subject matter most definitely 
is - and in certain aspects (such as the 
deaths delivered to various supporting 


DOCTOR WHO | THE COMPLETE HISTORY © 


1971 SERIES 


Below: 

The Doctor 
defends a 
group of 
colonists from 
the forces 

of corporate 
greed in Colony 
in Space. 


* 
w > 
52) DOCTOR WHO | THe 


characters) it is in some ways more adult. 
The Siluarians and alien Ambassadors may 
have been nuanced creatures capable of 
provoking grown-up moral dilemmas, but 
they never created methods of dispatch 
that would be such heady stuff for 
children. Shop-window dummies coming 
alive is one thing, but when the Autons 
return this year they make telephone wires, 
plastic daffodils, chairs and children’s dolls 
lethal. Often when we talk about Doctor 
Who being grown-up we mean ‘men in 
suits talking’ and ‘aliens being nice then 
nasty then nice again’ and ‘guns that fire 
bullets’ - but what could be more grown- 
up than making everyday objects killers? 
Jon Pertwee famously talked of the appeal 
of Earthbound stories being the fear of 

a Yeti sitting on your loo in Tooting Bec 

- after Terror of the Autons, you'd worry 
that the Yeti who'd nipped out to use the 
facilities might have been eaten by the 
toilet seat. 

Stylistically The Mind of Evil is very much 
an echo from the previous year - tonnes 
of hardware, lots of tough-looking actors 
packing pistols and punching each other, 
and plenty of action. Oh, and that old 
‘grown-up’ favourite, men in suits talking 
(sometimes about ministries). Considering 
what was to come and how familiar they 
would be to us, never again will Yates and 
Benton seem quite so mortal, both of 


them suffering pretty serious injuries in 
the hijack of the Thunderbolt missile. It’s 
not all rough-and-tumble though - Benton 
enjoys the first flowering of his trademark 
moments of beauty, which elevate him 
from mere military window dressing to 
loveable uniformed labrador. His revelling 
in the role of ‘Acting Governor’ in The 
Mind of Evil is great fun, while his double 
act with Miss Hawthorne in The Demons 
[1971 - see Volume 17] is one of the ‘great 
sitcoms that never were’ of our time. As for 
his new superior, there are small hints early 
on that newcomer Captain Yates might be 
a love interest for Jo - he makes her cocoa 
in Terror of the Autons and we saw what 

that can do for your marriage prospects 

in The Aztecs [1964 - see Volume 2] - but 
it’s not long before their relationship 
seems doomed to be platonic rather that 
deliriously romantic. 


A paternal Doctor 


e’ll face some stiff competition in 
i the future, but for now the only 

relationship new companion Jo is 
forming is with the Doctor. Their first 
encounter, remarkable mostly for the 
never-said-before-or-since-under-any- 
circumstances sentence “you ham-fisted 
bun vendor”, sets the tone for much of 
what is to come. She means well but 
blunders, and he gets cross with her: but 
of course his testiness is a front for the 
more caring side of his paternalism. He 
can’t bring himself to sack her when the 
Brigadier explains that it is his job to do 
so (a prime bit of manipulation from the 
moustachioed military man there). And 
of course, despite her clumsiness and 
tendency to dive headlong into danger, she 
is suitable for the job. She is, perhaps, the 
ultimate Doctor Who companion. On the 
surface she’s a bit klutzy, but put her back 


against the wall and she is plucky, brave 
and has a hidden talent for escapology. 
Her offer to sacrifice herself in The Demons 


is the supreme validation of impulsive 
human bravery - so much so that it causes 
the big bad, an alien manifestation of the 
biggest bad of all, the Devil himself, to 

kill itself out of sheer confusion. And that 
takes some doing. 

Accompanying the ultimate companion, 
the 1971 series also introduces the 
ultimate villain. The Master. It’s amazing 
how quickly this hitherto unmentioned 
bad guy fits so easily into Doctor Who's 
make-up, to the extent that it now seems 
impossible that this arch enemy of the 
Doctor’s wasn’t in the show from the start. 
Roger Delgado makes an impact from the 
moment he arrives, and his casting must, 
in part, have been responsible for the sheer 
amount of charm the Master has, which 
well and truly makes him a villain whom it 
is impossible to hate. 

Much of the Master’s evilness is coupled 
with humour - and that’s what people 
really mean when they describe the 1970 
series as being more ‘grown-up’ than the 
1971 series. They just mean ‘baddies who 
tell fewer jokes’. His “he sat in this chair 
and just... slipped away” when reporting 
McDermott’s brutal death by inflatable 
armchair, his “sticky tape on the window” 


gag in The Claws of Axos, the sheer joy 

he exudes sitting in the back of a big car 
chomping a cigar in The Mind of Evil — the 
Master is great fun! But he doesn’t indulge 
in child’s play and he’s quite brutal. Plans 
for the destruction of the world and 
governance of the universe aside, he coldly 
runs down gentle giant Barnham once the 
simple man’s goodness has been key in 
facilitating his escape, he sends poor, weak 
Rex Farrel to his death, and he murders 
scientist Goodge and leaves his shrunken 
corpse in his lunchbox for a laugh. He’s a 
special case, this one. 

There’s a freshness about the 1971 
series, and yet it manages to pack in so 
much that we think of as ‘essential Doctor 
Who’ - the mixture of science-fiction and 
horror in a village setting of The Demons, 
the perversion of the everyday into the 
lethal and alien of Terror of the Autons, the 
morality driven storytelling of Colony in 
Space - without ever seeming formulaic. 
There are so many different tones and 
ideas at work throughout the year. 

It certainly was a series for things 
that were new, or where certain aspects 
of the format came to the fore - but it is 
easy to forget this because they were so 
effective that they’ve stayed with the show 
ever since. 


The Master 
dabbles in dark 
forces in 

The Demons. 


The Axons 
tempt 
humanity in 
The Claws 
of Axos. 


DOCTOR WHO | THE COMPLETE HISTORY 


TERROR OF 
THE AUTONS 


® STORY 55 


The Time Lord renegade Rnown as the Master 
arrives on Earth to pave the way for an 
invasion by the Nestenes. The Doctor, aided by 
UNIT and his new assistant Jo Grant, engages 
in a battle of wits with his arch-nemesis to 
save the world. 


© DOCTOR WHO | THE COMPLETE HISTORY 


a 
DOCTOR WHO | THE COMPLETE HISTORY © 


TERROR OF THE AUTONS =» st0rss 


Introduction 


Below: 
Terror of 
the Autons 
introduced 
Captain 
Mike Yates. 


fter four stories the previous 
year that tried to do 
something a bit different with 
Doctor Who, Terror of the Autons 
delivered an adventure that 
was a little more traditional 

- although, it was no less successful for 
doing that. 

Since its earliest days, the series had 
spawned monsters and villains who would 
return for more: Daleks, Cybermen, Ice 
Warriors. Terror of the Autons brought back 
an old monster - the Nestenes from the 
previous series’ Spearhead from Space {1970 
- see Volume 15] - and introduced a new 
threat, the Master, who would become 
one of the series’ most successful villains. 
The Nestenes and their footsoldiers 
the Autons followed the pattern of the 
Great Intelligence and the Yeti from The 
Abominable Snowmen [1967 - see Volume 


se DOCTOR WHO | THE COMPLETE HISTORY 


SN 


11] and The Web of Fear [1968 - see Volume 
11]. Like the Meddling Monk - seen in 

The Time Meddler [1965 - see Volume 5] 
and The Daleks’ Master Plan [1965/6 - see 
Volume 6] - the Master was one of the 
Doctor’s own people... only this time, 
much more dangerous. 

Despite, in some ways, being a return to 
basics, Terror of the Autons was also the start 
of something new. Having introduced the 
Master, the character went on to appear in 
all five of the 1971 series’ stories. The Third 
Doctor and the Master (played by Roger 
Delgado) are pitted against each other in a 
third of all Pertwee’s stories. Having proved 
to be the ultimate villain, the character 
would be similarly prolific during Peter 
Davison’s time as the Doctor and, much 
later, throughout the 2014 and 2017 series. 

For quite a while, it seemed like this 
story would be Doctor Who’s last word on 
the Autons, but 35 years later, they helped 
relaunch the series, appearing in Rose 
[2005 - see Volume 48] and, later still, The 
Pandorica Opens/The Big Bang [2010 - see 
Volume 66]. 

Terror of the Autons also introduced a 
new UNIT officer, Captain Yates, and in 
contrast to the stories of the 1970 series, 
the Doctor is a much more integrated part 
of the UNIT team. Despite regular trips 
away from Earth, this would persist for the 
rest of the Third Doctor’s tenure. 

This story capitalised on a tried and 
tested approach to making Doctor Who - 
an approach that continues to play a part 
in the series’ success to this day - but it 
also set the Third Doctor off in a new 
direction and, over the years, has become 
an inspiration in itself. 


OTHE MASTER WOULD BECOME 
SF THE SERIES’ MOST 
SUCCESSFUL VILLAINS: 


DOCTOR WHO | THE COMPLETE HISTORY © 


+ . m 


TERROR OF THE AUTONS =» st0rss 


EPISODE ONE 


ircus owner Luigi Rossini watches 

as a horsebox appears from thin air 

among his caravans. A man emerges 
and tells him, “I am usually referred 
to as the Master.” [1] Rossini moves to 
attack him, but instead ends up under the 
Master’s mental control. They break into 
the National Space Museum and steal a 
Nestene energy unit. 

The Doctor is micro-welding the 
TARDIS dematerialisation circuit when 
a girl called Jo Grant enters and puts out 
what she thinks is a fire. She explains that 
she is his new assistant. [2] 

The Master sneaks into the radio 
telescope control cabin at the Beacon 
Hill Research Establishment, disposes 
of Goodge, the scientist on duty, and 
plugs in the Nestene unit. Another 
scientist, Philips, bursts in demanding 
to know what the Master is playing at. 
The two scientists are reported missing. 


DOCTOR WHO | THE COMPLETE HISTORY 


Investigating, the Doctor climbs to the 
control cabin and is greeted by a Time 
Lord [3], who warns the Doctor that 

the Master is on Earth and has booby- 
trapped the cabin. The Doctor disarms 
the trap and finds Goodge - miniaturised 
inside his own lunch box! [4] 

The Master visits Farrel, the owner 
of a plastics factory, and hypnotises him. 

The Doctor tells his friends the radio 
telescope will have been used to transfer 
energy into the unit, which he suspects 
has been taken to a plastics factory. 

Jo sneaks into Farrel’s factory but is 
caught by the Master, who hypnotises her 
into following his instructions. [5] 

Benton reports that Philips’ car has 
been found with a UNIT box in the boot. 

Farrel is visited by McDermott, a friend 
of his father’s, who demands to know 
more about ‘Colonel Masters’. 

Benton brings the UNIT box into the 
Doctor’s laboratory. The Doctor realises 
it is a bomb - but Jo is determined to 
open it... [6] 


EPISODE TWO 


he Doctor throws the box out 
of the window, where it explodes. 
He then questions Jo, who is in 

a dissociative trance. 

The Master demonstrates a new 
product to McDermott - an inflatable 
plastic chair. McDermott reluctantly sits 
in it and the chair suffocates him. [1] 

Jo comes out of her trance, but can’t 
remember the name of the factory where 
she met the Master. 

Farrel informs his father that he is 
introducing new methods at the factory. 
The Master gives Farrel Senior one of 
their new products, a troll-like doll. [2] 

Yates informs the Doctor, the Brigadier 
and Jo that the field where Philips’ 
car was found had just been used by 
a circus. The circus has now moved 
on to Tarminster, so the Doctor decides 
to investigate - and Jo is determined to 
follow him. 


Farrel Senior returns home and shows 
his wife the doll. She thinks there is 
something evil about it. 

At the circus, Rossini and his strong 
man, Tony, grab the Doctor and tie him 
up in Rossin1’s van. [3] 

The troll doll springs to life [4] and kills 
Farrel Senior before scurrying away. 

Rossini leaves the Doctor in Tony’s care. 
Jo sneaks in and knocks out the strong 
man. Philips bursts in clutching a grenade. 
The Doctor attempts to get through to 
him, but Philips runs outside and is killed 
trying to get rid of the grenade. [5] 

The Doctor enters the horsebox, which 
is the Master’s TARDIS, and removes the 
dematerialisation circuit. Rossini spots 
the Doctor and orders his employees to 
attack, but the Doctor and Jo are rescued 
by the arrival of two policemen, with 
UNIT in hot pursuit. They are driven off 
in the police car - but Jo notices they are 
heading to a quarry. The Doctor pulls 
away one of the policemen’s faces to 
reveal the face of an Auton! [6} 


DOCTOR WHO | THE COMPLETE HISTORY 


TERROR OF THE AUTONS =» stor ss 


EPISODE THREE 


he Doctor uses his martial arts on 

the Auton. The car swerves and 

crashes and the Doctor and Jo run. 
The Brigadier arrives with Yates, who 
knocks one of the Autons over a cliff. [1] 

Back at UNIT, the Brigadier informs 
the Doctor and Jo that his men have 
raided the circus and arrested Rossini, 
but found no sign of the horsebox. 

The Master’s plan involves plastic 
daffodils. Autons wearing oversized, 
smiling heads hand them out in a 
shopping centre [2] before returning 
to their coach, where Farrel is waiting 
for them. 

Several days later, the Brigadier 
introduces the Doctor to Mr Brownrose 
from the Ministry, who is concerned 
about a wave of unexplained deaths 
across the Home Counties. The first two 
victims, McDermott and Farrel, both 
worked at the same plastics factory. 


DOCTOR WHO | THE COMPLETE HISTORY 


The Doctor and Jo visit Farrel Senior’s 
widow, who shows them the doll, which 
she says she found by the curtains, as if it 
was trying to get out. [3] 

Yates pops into the Doctor’s laboratory 
to find a telephone engineer installing an 
extra-long flex. The engineer then returns 
to the Autons’ coach and removes his 
mask - he was the Master in disguise! [4] 

Yates sets up a Bunsen burner to heat 
some cocoa and leaves Jo alone in the 
laboratory. The doll is activated by the 
heat and leaps at Jo, but then Yates 
returns and shoots the doll to pieces. 

The Doctor and the Brigadier find 
Farrel’s factory deserted. The Doctor 
finds a discarded plastic daffodil, then 
opens the safe in Farrel’s office... which 
contains an Auton! [5] The Doctor slams 
the safe shut. The Doctor returns to his 
laboratory and sends Jo to the stores. 
Then his telephone rings. It’s the Master, 
who has called “simply to say goodbye”. 
Then the flex comes to life and starts 
strangling the Doctor! [6] 


EPISODE FOUR 


he Brigadier rushes in and unplugs 

the telephone cable and the flex 

is neutralised. The Doctor then 
examines the daffodil’s molecular 
structure, which reveals a programme 
pattern of a nose and a mouth. The 
daffodil is activated and sprays a liquid 
in Jo’s face which forms a suffocating 
plastic film. [1] The Doctor removes it 
using a solvent. 

The Auton coach is spotted in a quarry 
and the Brigadier, Yates and Benton keep 
it under observation. 

The Master drops in on the Doctor and 
explains that the daffodils will be activated 
by a radio impulse. [2] Jo walks in, 
enabling the Doctor to grab the Master’s 
dematerialisation circuit. 

In the coach, Farrel regains his senses - 
but an Auton knocks him unconscious. 

The Master forces the Doctor to 
drive him and Jo to the coach. He then 


recovers his dematerialisation circuit 
and informs the Autons to bring their 
invasion forward. While he is doing 
this, the Doctor uses the coach’s brake 
lights to warn the Brigadier about the 
Master’s plan. [3] 

The Doctor and Jo jump out of the 
coach. The Master makes for the Beacon 
Hill radio telescope while the Autons face 
UNIT in battle. By the time the Doctor 
and the Brigadier reach the control cabin, 
the Nestene has already started to form. 
[4] The Doctor warns the Master that it 
will kill him too and the Master helps the 
Doctor send the Nestene back into space. 
The Autons collapse. 

The Master flees into the coach - then 
emerges with his hands up. Yates is forced 
to shoot him, only to discover that he has 
shot Farrel and the real Master is still in 
the coach, driving away. [5] 

Back at UNIT the Doctor tells his friends 
that the Master took the dematerialisation 
circuit from the Doctor’s TARDIS, so he is 
bound to turn up again... [6] 


DOCTOR WHO | THE COMPLETE HISTORY 


61 


TERROR OF THE AUTONS =» stor ss 


Pre-production 


Right: 
Roger Delgado 
as the Master. 


ollowing a positive response 
to Spearhead from Space [1970 - 
see Volume 15}, the first of the 
Pertwee serials for the revamped 
1970 series, the BBC’s new 
head of serials Ronnie Marsh 
gave the 1971 series the go-ahead late in 
February 1970. 

Pertwee was rapidly booked to appear in 
a further 25 episodes as the Doctor, being 
contracted on Monday 9 March. This time 
round, a budgetary increase would lead 
to the series comprising more individual 
stories; Barry Letts had disliked the seven- 
part serials of the 1970 series that he had 
inherited, agreeing with Marsh that there 
should be more ‘first nights’. The new run 
would be made at the rate of two episodes 
a fortnight, using the two-day studio 
sessions which Letts was to introduce with 
the recording of Inferno [1970 - see page 
6] in April. Letts also wanted to take the 
series out of the studio more and use the 
extra money available - from the colour 
licence fee - to get more colour into 
the programme. 


Looking for a gimmick to help launch the 


1971 series - and wanting to replace the 
Daleks, whose last major appearance had 
been in 1967 - Letts and Dicks developed 
a new arch-enemy for the Doctor. Over 
discussions in the BBC bar one evening, 
they reasoned that if the Doctor was now 
an Earthbound investigator similar to the 
fictional detective Sherlock Holmes with 
the Brigadier as his Dr Watson confidante, 
then he would need a nemesis in the 
mould of Professor Moriarty - a Time 
Lord criminal as clever as the Doctor. 
The next day, Letts wanted to cast the 


—s DOCTOR WHO | THE COMPLETE HISTORY 


te 


actor Roger Delgado in the role. Letts 
had worked with Delgado in his days as a 
performer on numerous TV productions 
since Queen’s Champion in 1958 including 
The Three Princes and The Long Way Home. 
Delgado was duly contracted to appear 
as ‘Renegade Time Lord’ in all five of the 
new serials (a minimum of 20 episodes) on 
Monday 23 March. Following the thinking 
that the name of ‘the Doctor’ was in fact a 
qualification, Dicks suggested that this new 
adversary should be known as ‘the Master’. 
Letts was keen to make the UNIT team 
a warmer ‘family’ group. He had inherited 
the character of Liz Shaw, the Doctor’s 
highly qualified assistant, but thought her 
too intelligent to make a successful foil 
for the Doctor; what was needed was a 
character who would ask questions. Letts 
took the decision to drop Liz - unaware 
that actress Caroline John was expecting 
a baby in the autumn, and would have 
left the series anyway. Recalling the boy/ 
girl pairing of Jamie and Victoria from The 
Enemy of the World {1967/8 - see Volume 


11], which he had directed, Letts created 
a young UNIT captain as a possible 
romantic interest for the Doctor’s new, less 
able assistant. 

A sheet outlining the three new 
characters was issued for the writers. The 
Doctor’s new assistant was Josephine 
Grant, better known as ‘Jo’: ‘Glamorous 
young female intelligence agent newly 
attached to UNIT. Keen, professional, 
lots of charm... Needs to be involved 
in the story in an active way... Not a 
scientist” Letts knew that he wanted Jo 
to be a younger character than Liz, closer 
to the age of the children who would be 
watching. Captain Mike Yates was the 
Brigadier’s second-in-command: “Tough, 
cheerful soldier, very competent but a 
shade too easy-going and casual for the 
Brigadier’s liking. Makes fun of Jo, in an 
affectionate way. Finally, the Master was a 
‘lapsed Time Lord of equal, perhaps even 
senior, rank to the Doctor’ on the run 
from his own people: ‘Sinister, polished, 
charming. A manipulator of others for evil 
ends, with a vested interest in chaos and 
misrule, which he turns to his own profit.’ 
The Master, who would co-operate with 
evil forces and double-cross them, would 
employ a number of aliases based on his 
title - for example, ‘Masters’, ‘Masterson’, 
‘Le Maitre’, ‘II Maestro’. A powerful 
hypnotist, able to blend into any society, 
he was not to be written ‘as a moustache- 
twirling villain of melodrama’. 


Dangerous plastic 


riter Robert Holmes was allocated 
Wy: first serial of the 1971 series; 
a good friend of Dicks’, Holmes 
had shown a remarkable aptitude for 
the show, penning three serials in the 


previous two years. In a bid to repeat the 
success of Holmes’ Spearhead from Space, 


a sequel, again featuring the Nestenes 
and the Autons, was asked for - although 
Holmes had reservations about reusing 
old enemies, and still found the ‘exiled 

to Earth’ format limiting. A four-part 
storyline was commissioned under the 
provisional title The Spray of Death on 
Tuesday 28 April for delivery by Tuesday 
12 May. 

As with Spearhead from Space, plastics 
were central to Holmes’ new story. 
Warnings about the dangers of being 
suffocated by plastic bags inspired the 
choking film spat out by plastic daffodils, 
which were themselves similar to artificial 
flowers given away in promotions for 
soap powder in the early 1960s; Procter 
& Gamble had issued plastic flowers 
to promote Daz as part of a sales war 
with Lever Brothers in 1961, with Lever 


Brothers responding with plastic daffodils 
allied with its own product, Omo. Two new 


products, both of which Holmes loathed 
- the inflatable plastic Blow chair created 
in 1967, and a range of grotesque Danish 


‘Good Luck Troll’ dolls originally launched 
in 1959 by Dam Things - became weapons 


of the Nestenes. 


Above: 

The photocall 
held to 
promote the 
1971 series of 
Doctor Who. 


DOCTOR WHO | THE COMPLETE HISTORY 63 


Above: 
The Radio 
Telescope 
Director 
answers the 
Brigadier's 
questions. 


Holmes’ 11-page storyline was delivered 
on Monday 8 June. In Episode One, the 
Master arrived unnoticed at a travelling 
fair in his horsebox-TARDIS. He made for 
the Ministry of Research and Development, 
where he watched John Phillips use a 
micro-dot pass key to enter a secret section 
close to the Projects Hall. Waylaying a 
colleague of Phillips’, whom he ‘slays... 
in an artful fashion’, the Master entered 
the radio telescope chamber and located 
a zinc box containing a Nestene energy 
unit. He then reset Phillips’ equipment. 
Phillips returned when he realised that the 
telescope’s antennae were being focused 
on an unprogrammed area - and soon fell 
victim to the Master’s influence. At UNIT, 
the Brigadier assumed that both Phillips 
and his colleague had gone missing with 
the energy unit. Investigating the Projects 
Hall, the Doctor met a Time Lord who had 
been following the Master. 

Meanwhile, the Master arrived at a 
plastics factory and assumed control of 
its owner, Farrel, by means of ‘a mind- 
dominating ray’. The energy unit was linked 
up with the factory’s computers. Farrel’s 
partner, McDermott, was aghast when 
he discovered that an inflatable armchair 
had been made in an opaque plastic, not 
the translucent colour specified. Thinking 
Farrel was cracking up, McDermott called 
Farrel’s father before ‘Colonel Masters’ 
assured him that they would be making 
no more chairs - and the chair killed 


oe DOCTOR WHO | THE COMPLETE HISTORY 


ai 2 2S GRY 


McDermott. The Doctor suspected a second 
Nestene invasion; the energy wave stored 

in the unit could multiply indefinitely 

like a virus. Phillips’ car was found at the 
now-abandoned fairground site, the zinc 
box in the boot. Suspecting a booby-trap, 
the Doctor attempted to open the box by 
remote control; it exploded. 


WARAR 


n Episode Two, the Doctor explained 
i Ee the ECT machine used during 

the last Nestene invasion was useless. 
Farrel Senior arrived at the factory to 
find McDermott dead; when he asked if 
they had called ‘the doctor’, the Master 
started at the name. As Farrel Senior left, 
the Master put a ‘trollish, three-eyed doll’ 
in his car. Investigating the travelling 
fair, the Doctor was caught beside the 
horsebox-TARDIS. Meanwhile, the Master 
gave Phillips troll dolls to distribute at the 
fair, and Farrel Senior was killed by the 
doll while enjoying a nightcap. Jo rescued 
the Doctor from the fairground owner’s 
caravan, but they were seen on a monitor 
by the Master - who, since the factory was 
now manufacturing more efficient Autons, 
sent the now-expendable Phillips on a 
mission. Carrying a small object (‘maybe... 
a detonation capsule from the planet 
Kastrities’), Phillips chased the Doctor and 
Jo, confronting them in a hall of mirrors 
- where he died when the device exploded 
(The Master ‘closes the flap of his curiously 
ornate pocket watch. All over, he says with 
satisfaction’). The explosion was heard by 
Yates and the Brigadier as they arrived by 
jeep. The Doctor and Jo were saved from 
a lynch mob when two policemen drove 
them off into the night - but the policemen 
were Autons. 

Episode Three had the Brigadier and 

Yates rescue the Doctor and Jo from the 


Auton policemen in woodlands. Stage II 
of the Nestene plan began when Autons 
disguised as ‘golden daffodil men’ handed 
out sprays of plastic flowers to housewives, 
watched by the Master. The Doctor 
remembered seeing the dolls at the fair, and 
had Yates procure him one. An emissary 
from the Minister asked the Brigadier to 
investigate a spate of deaths near London, 
but Lethbridge-Stewart said he was too 
busy; a ‘stolid-looking telephone mechanic’ 
changed the phones on the Brigadier’s 
desk. Returning from the factory, the 
Brigadier called the police to have all the 
dolls collected, but the telephone cord 
came to life and throttled him. 

In the final episode, the Doctor saved the 
Brigadier. The leader Auton accused the 
Master of wasting time on his feud with 
the Doctor. The Master blamed the cold 
weather for the failure of their plan so far 
- but a warm spell would be starting soon. 
UNIT located the daffodil men’s coach on 
the Sussex Downs. The Master confronted 
the Doctor at UNIT HQ, telling him 
that each of the million plastic daffodils 
distributed contains tiny traces of Nestene 
energy; on reaching a certain temperature, 
the flowers would smother the breathing 
orifices of any human within an eight- 
foot range. Armed with a cobalt laser, the 


Pre-production 


Master took the Doctor and 
Jo to the coach, and drove 
to his TARDIS to contact 
the Nestene force; the 
temperature was currently 
60°F, and needed to rise by 
only five degrees to activate 
both the trolls and the 
flowers. Out of the Master’s 
mesmeric range, Farrel 
kicked a knife to the Doctor, 
who freed himself and Jo. They unscrewed 
a floor plate and channeled exhaust 

fumes into the coach, melting the Autons. 
Abandoning the coach at a roadblock, 

the Master killed Farrel. Reaching his 
horsebox-TARDIS, the Master found he 
was unable to take off. Emerging from the 
ship, he was seemingly shot by UNIT while 
trying to escape - but UNIT’s target turned 
out to be a faceless Auton. The real Master 
got away in UNIT’s wireless vehicle. 

On Friday 12 June, just before leaving on 
holiday, Dicks implored Holmes to keep 
to his deadline of Tuesday 14 July when 
writing the scripts; he also asked Holmes 
to note that the new script layout meant 
that a Doctor Who episode should run to 
about 50 pages (‘those 18-page specials 
of yours give me heart failure’). 

Actor Nicholas Courtney had been 
contracted to continue as Brigadier 
Lethbridge-Stewart as far back as 
Wednesday 8 April, and John Levene was 
booked to play Sergeant Benton in 18 
episodes on Monday 22 June. 

Auditions for the roles of Mike Yates and 
Jo Grant began on Wednesday 24 June. 

From a full list of approximately 
300, around SO actresses were further 
considered for Jo, including Anoushka 
Hempel, Shakira Baksh (whom Pertwee 
had recommended), Yutte Stensgaard, 
Julia Chambers, Gabrielle Drake and Rula 
Lenska (also suggested by Pertwee) while 


Connections: 
Hot song 

® Inthe opening scene, 
the Doctor sings | Don't 
Want to Set the World on 
Fire, This was a 1941 hit for 
the harmony group The Ink 
Spots and was ad-libbed by 
Jon Pertwee, 


Left: 

Captain Yates 
holds an Auton 
at gunpoint. 


DOCTOR WHO | THE COMPLETE HISTORY se 


TERROR OF THE AUTONS 


Connections: 
Fingers and thumbs 
The Doctor explains 
to Jo that he has been 
carrying out steady state 
micro-welding, which is 


an advanced engineering 
technique pioneered by 
the Lamadines, a 
gifted race with nine 
opposable digits. 


STORY 55 


Jenny McCracken and Cheryl 
Hall were also favourites. 
Former model and ballet 
dancer Katy Manning was 
one of the very last to be seen 
by Letts, who had already 
short-listed three actresses 
who gave performances in 
the style of the girls from 

The Avengers. Having first 
gone to the wrong building 
(Television Centre rather 
than Letts’ office on Bush 


Lane), the nervous, ring-bedecked, chain- 
smoking Manning - who was suffering 
from a chest infection - arrived late and 
without her glasses, meaning she was 
unable to read her script and was forced to 
improvise; although she was a shambles, 
Letts and Dicks found her endearing. 

Letts narrowed down the candidates 

to a shortlist of four whom he asked to 
audition a scene for him across two days at 
the BBC’s new rehearsal rooms in Acton. 
For this piece, the prospective Jos were 
asked to imagine a hatstand with a fluffy 
hat on it transforming into a demonic 
creature and back again. 

Manning was amazed when Letts 
offered her the role the next day; she had 
watched the very earliest episodes of Doctor 
Who when she was younger and found 
it scary. Some years earlier she had been 
due to undertake a five-year contract as 
an aspiring actress with MGM, but had 
been badly injured in a car accident which 
smashed her legs and meant she needed 
to have reconstructive surgery on her 
face after going through the windscreen. 
Recovering in New York, she returned to 
London to study at the Webber Douglas 
Academy of Dramatic Art. 

Pertwee was also astounded when he 
was introduced to his new co-star; he had 
encountered Manning in the BBC foyer a 


66 DOCTOR WHO | THE COMPLETE HISTORY 


few months earlier, when he’d thought she 
had the right qualities for a Doctor Who girl. 
For the part of Mike Yates, Letts had 
in mind two rising talents with little 
television experience but who had made 
their mark on stage. His first choice was 
Ian Marter, but it turned out that Marter 
was committed to a Bristol Old Vic tour 
from the end of August with roles in 
Arms and the Man and The Importance 
of Being Earnest. Letts’ second choice, 
Richard Franklin, was awarded the part 
after a total of three interviews. Having 
served with the Royal Green Jackets as 
a captain, Franklin was experienced in 
handling firearms for his role as Mike. 
Originally planning to work in the Foreign 
Office, he had initially pursued a career 
in advertising before turning to acting 
and training at RADA. Following work 
in Rep, Franklin had established himself 
on stage. During the casting period for 
Yates, Letts attended a West End opening 
night and sat next to Franklin’s agent 
David Preston, commenting that he was 
looking for a ‘Richard Franklin’ type actor, 
but assuming that Franklin would not be 
interested... During the interval, Preston 
phoned Franklin and arranged for him 


to see Letts the following morning. Now 
cast as Mike Yates, Franklin was informed 
by Letts that he would need to cut his 
fashionably long hair. 

Franklin was contracted to appear in 
all five serials on Wednesday 1 July, with 
Manning being booked for at least 20 
episodes two days later. 


The Master’s arrival 


olmes delivered his scripts for The 
Spray of Death on Tuesday 7 July. 


Dicks felt that the Master’s arrival at 
the start of Episode One was abrupt, and 
unconnected with the fairground scenes in 
the next instalment; he suggested that the 
Master’s influence should be established 
by having him bribe the owner, a shifty 
criminal type in financial trouble - which 
would make more sense with regards to 
the owner’s later attack on the Doctor. 
The radio telescope scenes now took place 
at a Jodrell Bank-type of establishment, 
where the Master was to leave a booby 
trap for the Time Lord on his tail. To make 
Jo more involved in her début episode, 
Dicks suggested that she should visit 
Farrel’s factory and fall under the Master’s 


influence; this would also explain why 
the right factory was not found by UNIT. 
In the cliffhanger, an over-confident Jo 
was to claim she could open the box, 
since she passed top of her class in bomb 
disposal - whereupon the Doctor heard 
an explosion. 

Turning to Episode Two, Dicks suggested 
that the threat Farrel Senior posed the 
Master could be the fact that he was 


immune to hypnotism. There needed Left: 
to be more danger for the Doctor at the The Doctor 
, : , tells the 
fairground, with the Suge oaon that he Brigadier that 
might meet with an ‘accident’. In addition, he's unhappy 
with his 


the menace of the troll doll could be spun 
out, and Dicks reckoned that the Auton 
policemen would seem less suspicious if 
the Doctor and Jo thought that they were 
being rescued by them. 

Commenting on Episode Three, Dicks 
thought that the golden daffodil men 
appeared rather suddenly, and needed 
a reason for the promotional tour. He 
wanted to see Autons lurking in wait at 
Farrel’s booby-trapped factory, plus a 
montage showing deaths caused by the 
daffodils. Dicks also felt that the Brigadier 
was too callous when dealing with the man 
from the Ministry. 

Dicks’ major concerns, however, were 
with Episode Four - specifically, with 
the idea of the troll dolls 
and daffodils being heat- 
activated (“Why not just go 
to Morocco?”). Instead, Dicks 
suggested that the Nestenes 
could send an activation 
signal via the radio telescope, 
with a ‘great energy creature’ 
being transmitted down 
to Earth when the plan 
failed (‘this will be like the 
hairy octopus at the end of 
Spearhead from Space’). Dicks 
also stressed the importance 


new assistant. 


Connections: 
Crossing the line 
® Philips refers to the 
‘hydrogen line, which in 
radio astronomy is the 
21cm spectral line that 
appears in the radio 
spectrum. Anything 
within this range can 
easily penetrate the 
Earth's atmosphere and be 
observed from the Earth. 


DOCTOR WHO | THECOMPLETE HISTORY 67 


TERROR OF THE AUTONS =» stor ss 


Right: 

The Master 
arrives on Earth 
at Rossini's 
Circus. 


of strong scenes for Pertwee and the need 
to include definite action sequences, rather 
than general running around. 

Letts decided to direct The Spray of Death 
himself, since it fell at the start of a new 
production block; he was keen to introduce 
the Master, and liked Holmes’ scripts (Letts 
and Holmes had known each other as 
writers on the Granada series Knight Errant 
10 years earlier). Set designer Ian Watson 
had worked on The Space Pirates [1969 - 
see Volume 14] the previous year, while 
Jan Harrison and Ken Trew - in charge of 
make-up and costume respectively - were 
both new to the show. Visual effects were 
handled by Michealjohn Harris, who had 
worked on The Evil of the Daleks [1967 - see 
Volume 10], The Tomb of the Cybermen [1967 
- see Volume 10] and The War Games [1969 
- see Volume 14]. 


Naty Manning 


D octor Who - along with Radio 4 and 


astronomer Patrick Moore - was 

deemed ‘cool’ by the music paper 
Melody Maker on Thursday 16 July. The 
new series was confirmed in the trade 
paper Television Today on Thursday 23 July 
which indicated that the ‘children serial’ 
would return at the start of 1971 with Jon 
Pertwee and Nicholas Courtney joined by 
Katy Manning. The Times also confirmed 
the show’s return as part of the BBC’s new 
drama plans on Wednesday 29 July. 

Katy Manning was the subject of a 
photocall on Sunday 2 August which 
formed a small item in the Daily Mirror on 
Saturday 8 August; this announced that 
she had signed up as the ‘new assistant’ 
and would soon be featuring in a more 
‘adult role’ in Man at the Top. 

Delgado attended a costume fitting on 
Monday 24 August, the Master being given 
a high-necked collarless suit in the style 


se DOCTOR WHO | THE COMPLETE HISTORY 


of Pandit Nehru (an image that Pertwee 
had suggested for his Doctor the previous 
year); he also sported a hairpiece, with grey 
flecks being added to his dark beard. The 
Master’s tight black gloves were Delgado’s 
own suggestion. Manning’s fitting took 
place the following day. Letts was keen 
that Jo should have a modern look, and 
so Manning was given a more-or-less free 
hand in choosing Jo’s outfits - although 
Letts did veto a T-shirt with a Mickey 
Mouse design. 

On Friday 28, it was arranged for 
the ‘fairground’ sequences to be shot 
at Roberts Brothers Circus, pitched 
at a field off Lea Bridge Road, Leyton 
(where the circus was due to run between 
Monday 14 and Saturday 26 September). 
Two two-part stories for the BBC police 
series Z Cars - Talking to an Elephant and 
Off with the Motley - were due to be filmed 
there the week before Doctor Who. 

Promotional material for Spray of Death 
was issued on Tuesday 8 September. 
The following day, Dicks sent his revised 
scripts to Holmes. Changes included Jo’s 
introduction - originally, she rushed in to 
extinguish the ‘fire’ at the start of her first 
scene. Dicks added a reference to Liz Shaw 
returning to Cambridge. At this point, the 


Autons did not appear in Episode One. 
The troll army was reduced to a single 
creature (when the ‘hideously ugly 
troll-type doll’ killed Farrel, it was to fasten 
its ‘hook-like hands on his wind-pipe’). 
At the circus, the Doctor was trailed by a 
clown called Tony, who later guarded the 
Doctor in Rossini’s caravan. Thinking it 
might be difficult to secure the army’s 
co-operation, Dicks observed that the 
artillery attack on the coach might be 
changed to an air strike. 

At the start of Episode Three, the Doctor 
and Jo escaped the Auton policemen when 
the police car swerved off a country road 
and was ‘tipped crazily to one side, in a pile 
of gravel left by a road gang’. The Doctor 
and Jo ran into woodland with the Autons 
in pursuit. Meanwhile, Yates and the 
Brigadier were in a UNIT Jeep, Yates saying 
that this was not the way to the transmitter. 
The Brigadier then spotted the abandoned 
police car; he, Yates and the UNIT soldiers 
dashed into the woods. There, they battled 
the Autons, giving covering fire to allow the 
Doctor and Jo to get to the Jeep - where 
the Doctor promised Jo he would explain 
about the Autons later, revving up the Jeep 
as the UNIT men emerged from the woods. 
Investigating Farrel’s deserted factory, the 
Doctor and the Brigadier forced open a 
window, Lethbridge-Stewart noting that 
the machinery had not been used for 
some time. 

Episode Four’s script referred to the 
Nestene manifestation as ‘a writhing 
growing coil of energy, suspended like a 
filament between two dishes’ and then as 
‘a palpitating, squid-shaped radiance’ and 
a ‘squid-like energy creature’. Repelled 
into space, the ‘radiant squid-like thing... 
suddenly fragments into a thousand 
glowing pieces. They vanish into the sky, 
as quickly as sparks up a chimney.’ The 
Brigadier used a loudhailer to ask ‘the 


NN NN reproduction 


Master’ to surrender before he, Yates 
and the UNIT troops gunned down the 
running figure; when the Doctor protested, 
the Brigadier asked, “How many deaths 
has he caused? How many more if he 
escapes?” - and the Doctor fell silent. 
Removing a mask from the shot man, 
the Doctor was to reveal an Auton. The 
final scripts introduced two new UNIT 
radio call signs: in the field, the Brigadier 
became ‘Greyhound’; back at HQ, Jo was 
“Trap One’. 

In the camera scripts, the Master 
emerged from his TARDIS ‘carrying a small 
attaché case. He stares about him with a 
confident, almost imperious manner’ The 
weapon he used to shrink Goodge was a 
‘compression tube’: ‘His finger tightens on 
the impulse button. There is a flash and 
a sound like sizzling fat. In Episode Four, 
the Master carried a ‘cobalt laser’. When 
the Master was disguised as a telephone 
mechanic in Episode Three, it was noted: 
‘This actor is not Roger Delgado, but 
should be of the same general build’ 

Details were given for various other 
characters, too. Jo Grant was described by 
Phillips in Episode Two as “small, dark, 
short hair”. Rossini wore ‘a showman’s 
brown bowler hat... at a jaunty angle. 

He is a big, florid man and bites the end 
of his big, florid cigar’ Goodge was a 
‘bespectacled assistant’ to Phillips, 

‘a stooped, dome-headed astronomer’. 

When the Senior Time Lord appeared 
to warn the Doctor, the script specified: 
‘He is wearing city dress and leaning 
negligently on a furled brolly’ McDermott 
was ‘red faced [and] middle aged’, while 
Farrel Senior was ‘a choleric-faced, 
white-haired man’. 

The day before production resumed, Jon 
Pertwee was interviewed by Pete Murray 
on Radio 2’s Open House programme on the 
morning of Wednesday 16 September. 


DOCTOR WHO | THE COMPLETE HISTORY a 


adh 


~=PYOduUCtion 


Above: 

David Garth and 
Jon Pertwee 
play their scene 
against a blue 
CSO backdrop. 


he first day of production was 
Thursday 17 September, when 
16mm filming got underway 
west of London at the St 

Peter’s Court Shopping Centre 
and Church Lane Car Park, 
Chalfont St Peter. Recorded here were the 
scenes showing the Auton daffodil men 
handing out their plastic flowers, travelling 
in a Bedford J2 SZ10 coach. Most of the 
Autons, whose ‘carnival heads’ had been 
constructed by Harris, were played by 
stuntmen hired through the agency Havoc. 
Cast as Rex Farrel was Michael Wisher, 
who had appeared in The Ambassadors of 
Death [1970 - see Volume 15] earlier that 
year; Wisher was an old friend of Letts’ 
from when they had worked together at 


70 =DOCTOR WHO | THE COMPLETE HISTORY 


the Belgrade Theatre in Coventry in 1961 
and Letts had already directed him in 
both Z Cars and the BBC1 children’s serial 
Adventure Weekly. 

Filmed from 1pm that afternoon at 
Hodgemoor Woods near Chalfont St Giles 
were scenes showing Benton keeping 
watch on Philips’ car, the Brigadier’s car 
en route to the circus, a police patrol car 
finding the coach, plus the coach being 
followed along Mill Lane by the biker on 
a Triumph motorcycle. These sequences 
required Courtney, Franklin and Levene, 
all of whom wore new UNIT uniforms 
made by Alkit on Charing Cross Road 
which replaced the futuristic ones designed 
for The Ambassadors of Death which Letts 
had disliked. Earlier, Letts had contacted 


the War Office to ask what members of 

an organisation like UNIT would really 
wear. He had been told that, being United 
Nations operatives, UNIT men would 

have blue berets and flashes - a colour 
scheme the producer rejected, realising 
that these would interfere with bluescreen 
colour separation overlay (CSO) work. 
Nevertheless, the ‘jump suit’ design created 
for The Invasion [1968 - see Volume 13} 
was cast aside in favour of something more 
akin to British Army issue - which relieved 
Courtney, who found his old costume 
uncomfortable and preferred a peaked cap 
to a beret. 

At the end of the afternoon, shots of 
the ammunition box exploding were filmed 
at Queen’s Wharf on Queen Caroline 
Street, Hammersmith. 

The Robert Brothers Circus shoot began 
the next day. Nicholas Courtney had not 
really been aware of a new assistant for 
the Doctor until he was introduced to 
Katy Manning who had spent Thursday 
17 recording her second episode of 
Man at the Top at Teddington Studios. 
Manning herself - still unfamiliar with 
television scripts - had been up all night 
learning everyone's lines. She took part in 
a photocall alongside Pertwee, Courtney 
and Delgado, plus the Doctor’s car ‘Bessie’ 


(which had had its bumper removed and 
brackets added to its fenders) and the 
TARDIS prop. For her performance as 

Jo, Manning adopted a higher-pitched 
voice than her own to make her character 
sound younger; she also handed the thick, 
pebble spectacles which she needed to see 
in real-life to her dresser before each take. 
She was very nervous about meeting Jon 
Pertwee on their first day’s work together, 
and asked Courtney to be around when she 
performed her first scenes with the show’s 
star. Meanwhile, Franklin was unaware of 
Pertwee’s extensive radio career - not least 
as one of the stars of The Navy Lark since 
1959 - and started to give him advice on 
the medium based on his experience of two 
plays since 1968... 


ourtney had met Delgado in June 
1969 when filming The Ghost Who 


Saved the Bank at Monte Carlo, an 
episode of the ATV film series Randall and 
Hopkirk (Deceased). Playing Philips was 
Christopher Burgess - an old friend of 
Letts’, for whom he'd played Swann in The 
Enemy of the World. Roy Stewart, previously 
Toberman in The Tomb of the Cybermen and 
an extra in The Crusade [1965 - see Volume 
5], was Tony the Strong Man. Stuntman 
Terry Walsh had worked on Doctor Who 
since The Smugglers [1966 - see Volume 8]; 
here, the Auton Policeman marked his first 
credited appearance. Rossini was played by 
John Baskcomb with whom Letts had acted 
in The Pocket Lancer in 1959 and more 
recently directed in the BBC1 children’s 
serial A Handful of Thieves during 1969. 

On this, her first day, Manning was 
teased about her height, the crew saying 
that she would have to stand on a box to 
appear in shot with Pertwee. Although 
fascinated by the circus performers, she 


DOCTOR WHO | THE COMPLETE HISTORY & 


NN NN rcction 


Left: 
Jon Pertwee is 
the Doctor. 


TERROR OF THE AUTONS =» st0r'ss 


Connections: 
TARDIS in disguise 
's TARDIS is 
guise itself as 
ahorsebox, blending in 
with the su 
of the circu 


» The Maste 
seen to dis 


itlands. The Doctor's 


rroundings 
s where 


TARDIS originally had this 
capability, but it ceased 
to function after landing 
in London, where it 
» disguised itself as 
a police box. 


was concerned about the 
use of animals as part of 

the show. Pertwee - who 
had experience of circus 

life - attempted to defuse 
her concerns; he continued 
to teach Manning tricks for 
television performances, such 
as swearing to make a take 
unusable if she was unhappy 
with it. 

Having previously worked 
at a circus, Pertwee enjoyed 
being at the venue; he dined 
with owner Bobby Roberts, 
an old acquaintance, and 
ensured a few cameo appearances for 
several of the circus artistes (Roberts 
himself could be seen on screen, alongside 
some of his elephants). Pertwee was also 
delighted to be working with Delgado, 
whom he had known for years and had 
in fact introduced his new nemesis to 
his future wife when suggesting that the 
model Kismet Shahani could be right for 
the 1956 BBC play The Alien Sky in which 
Delgado was appearing. However, he was 
also daunted that Delgado had far more 
experience as a straight actor than he did. 

For the new series, costume designer Ken 
‘Trew had decided to modify the Doctor’s 
black-jacketed outfit, wanting to make the 
character more flamboyant and colourful; 
Pertwee now sported red and blue velvet 
smoking jackets and a purple-lined cloak. 
A Bedford TK horsebox was provided as 
the Master’s TARDIS, along with a black 
Jaguar S-Type as the fake police car and an 
Austin Maxi MkI as the Brigadier’s vehicle. 
A local paper, the Leyton & Waltham Forest 
Guardian, covered the shoots for both 
Doctor Who and Z Cars. 

Filming resumed on Monday 21 at the 
Totternhoe Lime and Stone Company Ltd 
near Dunstable, the venue for the scenes 


dm DOCTOR WHO | THE COMPLETE HISTORY 


in which the Auton policemen pursued 
the Doctor and Jo, only to run into UNIT; 
now set in a quarry, these were originally 
scripted for a country road and adjoining 
woodland. Around 7.30am, without her 
glasses the short-sighted Manning sprained 
her right ankle when she ran into a rock 
on the rough terrain in Jo’s escape from 
the car. Initially trying not to show her 
pain, her pulled ligaments soon became 
clear to everyone present; Manning then 
started to worry that with only one day’s 
filming behind her, the production team 
might simply recast the part of Jo. When 
production assistant Nicholas Howard 
John - the brother of Caroline John - joked 
about this, he received a stern reprimand 
from Pertwee about upsetting his new 
co-star. After being taken for an X-ray, 
Manning continued filming, albeit with 
a limp. However, Pertwee subsequently 
asked Terrance Dicks why Manning had 
been cast, commenting: “She can’t run and 
she can’t see.” 

The new vacuum-formed Auton masks 
were cooler and lighter than those used in 


Spearhead from Space; the guns in the hands 
used in the earlier serial were retained. 


A stunt sequence had the Auton played by 
Terry Walsh falling down an escarpment 
after being hit by Yates in the UNIT Maxi; 
Dinny Powell drove the jeep, doubling 
for Franklin. Leaping from a trampoline 
placed out of shot in front of the vehicle, 
Walsh was injured, falling further down 
the slope than he had planned - but 
nonetheless managed to get to his feet in 
the same take. Also filmed were close-ups 
of the Auton coach lights flashing Morse 
Code for Episode Four. 


Doctor’s orders 


he night before filming, Courtney 

had suffered a sudden attack of 

depression; although he’d had an 
injection to help him sleep, he arrived 
at the location shaking and nervous. 
Pertwee and Letts noticed his unease; 
having completed his minimal work, 
Courtney went to a nearby hospital and 
was sent home. Next day, Courtney saw 


his own doctor and was ordered to rest 
under sedation. 

Cast and crew remained in the Dunstable 
area for filming on Tuesday 22 at the GPO 
relay station tower and access road, plus 
the adjacent Zouches Farm; these featured 
as the Beacon Hill Research Establishment 
and the area where the Auton coach 
stopped. With Courtney indisposed, 

Letts amended the script to reduce the 
Brigadier’s involvement, dropping all bar 
one of the character’s lines so a double 
could be used. To explain Manning’s limp 
sustained previously, Letts had Jo spraining 


her ankle leaping from the coach with The circus 
dditional dialogue. Al ber of pe la 
additional dialogue. A large number o ohifitres 
Havoc stuntmen were recruited, mainly the Doctor 
for UNIT’s battle with the Autons; these asking difficult 
questions. 


scenes marked the Doctor Who début of 
stuntman Stuart Fell, a former member of 
the Army Parachute Regiment gymnastics 
team. Mini-trampolines were used to give 
the impression of various characters being 
blasted into the air by explosions. Walsh 
doubled Pertwee in sequences involving 
the coach including the Doctor’s fall from 
the emergency exit. 


The Doctor is a 
man of science, 


DOCTOR WHO | THE COMPLETE HISTORY 73 


Above: 

UNIT had rather 
unorthodox 
recruiting 
methods. 


The end of the scene in which the 
Master escaped was rewritten so that it 
was Farrel, not an Auton, wearing a latex 
mask cast from Delgado’s features by 
effects sculptor John Friedlander. When 
Wisher ‘died’ on cue, his motionlessness 
proved so convincing that the crew briefly 
wondered if the heat of the mask had 
made him pass out. Visual effects filmed 
the miniature of Beacon Hill’s twin radar 
dishes on location, moving the model 
on cue; they also attempted to create a 
Nestene energy monster, but the results 
were deemed unsatisfactory. 

Courtney was back for the final filming 
day, Wednesday 23, again based in the 
Dunstable region; after discussing his 
nerves with Letts, it was agreed that 
some of the Brigadier’s dialogue could be 
simplified and the director also promised 
to amend the studio sessions to ease the 
burden on the recovering actor. Additional 
stunt elements were shot at Zouches 


DOCTOR WHO | THE COMPLETE HISTORY 


Farm, with the crew later setting up at the 
Thermo Plastics factory on Luton Road. 
Here, Manning filmed the scene in which 
Jo first encountered the Master - during 
which Delgado tried to make her laugh, 
pulling faces while his back was to the 
camera. Stephen Jack, an actor much 
respected for his radio and voice work, 
joined the cast as Farrel Senior who drove 
a 1969 Austin three-litre. The troll doll was 
a solid prop made by Harris. At lunchtime, 
Pertwee and Courtney visited the 

Sheaffer Pen Company factory at Hemel 
Hempstead. Filming was covered by the 
Dunstable Gazette; Manning was introduced 
to the wider press the next day. 

Seeking a modern electronic score, Letts 
spoke to Brian Hodgson who handled the 
series’ special sound requirements at the 
BBC Radiophonic Workshop in Maida 
Vale. Hodgson commented he worked 
well with Dudley Simpson, who often 
scored the series and whose work had 


often been augmented by radiophonic 
elements. Consequently, Friday 25 saw 
Letts meet with Simpson and Hodgson; 
the producer asked for electronic pieces 
composed by Simpson and realised by 
Hodgson - a cheaper option, since session 
musicians and recording studios would 
not need to be booked. The increased 
versatility of electronic editing meant that 
incidental music could now be composed 
after viewing an edited tape and then 
recorded to fit the action on screen (until 
now, music was typically taped before the 
studio sessions and played back during the 
performance). Because the threat of the 
plastic flowers was not introduced until the 
third episode, the serial’s title now became 
Terror of the Autons, emphasising the return 
of the popular menace from Spearhead 
from Space. 


tudio rehearsals began on Monday 

28 September at the BBC’s new 

Rehearsal Rooms facility in Acton 
which had opened at the start of May. 
Keen to maintain his Doctor’s high profile, 
Pertwee took to tearing out script pages 


in which his character did 
not appear - and sometimes 
commenting, “It’s a thin 
script this week.” The new 
regulars began to socialise 
with the established 
performers; Levene took 
the bus to Pertwee’s home, 
and together they would 
drive to collect Manning for 
rehearsals. They also learned 
that the immaculately 
turned-out Delgado was a 
very quiet man who spent 
the first half-hour of each day studying 
newspaper listings and circling details of 
TV shows to watch that evening. 

Manning and Pertwee quickly established 
a close friendship; the show’s star admired 
his new co-star’s ability to have a go at 
tackling anything thrown in front of 
her. Manning realised that this ‘straight’ 
role was important to the actor after his 
years in comedy, and so although he had 
fun in rehearsals, he took the show and 
his performance very seriously. She also 
discovered that Delgado would come up to 
her in rehearsals and whisper something 
in her ear which would send her into 
hysterics... and get her told off. Manning 
and Delgado were also both adept at 
easing the back pain which Pertwee 
suffered from following an injury sustained 
during the war when a landmine was 
dropped by a parachute on Portsmouth 
Barracks. On mornings when he was 
travelling to rehearsals on his motorbike, 
Pertwee would sometimes arrange to pick 
Manning up from a street corner near 
her home. 

Of the remaining cast, Dave Carter, who 
played the Museum Attendant, had been 
an extra on the show since The Power of 
the Daleks [1966 - see Volume 9], gaining 
credits for small roles in Doctor Who and 


DOCTOR WHO | THE COMPLETE HISTORY @ 


NN NN rcction 


Connections: 
Clean up 
® The Doctor tells Jo 
that Captain Yates was 
responsible for “clearing 
up the mess” that was 


left after the first Auton 
invasion, as seenin 
Spearhead from Space 
[1970 - see Volume 15], 
although Yates was not 
seen in this story. 


Left: 

The Doctor and 
Jo realise that 
the Master has 
slipped through 
their fingers. 


TERROR OF THE AUTONS =» st0r'ss 


Right: 

No more hard 
boiled eggs 
for Goodge. 


Below: 

The Doctor 
informs the 
Brigadier and 
Yates that the 
Master is still 
at large. 


the Silurians [1970 - see Volume 15] and 
Inferno; Letts had previously cast his 
nephew Andrew Staines as ‘Sergeant to 
Benik’ in The Enemy of the World [1967/8 - 
see Volume 11] and having since directed 
him in Adventure Weekly and A Handful of 
Thieves now gave him the role of Goodge; 
David Garth, playing the Time Lord, had 
been Solicitor Grey in The Highlanders 
[1966/7 - see Volume 9]; and Harry Towb, 
cast as McDermott, had appeared as 
Osgood in The Seeds of Death [1969 - see 
Volume 14]; Letts had previously directed 
Towb in Z Cars in 1968. The Radio 
Telescope Director was played by Frank 
Mills whom Letts had directed in Adventure 
Weekly and A Handful of Thieves, both of 
which had also featured Barbara Leake 
who was now cast as Mrs Farrel. 

The first of the two studio sessions 
spanned Friday 9 and Saturday 10 October 
in Studio 8 at Television Centre. In a break 
with the general tradition of recording, 
the first of these two days was devoted 
to the recording of sequences involving 
visual effects for which Barry Letts wanted 
to experiment extensively with CSO 
techniques which were not applicable to 


~: 


_* 


oi DOCTOR WHO | THE COMPLETE HISTORY 


| 


rT 


~ 


=a 


the rest of the BBC’s drama or comedy 
output; this required a reduced cast of 
Pertwee, Manning, Walsh, Gregory Powell 
(doubling the second Auton policeman, 
played by Bill Horrigan on location), Towb, 
Jack, Staines, Barbara Leake (as Mrs Farrel) 
and Tommy Reynolds, a diminutive actor 
hired to play the troll doll (Reynolds had 
previously been a Chumbley operator on 
Galaxy 4 [1965 - see Volume 6)). 

Inserts were recorded between 8.30pm 
and 10pm, starting with the scenes in the 
police car, which required the use of CSO 
for the moving background outside. In a 
recording break, Walsh donned an Auton 
mask with a latex mask of his own face 
on top, enabling the Doctor to tear off 
the policeman’s ‘human’ face and reveal 
the Auton beneath. The crew members 
were mindful of the surgical scars which 
Manning had from her accident and did 
their best to light her in a manner which did 
not draw attention to them. McDermott’s 
death was recorded next; Harris had 
discovered that the ‘lethal’ chair could not 
be deflated as quickly as it could be inflated, 
and so the scene was taped backwards and 
speeded up in reverse on videodisc. The 
troll doll sequences set in Farrel Senior’s car 
(which also had a CSO background) and 


Farrel’s living room followed. The troll 
costume was barely finished and reeked 

of glue; allegedly, the woman who had 
been contracted to manufacture the outfit 
turned up late and drunk. Reynolds acted 
out the troll scenes on a blue-draped CSO 
area, his image then being keyed into the 
main sets; at one point, the heat of the 
lights and the stench of the costume caused 
him to faint; after this, Letts completed the 
required shots using the static prop. The 
most complex shot, left until last, showed 
Goodge’s shrunken corpse nestling in his 
lunchbox. CSO was used to ‘miniaturise’ 
Staines; Letts had spent two hours’ worth 
of afternoon camera rehearsals testing out 
different ways to line up this single shot, 
which took 30 minutes to record with 
Staines sitting on a fake cut-out shadow 

of Goodge made from brown paper. 


Colour separation overlay 


ease: One and Two were taped 


more or less in sequence the next 

evening, between 7.30 and 10pm. 
Rather than the arrangement of the theme 
tune created for the previous series, the 
show reverted to the 1967 arrangement 
of Ron Grainer’s composition. CSO was 
again used to save erecting whole sets for 
brief scenes - most notably in the National 
Space Centre sequence, in which a Nestene 
energy unit prop from Spearhead from Space 
was reused. 

CSO was again used for the exterior of 
the Beacon Hill radio telescope cabin; in 
this scene, Time Lord actor David Garth 
changed his line about the length of his 
journey from the “2,900 light years” 
scripted to “29,000 light years”. A little 
out-of-sequence recording for Episode 
Two involved the CSO-effected monitor 
screen in Farrel’s office, on which parts of 
the circus film, plus material from other 


sets, was displayed. CSO was also used for 
the telephone box used by Jo. Recording 
was delayed when one of the videotape 
machines broke down, causing an overrun 
of 17 minutes. 

Rehearsals for Episodes Three and Four 
began at Acton on Tuesday 13 October. 
Cast as the policeman who investigated 
the coach was Bill McGuirk, another 
colleague of Letts’ from The Enemy of 
the World (his scenes would be cut from 
the finished serial) whom the director 
had more recently cast in The Doctors in 
1969. The principal Auton was played 
by Pat Gorman, a regular bit-part player 
on the show since 1964. In the run-up 
to recording, the part of the telephone 
mechanic was recast when Haydn Jones, 
who had been hired for both this and the 
voice of the Auton Leader, was given the 
larger role of Vosper in the next serial, 

The Mind of Evil [1971 - see page 94}; 
Norman Stanley was swiftly contracted 
to replace him. 

Dicks made a few alterations to the 
scripts on the Wednesday (Manning’s 24th 
birthday). The change of title meant that 


DOCTOR WHO | THE COMPLETE HISTORY 7 


NNN rcuction 


Below: 

The Master 
surrenders... 
or does he? 


Above: 
The Doctor 
carries out 
a spot of 
steady state 


micro-welding. 


TERROR OF THE AUTONS $3» str ss 


/ 


j 


an Auton now had to appear somewhere 
in Episode One, to satisfy audience 
expectations - and so a short scene 
showing the Master being interrupted by 
Farrel as he brought an Auton to life was 
inserted. Episode Three scenes showing 
the Doctor in his lab, mulling over the 
situation, were slightly amended. A more 
prominent change was dictated by Ronnie 
Marsh, who had found the Doctor’s closing 
comment about the Master remaining on 
Earth “until I destroy him. Or until he 
destroys me” too stark. 

Recording on Friday 23 and Saturday 
24 October took place in TC6; again, 
the first evening was given over to effects 
inserts from 8.30pm to 10pm. Taping 
started with the new Auton scene for 
Episode One (with a CSO background 
of a computer room), then CSO shots 
of Mrs Farrel’s kitchen, the shot of the 
Doctor being strangled by the phone 
cord (again, reversed on videodisc), a shot 
of the Doctor saying, “Stop her, that’s a 
bomb,” for the end of Episode One, Yates 


oa DOCTOR WHO | THE COMPLETE HISTORY 


listening to the conversation in Episode 
Two, the daffodil attacking Jo (the daffodil, 
made by Harris’ assistant Peter Logan, 
housed a very fine water spray operated 
by a hand pump), the plastic shrivelling in 
the Doctor’s hand (shrink wrap, sprayed 
with acetone), the troll attacking Jo, a 
remount of the miniaturised Goodge, and 
the CSO shots of Yates with the Nestene 
energy shape (replacing the abandoned 
model film). Some of the troll shots were 
speeded up on videodisc, while others 
saw the solid prop being manipulated in 
front of the camera. For the troll’s demise, 
sections of the solid prop were blown off 
by detonators on a CSO set. 

Saturday 24 saw the rest of Episodes 
Three and Four recorded from 
7.30pm. The first two coach scenes 
were taped together. CSO was used for 
the backgrounds outside the coach; 
unfortunately, the coach’s chrome window 
rims reflected the blue screens outside, 
causing parts of the picture to vanish. 
A ring modulator was used for the Auton 


NNN rcction 


Leader’s voice, and a latex mask resembling 
Norman Stanley was worn by Delgado in 
the second of these scenes, in which the 
Master revealed his identity. 

The Doctor’s examination of a 
plastic daffodil called for the use of a 
monochrome monitor showing a graphic 
of the ‘programme pattern’ and a human 
face. It had been planned to use CSO 
to provide a background to UNIT’s 
observation point. The film of the coach 
lights flashing Morse was scrapped, a 
close-up of the brake light being recorded 
in studio. The bomb run was 3’ of 16mm 
stock film provided by the RAF. For the 
scene of Jo practising her escapology 
to release herself and the Doctor, Katy 
Manning got into problems when the false 
nails that she was wearing came off and got 
stuck in the back of Jon Pertwee’s jacket. 


nserts of the Nestene sphere 
T exploding and an Auton collapsing 
were recorded at the end of the 
last coach scene; it had been planned to 
show a Nestene tentacle behind the cabin 
windows in the final scenes, but this was 
abandoned. For the reversal of the radar 
system, flash charges were detonated 
on the consoles, with the effect being 
enhanced by bouncing flashes of light off 


some reflective material, superimposing 


PRODUCTION 

Thu 17 Sep 70 St Peters Court, Chalfont 
St Peter, Bucks [Shopping Centre]; Church 
Lane, Chalfont St Peter, Bucks [Car Park]; 
Hodgemoor Woods, Bucks [Woods; Road]; 


Queen's Wharf, Hammersmith, 

London [Canal] 

Fri18 Sep 70 Lea Bridge Road, Waltham 
Forest, London [Circus] 


Mon 21 Sep 70 Totternhoe Lime & Stone 
CoLtd, Dunstable, Beds [Quarry] 

Tue 22 Sep 70 GPO Relay Station, 
Caddington, Beds [Beacon Hill] 

Wed 23 Sep 70 GPO Relay Station 
[Beacon Hill]; Thermo Plastics Ltd, 
Dunstable, Beds [Plastics Factory] 

Fri9 Oct 70 Television Centre Studio 8: 
Episodes One and Two: CSO - Police Car; 


these lights over the main image and then 
slowing the shot down on videodisc. Some 
planned CSO shots of the Brigadier, with 
Courtney standing in front of photographs 
taken on location, were scrapped because 
the stills had been taken with the wrong 
lens, distorting the perspective. 

Recording overran the 10pm deadline 
by 35 minutes in total, due to retakes 
and problems with CSO. Letts justified 
this to his superiors the following day, 
stating: ‘CSO is a technique which I am 
now convinced should be used for special 
effects (for which it is superb) and for 
single shots. It is not yet technically reliable 


enough to be used as a background in Below: 

; Jorealises 
place of... a painted cloth throughout that shallatt 
a whole sequence’. the iron on. 


Chair; Doll; Lunchbox 

Sat 10 Oct 70 Television Centre 

Studio 8: Episodes One and Two: 

other scenes 

Fri 23 Oct 70 Television Centre Studio 6: 
Episodes One to Four: CSO - Research Lab; 
Farrel’s Kitchen; Doll; Lunchbox; Monster 
Sat 24 Oct 70 Television Centre Studio 8: 
Episodes Three and Four: other scenes 


DOCTOR WHO | THE COMPLETE HISTORY & 


TERROR OF THE AUTONS =» st0rss 


Post-production 


Below: 

Jo introduces 
herself to 
the Doctor. 


» co 


| 


ew electronic editing facilities 
allowed numerous cuts to be 
made to Terror of the Autons 
during post-production. 
Episode One was assembled by 
producer/director Barry Letts 
on Monday 12 October 1970, with the 
remaining three episodes being edited on 
consecutive Sundays from 18 October. 

In Episode One: the Goodge/ Philips 
dialogue about eggs was reduced. The start 
of the Brigadier and the Doctor discussing 
Jo was removed (the Doctor accused the 
Brigadier of being stubborn for not putting 
more effort into finding the energy unit, 
and the Brigadier pointed out that liaison 
with the Doctor was the main part of Miss 
Grant’s duties); the end of the scene was 


eG 


also cut, removing the Doctor connecting 
the theft and the research centre. 
Dialogue between the Senior Time 
Lord and the Doctor was cut: the tribunal 
attempted to imprison the Master, but he 
was helped to escape; alien interference 
clouded their monitors, and the Master 
escaped in his TARDIS before it could 
be de-energised. The Time Lord then 
specifically asked the Doctor to deal 
with this “dangerous criminal” on their 
behalf; his comment about how the 
Volatiser was used by the Xenthoids for 
tunnelling operations was also cut. The 
scene in which the Director’s party joined 
the Doctor in the cabin was trimmed, 
removing the discovery of the fact that 
somebody had altered the settings of 


AAA 


Philips’ computer. The scene where the 
Nestene threat was discussed at UNIT 

had three cuts made to it: at the start, the 
Doctor told Yates that he had expected 

a second Nestene assault; midscene, the 
Doctor explained that given sufficient raw 
plastic the single Nestene energy unit could 
multiply indefinitely like a virus; and at the 
end of the scene, the Doctor explained that 
Goodge was imploded by a compression 
ray as one of the Master’s little jokes. 


he conclusion of the scene in which 


the Master gave Jo her instructions 

was removed. Here, Jo thanked Farrel 
for his help - ignoring the Master, who 
commented: “Quite a pretty little thing. 
A pity I couldn’t keep her.” The start of 
the next UNIT HQ scene, in which Yates 
said that Miss Grant’s was the only factory 
report not in yet, was dropped, as was the 
end of the same scene, when the Doctor 
had Yates tell Benton not to bring the 
box in from Philips’ car, but to watch it in 
case the Master returned. Film of Benton 
watching the car was also removed - as was 
the start of the next scene in Farrel’s office, 
in which a furious McDermott entered with 
an inflatable chair and dumped it on the 
desk, saying that the mix was meant to be a 
translucent green. The single Auton scene 
lost its ending, where Rex told the Master 
that McDermott might make trouble. 

Two consecutive scenes were cut in their 
entirety: at UNIT, Jo returned to say that 
she had drawn a blank, and the Doctor 
decided to bring the box in; then, in 
Farrel’s office, McDermott phoned Rex’s 
father to tell him that Rex was “playing 
tunes on the master computer”, just as the 
Master entered. The cut extended to the 
start of the final scene, in which Benton 
brought the box in. 


Left: 

Joisa fully 
qualified 
UNIT agent. 


In the opening scene of Episode Two, 
in which the Doctor attempted to bring 
Jo out of her trance, there were two cuts, 
removing Benton’s question about people 
being able to shake off the Master’s 
influence and the Doctor commenting on 
the danger to Jo’s mind. In McDermott’s 
death scene, the Master’s claim about 
the chair being made from “polynestene” 
was dropped. The end of Jo emerging 
from her trance was omitted; the Doctor 
had Benton take Jo to the sick bay for 
sedation before explaining to Yates that 
the Nestenes would now have a defence 
against the ECT machine. This ran into 
the next scene, where Farrel Senior arrived 
at the factory. A later office scene lost the 
Master telling Rex that the Doctor was a 
Time Lord. 

In Episode Three: the end of Farrel 
complimenting the Master on the plastic 
daffodil was removed, omitting the Auton 
Leader entering to announce that the 
coach was ready. The first coach scene lost 
the Auton Leader telling Farrel that they 
must keep to schedule, and that the Master 
was a Nestene servant. 

A film sequence showing the Auton 
coach being spotted hidden among trees 
by a policeman in a patrol car was cut, as 
were the following shots. Here, the Master 


DOCTOR WHO | THE COMPLETE HISTORY a 


Post-production 


TERROR OF THE AUTONS =» stor ss 


Right: 

The Brigadier 
solicits the 
Doctor's help. 


and the Auton Leader studied a map of 
distribution points when Farrel spotted 
the policeman approaching. The Auton 
Leader put on its mask and sat down. 

The policeman entered, assuming that 
the coach had broken down. The Master 
explained that they had been planning 
their daffodil distribution; when the 
policeman said that his wife had some of 
the daffodils, the Master gave him a few 
more, with compliments. The policeman 
noticed Farrel’s nervousness, but was 
assured by the Master that this was due to 
overwork. The officer was curious why the 
carnival men were still wearing their masks 
in the coach, and became concerned when 
the Auton Leader failed to reply to him. 
Fearing the ‘man’ inside the costume had 
passed out, the policeman removed the 
mask - and was killed by the Auton. (This 
cut removed policeman Bill McGuirk’s 
entire appearance, although he was 

still credited.) 

In Episode Four, another coach scene 
was completely removed. Here, the Master 
outlined the route to Farrel - going from 
Oxeter to Billington then Dryfield, then 
a rendezvous at the quarry. The Auton 
Leader said that High Command thought 
the Master had wasted too much time 
on his feud with the Doctor. The Master 
refuted this, saying that in a few hours the 
Nestenes could land unopposed. 

A cut came after the Brigadier 
announced his intention to bomb the 
coach: Jo asked if the Brigadier would 
give the Master’s group the chance to 
surrender, but because the Nestenes were 
in constant two-way communication, the 
Brigadier refused (“I want the others to 
know the sort of thing we’ve got waiting 
for them”). 

Two cuts were made to the scene in which 
the Doctor saved Jo from the daffodil, 
removing the Doctor explaining that he 


cs DOCTOR WHO | THE COMPLETE HISTORY 


used the solvent di-methyl-sulphoxide and 
then thanking her for providing a valuable 
clue. The film sequence of the coach 
leaving the quarry with the Doctor and 

Jo on board was dropped, as were the 
on-coach shots of the Nestene globe 
exploding and the Auton collapsing. 


the music score of 22 minutes and 

31 seconds, which was recorded by 
Hodgson and Simpson at the Radiophonic 
Workshop in Maida Vale during October 
and November, making heavy use of the 
EMS Synthi 100 ‘Delaware’ synthesiser; 
the pair found the venture far more time- 
consuming than expected. Although he 
was unhappy with the loss of conventional 
music, Simpson was pleased with his 
score, with a ‘Master Theme’ being 
heard whenever the Doctor’s arch-enemy 
appeared. A library track, Spotlight Sequins 
Ver 1 by Keith Papworth performed by the 
International Studio Orchestra conducted 
by Jack Trombey from the 1967 De Wolfe 
library disc The Big Top (DW/LP 3035), was 
added to the circus scenes in Episode One. 

The first two episodes were dubbed 

for transmission on Saturday 19 
December; the final two followed 
on Monday 21. 


G everal late nights were spent realising 


CAA 


Publicity 


® Katy’s the girl for Dr Who announced the 
Daily Mail on Tuesday 29 December 
1970 as it ran a picture of the series’ 
latest regular cast member. Interviewed 
the previous evening, Katy Manning 
told journalists: “I haven't had an awful 
lot of experience - I just went along to 
the audition on the off chance. I was 
the last one to be seen and couldn't 
believe it when I got the part.” 


» Radio Times gave over its front cover 
of Thursday 31 December to Doctor 
Who, introducing Jo and the Master 
in comic-strip fashion. This was 
supported by a half-page article by 
Giles Poole, Dr Who vs the Master; 


Broadca 


® Back in the 5.15pm slot, Terror of 
the Autons aired between Saturday 
2 and Saturday 23 January 1971, 
with a trailer for The Mind of Evil 
being broadcast immediately after 
transmission of Episode Four. In 
opposition on ITV was a variety of 
different series shown in the regions, 
including the Irwin Allen science-fiction 
show Voyage to the Bottom of the Sea 
(Southern) and Lost in Space (Granada). 


® Daily Mirror writer Matthew Coady 
found Episode One rather tired, 


wv 
€ MASTER! 


reportedly, the attention lavished on 
Delgado around this time irritated 
Pertwee. Listings for Episodes One and 
Two were graced with photographs of 
the Doctor and Brigadier in the lab 
and the mob attacking the Doctor and 
Jo respectively. 


disliking both the Time Lord and the 
return of old monsters. 


® At the Programme Review Board 


on Wednesday 6 January, head of 
television drama Shaun Sutton said 
that the serial’s début was “a good 
episode warmly welcomed”. Some 
attendees had however been confused 
by the Radio Times cover, believing 
that Roger Delgado was taking over 
from Jon Pertwee as the Doctor. At 
the following week’s meeting, Tony 
Preston (assistant head of variety and 


DOCTOR WHO | THE COMPLETE HISTORY 3 


TERROR OF THE AUTONS =» stor 


Below: 
Aday at the 
circus for 
the Doctor. 


light entertainment) thought Episode 
Two had been “brilliant, but almost 
too frightening” while Man Alive editor 
Desmond Wilcox reported that he 

had been more frightened than his 
children. Head of serials Ronnie Marsh 
commended Barry Letts’ direction. 


» No! We won't be watching Dr Who 


tomorrow... was the title of Diana 
Narracott’s article in the Daily Mail 

on Friday 15 January, the day prior to 
Episode Three’s broadcast. The writer 
explained that her six- and eight-year- 
old daughters would not be tuning 

in - a decision that they had made 
themselves. While the youngsters had 
adored the Daleks and Ice Warriors, 
Episode Two had been ‘too horrific 
even for them’ with the suffocating 
chair, ‘repulsive doll’ and ‘fake 
policemen’. Narracott had phoned the 
BBC and discovered that she wasn’t the 
only concerned parent; however, the 
Corporation had noted that Doctor Who 
was a family programme rather than a 
children’s programme and that parents 
should watch with their offspring. The 


me DOCTOR WHO | THE COMPLETE HISTORY 


ee a ED 


journalist said one of her daughters 
had nightmares while another child 
became ‘highly disturbed’ by the doll; 
concerned by the use of ‘everyday 
trusted objects’ she hoped that the 
BBC would understand the effect the 
series had on young viewers. 


» On Monday 18 January, The Daily 


Telegraph correspondent Sylvia Clayton 
questioned the level of horror in the 
serial, noting the use of domestic 
scenes familiar to children - and 
Scotland Yard complained to the 
production office after Episodes Two 
and Three, in which two policemen 
were revealed to be Autons. These 
concerns were raised at the Programme 
Review Board on Wednesday 20 

where Monica Sims, head of children’s 
programmes, commented on the 
“many reports” from her department 
that the serial, although well made, 
was “rather frightening” and suggested 
that as the series was now set in the 
“real world” that a later time slot 
might be more appropriate. Marsh 
responded that he felt these issues 
only applied to Episode Two and only 
two phone calls of complaint had 

been logged prior to the Daily Mail 
article. Director of programmes David 
Attenborough indicated that Sims had 
made good points which he would 
keep in mind. The following week, 
Attenborough commented that there 
had been concern for a single sequence 
in Episode Two. Sims agreed that the 
other episodes had been acceptable and 
felt the Master was a good inclusion. 
Huw Wheldon, the managing director, 
said he hoped that the Doctor’s time 
machine would soon be repaired so 


that he could have an adventure on 
another planet. 


» Younger viewers, however, said that 
Doctor Who was not as scary as it used 
to be in an edition of Ask Aspel (a new 
series which effectively replaced Junior 
Points of View) broadcast Friday 29 
January, in which clips of the Autons 
from Episode Four of Terror of the 
Autons and a Dalek from Episode Two 
of The Power of the Daleks were shown 
for the sake of comparison. 


» The press response to Doctor Who was 
referred to in a parliamentary debate 
about mass media communication in 
the House of Lords on Wednesday 3 
February. Baroness Bacon (Labour) 


remarked: “I think that the programmes 
for the tiny children are really excellent. 


There is a whole new series of fairy 
tales and fairy-tale characters, and a 


tremendous amount of work must have 


gone into producing them. I am not 
so sure about some of the series for 
the older children, and I wonder what 
has happened to Doctor Who recently, 


because many children must have gone 
to bed and had nightmares after seeing 


the recent episodes.” 
» Terror of the Autons was sold in 


various formats to various territories, 
including: Australia, the USA, 


ORIGINAL TRANSMISSION 


EPISODE DATE TIME 
5.15pm-5.40pm  BBC1 24'56" 
5.15pm-5.40pm  BBC1 2448" 
5.15pm-5.40pm = BBC1 23'28" 
5.15pm-5.40pm = BBC1 22'10" 


Episode One Saturday 2 January 1971 


Saturday 9 January 1971 


Episode Two 
Episode Three Saturday 16 January 1971 


Episode Four Saturday 23 January 1971 


Singapore, Hong Kong, Gibraltar, the 
Philippines, Saudi Arabia and Japan. 


» By 1977, the colour tapes of Terror 


of the Autons had been wiped, the 
serial thought to exist only as the 
monochrome 16mm film recordings 
held by BBC Enterprises. 


® After a successful attempt to 


re-colourise The Demons [1971 - 

see Volume 17] by blending the 
colour information from an American 
videotape with a sharp monochrome 
film recording, the exercise was 
repeated with Terror of the Autons. 

This was shown at the National 

Film Theatre on Saturday 12 
December 1992. 


» Terror of the Autons was screened in 


both compilation and episodic formats 
on UK Gold from March 1993. BBC 
Prime screened the serial from 1995 
and it aired on Horror Channel from 
October 2014. 


CHANNEL DURATION 
73M (78th) 
8,0M (71st) 
8.1M (58th) 
8.4M (59th) 


DOCTOR WHO | THE COMPLETE HISTORY 5 


Broadcast 


Left: 
Joinvestigates 
on her own. 


RATING(CHART POS) APPRECIATION INDEX 


TERROR OF THE AUTONS =» stor ss SN 


Merchandise 


Ithough it had been 
considered for publication 
in March 1974, Doctor Who 
and the Terror of the Autons, as 
Dicks’ novelisation of Holmes’ 
scripts was entitled, was not 
released as a Target paperback until May 
1975, with a cover by Peter Brookes and 
interior illustrations by Alan Willow. This 
was reissued in 1979 with a new Alun 
Hood-painted jacket depicting a Nestene. 
A WH Allen hardback was published in 


The colourised 


February 1981. The novelisation was version of Terror of the 

released as a four-CD BBC Audiobook in Autons was issued by BBC Video in April 

July 2010, read by Geoffrey Beevers. 1993, with a cover painting by Alister 
Anti- — Pearson. On Wednesday 7 November 2001, 
pat og Katy Manning, Barry Letts and Nicholas 
right: Courtney recorded a DVD commentary 
The audiobook, for the serial in Dubbing Theatre Y, at 
neve Television Centre. The serial was included 
covers and the ; ; fj 
original video on 2|entertain’s DVD Mannequin Mania set 
release of the in May 2011. The special features for Terror 
story. 


of the Autons were: 
» Commentary with actors Katy Manning and 
icholas Courtney, producer Barry Letts 
» Life on Earth - in this documentary, cast and 
crew look back at the making of the story and 
he differences in the way 
Doctor Who was made 
inthe 1970s compared 
to now, featuring Barry 
Letts, Terrance Dicks, Katy 
Manning, Jon Pertwee, 
Richard Franklin and 
Phil Collinson 
} The Doctor's Moriarty 
- with the introduction 
of the Master, the Doctor 
now had his very own , N PERTWel 
Moriarty, who would be : 


4 


a6 DOCTOR WHO | THE COMPLETE HISTORY 


available with issue 


Doctor Who — DVD 


Files published in November 2012 and 
on 2|entertain’s The Monster Collection: 
The Master which was released on 
September 2013. 

In 1999 Harlequin Miniatures issued 
metal models of the Terror Auton, six 
Autons and the Terror Auton with flowers. 
A figurine of the Master from Terror of the 
Autons was available with issue 100 of the 
Doctor Who Figurine Collection, published by 
Eaglemoss in June 2017. 

In 2009 Weta Limited New Zealand 
issued statues of the Master and an Auton. 
These were limited to 900 units. 


| Limited-edition prints 


cover for Terror of the Autons was 
Biss by the Stamp Centre in 

January 2009. Copies were signed 
by Katy Manning and Richard Frankin. 
Limited-edition prints of the Master from 
Terror of the Autons were available from the 
Collectable Art Company in November 
2012. These hand-numbered prints were 
limited to 250 copies worldwide. They 
came signed by costume designer Ken 
‘Trew with a 28-page full-colour From 
Script to Screen booklet and certificate 
of authenticity. 

Between 1995 and 1997 Jonder 
International Promotions issued 
Doctor Who phonecards on a number 
of stories which came with an 

accompanying AS information sheet. 
The cards and sheets were designed 
by Steve Hampshire. The reference 
number for the Terror of the Autons BT 
phonecards was BTG649. 

Space Adventures: Music from Doctor Who 
1963-1971 was released by Julian Knott 
in October 1998. This CD 
reissue included the Spotlight 
Sequins No. 1 track from 
Terror of the Autons. & 


the dark figure behind every story in the 
1971 season, and many more beyond that. 
This featurette discusses the enduring 
appeal of the character 
featuring Barry Letts, Joseph 
Lidster, Christopher H Bidmead, 
Terrance Dicks, Katy Manning and 
Robert Shearman 
» Plastic Fantastic - how did the 
writers of Doctor Who.and other 
programmes take something as 
everyday as plastic and turn it against 
us? Featuring Robert Shearman, 
Francesca Gavin, Matthew Savage and 
Terrance Dicks 
» Photo gallery 
»} Radio Times listings and 
promotional material in Adobe 

PDF format 
The serial was also 


101 of GE Fabbri’s 


Left: 

The DVD 
release of 
the story, 
with a cover 
by Clayton 
Hickman. 


Left: 

Eaglemoss’ 
figurine of 
the Master. 


DOCTOR WHO | THE COMPLETE HISTORY 


TERROR OF THE AUTONS =» st0rss 


Cast and credits 


Christopher Burgess. ......... Professor Philips [1-2 

GOMIBETUWOE iiciiict Grete Doctor Who? Andrew Staines oie Goodge [1 

with JOHN BasSKCOMD...... css Rossini [1-2 
PR CREY ITANIUM erect csrencccaccrcceescctentescscssssnecseresessnnncn Jo Grant Dave CartePce Museum Attendant [1 
Nicholas Courtney Brigadier Lethbridge-Stewart Roy St@Wwalt un... Strong Man [2 
Roger Delgad .........c ccc The Master Norman Stanley................ Telephone Mechanic [3] 
Richard Franklin... Captain Mike Yates BSTUNIPAGGUUET Kirritcsirssssscssssssscsrsenseessessssenenie Policeman [3]? 
John Levene........cccu Sergeant Benton [1-2,4 Terry WalSH.........ccciies Auton Policeman [3]? 
Dermot TUONY........ccsnnnn Brownrose [3] Pat GOFMAMN Wc Auton Leader [3-4 
Michael WISHET.......iccsccssn Rex Farre Haydn JONES... Auton Voice [3-4 
FLAME OWI Dc fectscccsssssessicrsssessssessssssees McDermott [1-2] 
DOUG AMET ari teccesccservcscsssiseseccssstssssssesssnie Time Lord [1] ‘Credited as ‘Dr Who’ on Episodes Three and Four 
Frank Mills............00..... Radio Telescope Director [1] ? Also in Episode Two, uncredited 
Stephen Jack... Farrel Senior [2] > Credited but not in finished programme. 
Barbara Leake.............:ccce Mrs Farrel [2-3] Not credited in Radio Times 


It's no laughing 
matter. 


ss} DOCTOR WHO | THE COMPLETE HISTORY 


The Doctor 
os explains 

= 3 everything 
Diet too. 


' Hollingsworth, Bill Horrigan, Dinny Powell, 


Edward Vaughan, Gordon Howes, E Turner, Roy Scammell, Terry Walsh, Marc Boyle 
Mac Russell, Brian Gough, Steve Sullivan, STUMUMOEN isis ciisirorsicdcencccinandanantwemnnmnend 
Mike Austin, Duke Dupree, Jack Murray, sss UNIT Soldiers/Auton Daffodil Men/Technician 
MANO ve isiinccsienaunsantnciwnad omens Circus Folk 

Bill HOTTIGAM .... ccs UNIT Soldier* ‘Not in finished programme 

TOMO Leal i siiscminacatermosnnmnoinnmns Auton 

Tommy REYNOIGS........... ccc Troll 

Bobby Roberts Written by Robert Holmes 

Mare Boyle jissiiiccsssiiionnnanndinimninnicnaucanman Title Music by Ron Grainer 

RE UGATTNI Double for Brigadier Lethbridge-Stewart and BBC Radiophonic Workshop 

Bill Horrigan............... Stuntman/Auton Policeman Incidental Music by Dudley Simpson 
Gregory Powell........cccun Auton Policeman Circus Sequences Courtesy of 

Marc Boyle........... UNIT Soldier Robert Brothers [1-2] 

Dininy Powell iisssciinntnchancwinnnucacaimmannn Film Cameraman: John Baker 

mires inectan euivineneesets Stunt Double for Captain Mike Yates Film Editor: Geoffrey Botterill 

Les Clark, Bob Blaine, lan Elliott, Stuart Visual Effects: Michaeljohn Harris 

Harwood, Paul Warren, Charles Pickess, Action by: Havoc [3-4] 

Mike Stevens, Brian Gilman, Nick Hobbe......... Costumes: Ken Trew? 

Seaueh caress agro sesaaaat teaser ics iia Peers i estas Daffodil Men Make-up: Jan Harrison® 

Sheila Power, Sylvia Lane, Eve Aubrey.............. Lighting: Eric Monk® 

Peers aetuslscatissaari mance and meat tigseeaeitiss Housewives Sound: Colin Dixon? 

Max Diamond Stunt Driver/Double for Policeman* Special Sound: Brian Hodgson 


Stan HollingSwoFth.....c ce Coach Driver and BBC Radiophonic Workshop® 

Roy Street .ceicccressossnsanusiensssccnen Motorcyclist Script Editor: Terrance Dicks 

Kes Conrad rcce anise UNIT Soldier Designer: lan Watson 

Terry Walsh.............. Stunt Double for Doctor Who Producer [also director]: Barry Letts 
Derek Ware, Stuart Fell. Stuntman/UNIT Soldier 

Roy Street, Alan Chuntz, Stan ° Credited on Episodes One and Four only 


DOCTOR WHO | THECOMPLETE HISTORY 89 


TERROR OF THE AUTONS =» stor ss 


Right: 

In The Three 
Musketeers 
in1954. 


Profile 


The Master 


hough Roger Caesar Marius 
Bernard de Delgado Torres 
Castillo Roberto was born on 

1 March 1918 to a Spanish 
father, Roger Senior, and French 
mother, Marguerite ‘Matilda’ 
(née Robert), he always claimed to be a true 
cockney, his birth registered in London’s 
East End Whitechapel district. 

His bank clerk father and dressmaker 
mother raised him in Bedford Park, West 
London, though with many visits to 
relatives abroad. He attended Cardinal 
Vaughan Memorial School in Holland Park, 
before studying at the London School of 
Economics. Despite not completing his 
degree, he went into banking like his father. 

Following his heart, he left 18 months 
later for the Edward-Nelson Players, a Rep 
company at the Theatre Royal, Leicester, 
in late 1938. Débuting in You Can’t Take it 
With You he soon took the title role in Young 
Woodley (1939), and featured in dozens 
of productions including Peg o’ My Heart 
(1939) and Pygmalion (1939). 

Initially refused wartime service by both 
the Army and RAF due to his French- 
Spanish background, Delgado eventually 
joined the Leicestershire Regiment, reaching 
the post of 2nd Lieutenant, before rising 
to Major in the Royal Signals, fighting 
the Japanese in Burma. During service in 
India and Ceylon he married first wife Olga 
Anthoniaz. 

Post-war, Delgado spent three years with 
York Theatre Royal and Scarborough Opera 
House, two weekly Rep companies sharing 


0 DOCTOR WHO | THE COMPLETE HISTORY 


SRO N, 


productions. He became leading man with 
Coventry’s Midland Theatre Company in 
1949/50, playing Shylock in The Merchant 
of Venice, Salvatore in A Man About the House 
and Sir Robert Morton in The Winslow Boy. 

Delgado’s broadcast début came as 
Sir Stephen Scroop in Richard II, aired 5 
October 1947. Writing to the BBC seeking 
further radio work, in 1950 he joined the 
BBC Drama Repertory Company. Hundreds 
of parts over the next three years included 
Dick Barton — Special Agent (1950), Mrs Dale’s 
Diary (1951/4), Oliver Twist (1952), The 
Portrait of a Lady (1952) and The Ivory Door 
(1952) opposite Valentine Dyall, and many 
more. Delgado read on Morning Story from 
1951, introduced Housewives’ Choice in 1954, 
and read A Book at Bedtime from 1954-70. 

His TV début arrived via a televised 
production of Distinguished Gathering staged 
at the Intimate Theatre, Palmers Green on 8 
July 1948. Further TV work came in Portrait 
of Peter Perowne (1952) for BBC producer/ 
director Rudolph Cartier. Cartier later cast 
him in Quatermass II (1955), The White 
Falcon (1956) and Counsellor at Law (1957). 

A TV breakthrough came playing Athos 
in The Three Musketeers (1954), produced 


i 


by Rex Tucker, subsequently appearing 
in Tucker’s St Ives (1955) starring William 
Russell, The Three Princes (1959), Triton 
(1961) and Madame Bovary (1964). 

BBC producer Shaun Sutton similarly 
cast Delgado in family serials, many with 
future Doctor Who connections. Huntingtower 
(1957) starred child actors Frazer Hines and 
Graeme Harper, while Delgado was briefly 
a Nazi in both The Silver Sword (1957) (also 
starring Hines and Barry Letts) and in The 
Long Way Home (1960), again with Letts. For 
costume drama Queen’s Champion (1958), 
again starring Hines, Delgado dispatched 
Letts in a swordfight. 

On meeting Sutton, Delgado had 
complained: “It gets very aggravating 
because they will only cast me as scornful 
Spaniards and villains!” Sutton promised to 
find him more varied roles, and promptly 
cast him twice as Spanish villains. 

Delgado himself conceded: “When I look 
at myself in a shaving mirror I am never 
surprised that I always get these parts.” At a 
time when Caucasian British actors played 


== 


Profile 


‘foreign’ parts in dark make-up, his genuine 


Mediterranean looks saw him in demand Dead? is" 
; ; established i 
but with a narrowness of casting. the role of , 
In autumn 1957 Delgado married second the Master in g 
wife Kismet Shahani, a fashion model who ee ee ee 
enjoyed small roles in The Alien Sky (1956) [soy 
| Cal 
| 


and The Three Princes (1959). 

Delgado remained a familiar face in 
children’s TV in Billy Bunter (1957), The 
Splendid Spur (1960), Patrick Troughton’s 
Paul of Tarsus (1960) and Biggles on the Nile 
(1960), while work for grown-ups included 
single plays The Legend of Pepito (1955), The 
Cold Light (1956) and Dona Clarines (1957). 

Further villainous roles came in ITC 
adventure series The Scarlet Pimpernel (1956), 
The Buccaneers (1957), Sword of Freedom 
(1957), The Adventures of Robin Hood (1958), 
William Tell (1959) and The Four Just Men 
(1960), but he was best known as Spanish 
envoy Mendoza in Sir Francis Drake (1961). 

Occasional West End stage productions 
included The Power and the Glory (1956, 
Phoenix Theatre), Little Old King Cole (1961, 
Palladium) and Cactus Flower (1967, Lyric). 


DOCTOR WHO | THECOMPLETE HISTORY 94 


TERROR OF THEAUTONS »sowss 


Above: 
Filming Terror 
of the Autons. 


Early films comprised thrillers Murder at 
Scotland Yard (1952), The Broken Horseshoe 
(1953), Blood Orange (1953), Third Party Risk 
(1955) and Mark of the Phoenix (1958), plus 
comedies The Captain’s Paradise (1953) and 
The Belles of St Trinian’s (1954). Notable roles 
came in Storm Over the Nile (1955), The Battle 
of the River Plate (1956), Manuela (1957) and 
Sea Fury (1958). 

The 1960s brought many, largely 
villainous, roles in TV crime and adventure 
series including The Third Man (1960-5), 
The Odd Man (1960), The Avengers (1961/9), 
Knight Errant Limited (1961), Danger Man 
(1961), several roles in Ghost Squad (1961-4), 
The Saint (1962/6), Z Cars (1962), Maigret 
(1962/3), The Human Jungle (1963), Crane 
(1964), The Protectors (1964), Sergeant Cork 
(1964), Detective (1964), Sherlock Holmes 
(1965), Orlando (1966), Man in a Suitcase 
(1968), Vendetta (1968), Randall and Hopkirk 
(Deceased) (1969), The Champions (1969) and 
Codename (1970). 

Comedy included Hancock’s Half Hour 
(1959), Comedy Playhouse entry And 
Here, All the Way From... (1963), Laughter 
from the Whitehall (1964), Mrs Thursday 
(1967) and Harry Worth (1968). The Stage 


ae DOCTOR WHO | THE COMPLETE HISTORY 


= <a . oe ee | 


wrote of a 1964 episode of The Valiant 
Varneys: “It was grand fun seeing that 
arch villain Roger Delgado - who has 
menaced us in so many serious dramas - 
enjoying himself in a knockabout 
farcical role.” 

In 1971 he jokingly recalled of stage show 
The Diplomatic Baggage (1964, Wyndham’s): 
“1 have often been asked if I wouldn’t prefer 
to play a hero... I did once star in a Brian 
Rix farce. The audience cheered me nightly, 
and do you know I felt ashamed!” 

Delgado was a regular reader and 
presenter of religious television 
programmes including The Final Conflict 
(1963), Seeing and Believing (1964-73), 
Viewpoint (1964-72), Sunday Story (1963-6) 
and Meeting Point (1961/7). 

Ongoing radio appearances most notably 
included seismologist hero Josef Gomez in 
Victor Pemberton’s science-fiction thriller 
The Slide (1966). 

Film work brought more ‘foreign’ roles, 
including Mexicans in First Man into Space 
(1959) and Western The Singer Not the Song 
(1961). Other movies included Crosby 
and Hope’s The Road to Hong Kong (1962), 
spy thrillers The Mind Benders (1963) and 
Hot Enough for June (1964), Hammer’s 
The Terror of the Tongs (1961) and The 
Mummy's Shroud (1967), and also Star! 
(1968), The Assassination Bureau (1969) and 
Underground (1970). He assumed so many 
Arab sheik roles - including Masquerade 
(1965), Khartoum (1966) and The Sandwich 
Man (1966) - he was nicknamed Sheik 
Bl Del: 

In 1970 the Doctor Who production 
team of Barry Letts and Terrance Dicks 
considered developing a Moriarty figure to 
the Doctor’s Sherlock Holmes. Conjuring 
up a recurring renegade Time Lord villain, 
Letts said immediately: “And I know just the 
man to play him!” instantly thinking of old 
acting pal Delgado. 


WTA ee 


His first filming was at the Roberts 
Brothers Circus on 18 September 1970 
for Terror of the Autons. The Master’s début 
was duly transmitted 2 January 1971, 
launched with Delgado on the cover of 
Radio Times. Speaking to RT’s Giles Poole, 
Delgado claimed he would be “more than 
a Moriarty”, and stressed he didn’t want to 
play the role too light-heartededly. 
Contracted for every story of 1971, 
Delgado reappeared in The Sea Devils and 
The Time Monster {both 1972 - see Volume 
18]. Frontier in Space [1973 - see Volume 19] 
was the Master’s unintentional swansong, 
aired 24 February to 31 March 1973. 
Delgado said in 1972 of his Doctor Who 
experience: “Every week it’s something new. 
Every time we get to the set, there’s some 
new beast lumbering about, with some poor 
fellow trapped inside, sweating buckets.” 
Alhough finding work in The Rivals of 
Sherlock Holmes (1971), The Persuaders! 
(1972), Jason King (1972), The Adventures of 
Don Quixote (1973) and the movie Antony 
and Cleopatra (1972), Delgado soon found 
casting directors assumed he was signed 
permanently to Doctor Who, and so asked to 
be written out of the series, agreeing with 


Letts to going out with “a big bang”. The 
Final Game duly began initial planning for 
the finalé of the following season. 

All plans were tragically shelved 
permanently when, almost seven weeks 
after the Master’s last TV appearance, 
Delgado was killed in a car crash on 18 
June 1973, aged just 55. Being driven from 
the airport in Nevsehir, Turkey, the car 
overturned on a corner at speed, plunging 
down a ravine, killing Delgado anda 
film technician. 

Delgado had been filming pan-European 
mini-series La Cloche Tibétaine (Bell of Tibet), 
subsequently aired in France in 1974. An 
episode of The Zoo Gang made the week 
before his death aired posthumously in 
1974, as did a narration for documentary 
The World About Us. 

Most tributes remark on the difference 
between Delgado’s evil screen personae 
and his charming, cultured self, a man 
who spoke several languages and enjoyed 
cartooning. Terrance Dicks wrote in 
1987: “He was a quiet, rather shy man, 
very unlike the egomaniacal villains he so 
constantly played.” 

Although Barry Letts and Katy Manning 
were already moving on, Jon Pertwee 


bas : P Left: 
insisted Delgado’s passing prompted his Rehearsing The 
own departure from the series. Time Monster 
Wife Kismet voiced the Spider Queen ae ri 
n ' 


in Pertwee’s swansong Planet of the Spiders 
[1974 - see Volume 21] and she married 
actor William Marlowe in 1983; Marlowe 
had previously appeared in The Mind of Evil 
[see page 94]. 

Pertwee paid tribute in 1985: “As 
my adversary the Master he was evil 
personified. As a friend, he was the 
opposite; warm, feeling and understanding. 
I shall forever miss him.” 

Marcus K Harmes’ biography I Am Usually 
Referred to as the Master was published 
in 2018. & 


DOCTOR WHO | THE COMPLETE HISTORY — 


THE MIND | 
OF EVIL 


® STORY 56 


As delegates assemble for a peace conference 
in London, the Doctor and Jo investigate 
mysterious deaths at Stangmoor Prison. The 
Master is using an alien mind parasite in a 
plot to steal a deadly missile with which he 
intends to trigger a world war. 


© DOCTOR WHO | THE COMPLETE HISTORY 


DOCTOR WHO | THE COMPLETE HISTORY © 


THE MIND OF EVIL = » stor se 


Introduction 


Right: 
Brave and 
caring... new 
companion 
Jo Grant. 


n many ways The Mind of Evil 

is the archetypal Third Doctor 

adventure. It combines some 

of the more hard-boiled action- 

adventure elements of the 1970 

series, with the more cosy antics 
of the UNIT family that persisted between 
1971 and 1974. 

On one hand, we have a very grim 
premise for a Doctor Who story. It revolves 
around the Keller Machine - a device that 
apparently ‘extracts negative impulses’ 
from the brain. The effect it seems to have 
on hardened criminal Barnham, however, 
is that of a lobotomy. Meanwhile, UNIT 
is trying to juggle the disposal of a deadly 
missile with a series of delicate peace 
negotiations necessary to avert a third 
world war. 

To resolve this situation, however, The 
Mind of Evil takes full advantage of its new 
ensemble cast. The Doctor’s companion Jo 
Grant is both brave and caring - standing 
up to prison thugs and doting over poor 
Barnham. The Brigadier, Sergeant Benton 
and Captain Yates are given a series of 
investigations to pursue, culminating in a 
thrilling rescue mission. 

This story also does a lot to develop the 
newly introduced character of the Master 
who takes centre stage, having shared the 
limelight with the Autons in the previous 
four episodes. Admittedly, he has a deadly 
mind parasite in tow (the secret behind the 
Keller Process) but that operates more as a 
weapon than a monster in its own right. 

Following on from a pattern established 
in the final scenes of Terror of the Autons, 
the Master spends much of this story in 
an uneasy collaboration with the Doctor. 


DOCTOR WHO | THE COMPLETE HISTORY 


In addition to juggling a number of over- 
complicated strategies that are doomed 
to failure, the Master also has to recover 
his dematerialisation circuit that the 
Doctor stole in the previous story. This 
would pave the way for further examples 
of the two Time Lords sabotaging each 
other’s TARDIS - in Time-Flight [1982 - 
see Volume 35}, Planet of Fire [1984 - see 
Volume 39] and Last of the Time Lords [2007 
- see Volume 56]. 

There are more references to previous 
adventures - writer Don Houghton 
alluding to scenes where the parallel Earth 
was engulfed in flame in his previous story 
Inferno |see page 6] and old monsters being 
shown when the Doctor is attacked by the 
Keller Machine. The Mind of Evil is a story 
that exemplifies all that really worked 
about the Third Doctor’s stories, and one 
that despite being self-contained also feels 
like part of an ongoing serial. HH 


OF EVIL DOES A LOT TO 
Pp THE NEWLY INTRODUCED 
ACTER OF THE MASTER. ” 


‘THE MIND 
DEVELO 
CHAR 


DOCTOR WHO | THE COMPLETE HISTORY > 


THE MIND OF EVIL = » stor se 


EPISODE ONE 


he Doctor and Jo pay a visit to 
Te Prison Stangmoor to observe 

Professor Kettering demonstrate 
a process developed by Professor Emil 
Keller. Using the Keller Machine, he will 
extract all the negative impulses from the 
brain of one of the prisoners, Barnham, 
leaving him as a rational, well-balanced 
individual. [1] During the process the 
machine malfunctions, but Kettering 
nevertheless claims it as a success. 

Green, a prison officer, informs 
Summers, the prison doctor, there has 
been a fatal accident in the process room. 
The Doctor examines the dead man; he 
has bites and scratches on his face. [2] 

Meanwhile, the Brigadier is busy 
handling the security arrangements for 
the first-ever World Peace Conference and 
the transport of a Thunderbolt nuclear 
missile. Captain Chin Lee of the Chinese 
delegation confronts the Brigadier, saying 


DOCTOR WHO | THE COMPLETE HISTORY 


that some state documents have been 
stolen from the General’s suite. In fact, 
she has the missing documents, which she 
burns and drops in a bin. [3] 

Summers conducts a post-mortem on 
the dead man. He died of heart failure, 
but had a medical history of a terror 
of rats. Chin Lee calls the Brigadier this 
time to inform him the Chinese General 
is dead. 

Kettering examines the Keller Machine 
and is overwhelmed with visions of 
drowning. He is found dead with his lungs 
full of water. [4] The Doctor is convinced 
the machine is affecting men’s minds. The 
Prison Governor agrees to suspend the 
process and put the room out of bounds. 

The Brigadier visits Chin Lee in her 
suite. She claims to have phoned him 
immediately after discovering the 
General’s body at midday... but it turns 
out she waited nearly half an hour. [5] 

In the process room, the Keller Machine 
makes the Doctor think he is being 
burned alive! [6] 


EPISODETWO Jf 


on the Doctor’s mind. She shows him 

a report, confirming that Kettering 
had a morbid fear of drowning. The 
Doctor explains that he saw fire because 
a while ago he saw a world disappear in 
flames. Yates walks in with orders to take 
the Doctor back to London. The Doctor 
is reluctant, until Yates mentions that the 
Chinese delegate has been murdered. 

Benton has been assigned to trail Chin 
Lee, but she acts as a relay for the Keller 
Machine and causes him to briefly lose 
consciousness. [4] 

Yates confirms the arrangements 
to move the missile over the phone - 
unaware his call is being tapped by the 
Master from a workman’s hut. [2] 

The Doctor and the Brigadier visit the 
replacement Chinese delegate, Fu Peng. 
The Doctor speaks to him in Hokkien, 
much to the Brigadier’s bemusement. [3] 


: o walks in, breaking the machine’s grip 


Jo visits Barnham, who has no memory 
of undergoing the Keller process. 
Summers thinks the machine has turned 
him into either an idiot or a saint. 

The next prisoner due to be treated, 
Mailer, has no intention of turning into a 
zombie and has arranged for a handgun 
to be smuggled into the prison. [4] 

The Doctor thinks there is a connection 
between the delegate’s death and the 
Keller Machine. 

Chin Lee reports to the Master, who tells 
her to kill the American delegate. [5] 

Mailer overpowers his guard and frees 
his fellow prisoners. They start taking 
prison officers hostage - as well as Jo 
and Summers. 

The Brigadier informs the Doctor 
that Chin Lee has been spotted entering 
the Chinese delegate’s suite. Chin Lee 
calls the American delegate, asking 
him to come to the suite on a matter of 
vital importance. He walks in, and then 
watches in horror as Chin Lee transforms 
into a dragon! [6] 


DOCTOR WHO | THE COMPLETE HISTORY 


THE MIND OF EVIL = » store 


EPISODE THREE 


he Doctor, the Brigadier and Fu 
T Peng walk in, cancelling out the 

collective hallucination. Chin Lee 
collapses and Fu Peng spots a telepathic 
amplifier behind her ear, used to project 
impulses from the Keller Machine. [1] 

The next day, the Doctor brings Chin 
Lee to see the Brigadier. She explains 
that she met Emil Keller at an embassy 
reception. The Doctor deduces that 
Keller is the Master! The Brigadier takes 
a call, informing him that Jo is being held 
hostage at Stangmoor. 

At the prison, Barnham creates a 
distraction which enables Jo to grab 
Mailer’s gun. The prison officers regain 
control of the prison. [2] 

The Master arrives at the prison 
under the guise of Keller, and assures 
the Governor that he will be able to get 
things back to normal. He visits Mailer 
and gives him a gas mask, then puts on 


DOCTOR WHO | THE COMPLETE HISTORY 


one himself before throwing some gas 
grenades at the guards outside. [3] The 
Governor manages to raise the alarm 
before Mailer shoots him dead. 

Jo is in the hospital with Summers and 
Barnham when the alarm sounds. [4] 

Mailer and his fellow prisoners take 
control of the whole prison, disguising 
themselves as guards so that when the 
Doctor arrives he notices nothing amiss. 
He is led to the Governor’s office, where 
the Master is sitting in the Governor’s 
chair. [5] The Master says he needs the 
Doctor’s help with the Keller Machine, 
as it has developed a mind of its own; 
he is too busy to do it himself because he 
intends to steal the Thunderbolt missile. 
The Doctor upturns the desk and 
escapes, but when he reaches the process 
room, he finds the Master waiting for 
him there with Mailer. Mailer handcuffs 
the Doctor to a chair and the Master 
activates the Keller Machine, leaving 
the Doctor to face visions of his most 
terrible enemies. [6] 


story 4 


| Mailer and a gang of prisoners leave 
EPIS (0) D E FO U R | the prison in a police van and ambush 


the convoy transporting the missile. [4] 


fter the Doctor loses consciousness, | They shoot the motorcycle escort and 
A: Master returns and - struggling [} Yates and drive off with the missile. Yates 
against its influence - deactivates recovers, grabs a motorcycle and follows 

the machine. The Doctor is revived and them to a deserted airfield. The prisoners 
tells the Master he knows the secret of the |} spot him and, when he attempts to ride 
machine; it contains a creature that feeds off, they shoot him and take him hostage. 
on the evil of the mind. [1] The Brigadier visits the site of the 

The Doctor is put in a cell with Jo. ambush, where Benton tells him that 
The Master places a prisoner, Vosper, on the ambushers used a police van, which 
guard outside and then tells Mailer to | means the ambush was carried out by 
clear the rest of the wing. prisoners from Stangmoor. 

The Master confronts the machine, The Doctor explains to Jo that the 
and it torments him with an image of Keller Machine contains a mind parasite: 
the Doctor laughing at him. [2] He flees, “The deadliest threat to mankind since 
barring the door behind him. He then the beginning of time.” [5] 
meets Mailer and outlines his plan to The machine now has the ability to 
hijack the Thunderbolt missile and aim it move by teleportation and when the 
at the peace conference. Doctor and Jo return to the process room, 

The following morning, Jo and the they find it empty. Mailer and Vosper catch 
Doctor (who has now recovered) escape them, but then the machine rematerialises. 
from their cell and hide out in the It kills Vosper and Mailer flees, leaving the 
Governor’s office. [3] Doctor and Jo with the machine... [6] 


DOCTOR WHO | THECOMPLETE HISTORY 101 


THE MIND OF EVIL = » store 


he Keller Machine disappears, as it 
Te a higher concentration of 
evil in Mailer. 

The Brigadier flies over the prison in 
a helicopter. The Doctor and Jo try to 
attract his attention to no avail and 
are recaptured. [1] 

Mailer calls the Master, who is at the 
hangar where he has tied Yates to a chair 
to use as a hostage. 

The Doctor, Jo and Barnham are 
brought before Mailer in the Governor’s 
office. The Doctor and Jo try to persuade 
Mailer that the Master is just using him, 
but Mailer is unmoved. [2] 

The Brigadier is convinced the missile 
is being held at the prison and formulates 
a plan of attack with Major Cosworth. 

The Master returns to the prison and 
visits the Doctor and Jo. The Master asks 
the Doctor to help him control the Keller 
Machine and the Doctor agrees. 


DOCTOR WHO | THE COMPLETE HISTORY 


Yates frees himself, overpowers his 
guard and escapes. [3] 

The Doctor outlines a plan to 
immobilise the machine by throwing a 
plastic coil over it, then setting up an 
electric current on the same frequency 
as the beta rhythms of the human brain. 
With the Master’s help, he confronts the 
machine in the process room and traps it 
within the coil. [4] 

The Doctor is returned to his cell with 
Jo, where he tells her about the time he 
shared a cell in the Tower of London with 
Sir Walter Raleigh. [5] 

The Brigadier, disguised in workman’s 
overalls, convinces the prisoner in charge 
of the main gate to let him bring in a van 
of food and booze. Once they’re inside, 
some UNIT soldiers climb out of the back 
and a shoot-out ensues. [6] 

Mailer takes the Doctor and Jo 
hostage. They get as far as a stairwell, 
then Jo knocks Mailer down. Mailer 
aims his pistol at the Doctor and a shot 
rings out. 


he shot was fired by the Brigadier, 
Tees in the nick of time, and 

Mailer collapses, dead. [1] The 
Master, however, has got away and 
returns to the hangar. 

The prisoners are returned to their cells 
and the Brigadier receives a call from 
Yates giving the location of the missile. 

The machine burns through the coil 
and escapes, killing two prison officers. 
[2] The Doctor and Jo find one of its 
victims and enter the process room. The 
machine reappears, but then Barnham 
walks in. He is immune to the machine’s 
influence, and when he approaches it, his 
mind acts as a screen and neutralises it. 
The Doctor opens the top of the Keller 
Machine to reveal the mind parasite. [3] 

The Brigadier joins Cosworth and Yates 
near the airfield. Cosworth explains that 
the missile has an abort mechanism, so 
they can blow it up on the ground. 


Story 


The Master calls the Doctor, who 
offers to return his dematerialisation 
circuit in return for the rocket. [4] 

A remark from Jo gives the Doctor 
an idea to use the Keller Machine 
against the Master. He drives to the 
airfield with Barnham, Jo and the 
machine in the back of a police van. 
The Doctor meets the Master and 
shows him the dematerialisation circuit, 
then kicks the Master’s gun out of his 
hand as Barnham and Jo run into the 


| hangar, leaving the Master at the mercy 


of the machine. [5] 

The Doctor aborts the missile launch 
and leaves in a helicopter with Jo. The 
Master gets into the van and runs 
Barnham down before driving off, 
moments before the missile blows up 
and the Keller Machine is destroyed. [6] 

The Doctor rejoins his friends back 
in the prison. He answers a call from 
the Master. It turns out he got his 
dematerialisation circuit back during the 
struggle and will be leaving Earth. 


DOCTOR WHO | THE COMPLETE HISTORY 103 


Above: 

The Doctor 
finds himself 
in another 
battle with 
the Master. 


THE MIND OF EVIL © 


A 


— 


4 


, 


Pre-pro 


ecause of his prompt delivery 
; and rewrites on Inferno [1970 - 
ash see page 6] for the 1970 series 
. of Doctor Who, producer Barry 
ee _ Letts and script editor Terrance 
~ Dicks immediately asked Don 
Houghton to submit a further storyline 
for the 1971 series. He was commissioned 
for a treatment under the title Pandora 
Machine on Monday 29 June 1970 to 
deliver a scene-by-scene breakdown of his 
story by Friday 10 July. After completing 
a serial for Thames Television’s telefantasy 
series Ace of Wands, Houghton launched 
himself into his new six-part Doctor Who 
storyline. He had been impressed with 
production on Inferno, and liked both Jon 
Pertwee’s Doctor, and the format of the 
Doctor’s exile on Earth. The proposed title 


® DOCTOR WHO | THE COMPLETE HISTORY 


vwetion 


' was inspired by the idea of The Pandora 
Machine, grew out of discussions between 


Dicks and Houghton about a creature that 


fed on fear and evil. Houghton’s principal 


concern was the moral issue of tampering 


with people personalities for supposedly 
‘s00d’ purposes, and he was heavily 
influenced by Anthony Burgess’ 1962 
novel A Clockwork Orange and methods 
of rehabilitating dangerous criminals. 
The method created by the Master was 
the Malusyphus Process, and the first 
prisoner to undergo the test under the 
eye of neurosurgeon Charles Kettering 
was Prisoner 829 (George Patrick 
Barnham) who subsequently played 
Russian roulette with a loaded revolver. 
The East/West distrust at the Summit 
Conference supervised by the Brigadier 


ss Pre-production f 


in London was far more prominent, with 
the American delegate being framed for 
the murder of the Chinese delegate when 
Chin Lee left his ID tag in the corpse’s 
hand to be discovered by Captain Mike 
Yates. The Brigaider assigned Yates to 
transport a new nuclear rocket missile - 
NRM - to a test site secret installation. 
The Malusyphus box’s first attack on the 
Doctor conjured up glowing octopoidal 
tentacles which attempted to strangle 
him; Jo’s greatest fear was revealed to be 
bats when trapped in the Q Block process 
chamber. The Master made his arrival in 
Episode Two, entering UNIT’s London 
HQ disguised as a phone technician to bug 
the Brigadier’s phone - a transmitter later 
discovered by the Doctor. Arriving at the 
conference and looking at the General’s 
corpse, the Doctor soon determined 

the involvement of the Master; the dead 
man’s neck had been broken by someone 
using Venusian karate (a martial art 
which Houghton had introduced for the 
Doctor’s use in Inferno). The conclusion of 
Episode Two was markedly different than 
the final version, centering on an attempt 


by Chin Lee to destroy the conference 
using Kredalite explosive in a briefcase 
which would be sonically detonated by 
the conference room clock. The Brigadier 
was to be captured during the prison 
riot, along with the Doctor and Jo, while 
the prison governor was hypnotised 

by the Master posing as Dalbiac; the 
Brigadier was then hypnotised to alter 
the convoy route for the NRM, allowing 
it to be hijacked. When confronting his 
past enemies (including ‘Primords’ (from 
Inferno), Silurians, Daleks and Cybermen, 
the Doctor combatted the visions by using 
Andromedic yoga. The stolen missile was 
hidden at the workshops of Stangmoor 
Prison with Yates hidden on board; Yates 
was then menaced by a ‘Gorgon-type’ 
monster (‘a horrific and vicious looking 
thing, an embodiment of all the evil 
contained in the “box”’) conjured up 

by the Malusyphus box, and the same 
creature later menaced Jo and Yates when 
the Master placed them in its path. 


_ 


T he cliffhanger to Episode Four was 
Left: 


of the convicts surrounding the arisen 
Doctor’s party in the prison, only to succumbs 
be scared off when the box created visions toa 
; : Keller process. 
of ‘the outline of a gallows - with a body 
swinging gently on it’ in their minds. 
Another attempt to disrupt the Summit 
Conference was the Master telephoning a 
bomb scare and blaming the CIA and the 
American delegate. Prisoner 829 was killed 
at an earlier stage and, in Episode Six, the 
Doctor used a mirror to defeat the Gorgon 
with its reflection - in this case the NRM 
transporter’s mirror. The Doctor then 
crashed the missile transporter out of the 
workshop, although the Master has primed 
the weapon to fire in 29 minutes. Yates 
then drove it to the countryside where it 


DOCTOR WHO | THECOMPLETE HISTORY 105 


THE MIND OF EVIL = » store 


Right: 

The deadly 
Thunderbolt 
missile. 


Connections: 


Fire alarm! 


® When attacked by the 
Keller Machine, the first 
vision seen by the Doctor 

ame, He 


iS a wall of fl 


explains this to Jo as 
being becau 
world destroyed in fire 
recently, referring to 
Inferno [1970 - see 
page 6]. 


sehesawa 


would explode and destroy the Malusyphus 
box, but the Master tried to recapture it 
disguised as the driver of a Jeep. After the 
missile and box were destroyed, a farmer’s 
truck picked up a ragged hitchhiker - who 
turned out to be the Master. 

Houghton had been wary of the prison 
having the ablity to support a full six- 
episode storyline. 

Houghton was commissioned to write 
the six scripts of The Pandora Machine on 
Thursday 6 August with a deadline of 
Tuesday 1 September. 

The draft scripts for The Pandora Machine 
were typed by Houghton’s wife, Malaysian 
Chinese actress Pik-Sen Lim whom 
Houghton had met while working on the 
ATV soap Emergency Ward 10 in which 
Pik-Sen played Nurse Kwei. These were 
closer to the finished serial than the story 
outline. In Episode One - completed on 
Saturday 8 August - when observing the 
Malusyphus process, the Doctor recalled 
how he had advised that a similar method 
be abandoned on Larpis Major, 2000 
years ago. The Master’s alias was Professor 
Emil Dalbiac (a name which Houghton 
later used for a villain in Nightmare Gas, a 
script for Ace of Wands). In Episode Two, 
at Stangmoor the next victim for the 
Malusyphus process was ‘multiple-killer, 
ex-gangster’ Prisoner 653 
Harry Mailer. Mike Yates 
arrived with a minimal 
convoy at the Weapons 
Research Establishment site 
where he was warned by 
Mr Carr that the NRM was 
highly unstable. Chin Lee’s 
appearance as ‘a horrific, 
terrifying Chinese Devil- 
Mask... its eyes blazing 
fearfully’ was defeated at 
the start of Episode Three 
by the Doctor using a 


106} =DOCTOR WHO | THE COMPLETE HISTORY 


Venusian pressure hold on her neck, and 
the American delegate was told that the 
beast was a hallucination brought on by 
his allergic reaction to jellied eels! The 
Doctor’s return to Stangmoor was delayed 
when he had to rebuild Bessie’s faulty 
engine en route; he released himself and 
Jo (or “Lieutenant Grant” as the Brigadier 
referred to her) from their prison cell 
using a handkerchief owned by Madame 
de Pompadour and the Master’s sonic 
transmitter which knocked out their 
guard. Yates was present at Stangmoor 
with the hijacked NRM, and the Doctor 
mended his radio with carbon paper so 
that they could warn the Brigadier about 
the Master launching the missile. As UNIT 
arrived, the Master stole the NRM and 
took it to Stangmoor Quarry to trade for 
his dematerialisation circuit; the Doctor 
was caught in the explosion and recovered 
in hospital where the Brigadier had 
humorously brought him a ‘magic hand’ 
money box as a present. The Master joined 
a group of hikers on the moors. The script 
for Episode One again had the Doctor 
referring to himself being thousands 

of years old, which was in keeping with 
comments he had made in Doctor Who 

and the Silurians {1970 - see Volume 15]. 
One of the character names, Trustee 524 


AAR 


Vosper, was inspired by Houghton’s agent, 
Margery Vosper Ltd. The Chinese General 
was named after his father-in-law, the 
palm oil magnate Lim Cheng Taik. Episode 
Two was dated Thursday 13 August with 
the subsequent instalments completed on 
Monday 17, Thursday 20, Sunday 23 and 
Saturday 29. Houghton delivered Episodes 
One to Five on 1 September, with Episode 
Six following a few days later on Friday 

4. When Houghton submitted his draft 

of Episode Six to Dicks, he commented 
that the closing scenes at UNIT HQ 

could be modified to lose Benton and the 
radio operator, and that he imagined the 
Stangmoor Quarry scenes to be done 

in studio. 


‘Timothycombe 


he director appointed to the 
Tests was Timothy Combe, 

who had greatly impressed Letts with 
his handling of the technically demanding 
Doctor Who and the Silurians (which had 
been in production when Letts joined the 
show) and whose previous credits on the 
series had been as assistant floor manager 
on The Keys of Marinus [1964 - see Volume 
2], and production assistant on The Reign 


: 3] and The Evil of the Daleks 


Pre-production 


of Terror [1964 - see Volume . 
Connections: 


Hopeless 
® Arriving at the gates 

of Stangmoor Prison, the 
Doctor quotes, “Abandon 
hope all ye who enter 
here.” This is the legend 
written above the gates 
to Hell in Dante Alighieri’s 
fourteenth-century 
poem, Inferno. 


[1967 - see Volume 10]. Since 
working on Doctor Who and 
the Silurians, Combe had been 
handling episodes of two 
BBC1 twice-weekly series: 

the police procedural Z Cars 
and the medical drama 

The Doctors. 

Combe liked the script 
because it was a fantasy 
adventure that also addressed 
contemporary issues: peace conferences 
and the resocialising of criminals. He was 
keen for the serial to become an action- 
packed psychological thriller. A concern for 
Combe, when he read the script, was the 
casting of East Asian artistes in the roles of 
the Chinese delegation. After going to the 
a specialist agency, he was disappointed 
with the actors and actresses he had seen 
but Letts then told him that Houghton 
was married to Pik-Sen Lim, and she was 
subsequently cast as Chin Lee. 

As with Terror of the Autons and most of 
the 1971 series, the make-up designer was 
Jan Harrison. Costumes were supervised 
by Bobi Bartlett, who had worked on 
The Invasion [1968 - see Volume 13], The 
Krotons [1968/9 - see Volume 13] and The 


Left: 
Seeds of Death [1969 - see Volume 14]. cater Chin 
Special sound was handled as usual by Lee is under 
Brian Hodgson of the BBC Radiophonic idee 


Workshop who was assigned to The 
Pandora Machine in October 1970 and who 
developed 15 new sounds, mainly for the 
Keller Machine. 

The prison uniforms caused problems 
for Bartlett who contracted the work out 
to a former Bermans & Nathans employee 
who had gone freelance. Unfortunately 
he was arrested, accused of theft from 
his previous employers, before making 
the outfits, so Bartlett had to visit him 


DOCTOR WHO | THECOMPLETE HISTORY 107 


THE MIND OF EVIL = » stor se 


Right: 

The Doctor and 
Jo are taken 
prisoner by 
the prisoners. 


in prison to locate the material and have 
another contractor finish the work. 

The Krotons had also been a serial 
overseen by set designer Raymond 
London, who was assigned to work on The 
Pandora Machine, and who had previously 
designed The War Machines [1966 - see 
Volume 8]. On the visual effects side, 
Combe again worked with James Ward 
who had previously handled Doctor Who 
and the Silurians. 

It was also clear that Doctor Who and the 
Pandora Machine would be an expensive 
serial to make, a factor partially allowed 
for by cost-cutting on Terror of the Autons. 
The cast was large, and a lot of filming was 
required. Other requirements contributing 
to the costs were the hiring of a limousine 
for the Master, the hijacking of the 
Thunderbolt missile (the new name for the 
NRM) and the storming of Stangmoor by 
UNIT. These latter two sequences required 
the use of RAF teams and stunt men from 
Havoc, both of whom needed time to 
rehearse and plan the action routines. 

A side effect of the high costs for the film 
material was that the scenes for Episodes 
Five and Six set at the UNIT Mobile HQ 
were rescheduled to be made in studio 
instead of on location. 


\The Keller Machine 
n Friday 4 September, the serial was 
retitled The Mind of Evil by the BBC 
for reasons which Houghton was 

never sure about. In the camera scripts, 

the Governor was ‘Major Victor Camford’ 

described as ‘military bearing, a bit “old 

school” and set in his ways’. Doctor Roland 

Summers was ‘a tired-eyed, subdued man’ 

while ‘Professor Charles Kettering’ was 

‘consultant neuro-surgeon to the Ministry 

of Prisons and Social Resettlement - a 

keen, impatient, professional man’. The 


DOCTOR WHO | THE COMPLETE HISTORY 


Keller Machine was ‘an elevated operating- 
type table. At its head there is a dome large 
enough to cover a man’s head. From the 
dome there runs a series of tubes. Some 

of them clear plastic, others opaque, and 
wires which are fed into an electronic 


console. And from this console a single 
heavy-duty metallic tube runs to the 
reservoir, hereinafter called - the “Box”. Its 
size is about two-feet by three-feet deep, 
made of heavy steel and lead and strongly 
re-enforced. It’s probably black in colour 
and it stands on a heavy cabinet some 
distance from the table. On the front of the 
“Box” is an indicator dial numbered from 
zero to one hundred. A pointer registers 
at sixty-five.” In the camera script, ‘Emil 
Keller’ was amended to ‘Emile Keller’ and 
Captain Chin Lee was described as ‘an 
attractive, crisp girl of about 24... She is 
dressed in a smart uniform of the Chinese 
People’s Army, Diplomatic Division 

(not the shapeless, baggy uniform of the 
Red Guard or infantry)? Fu Peng was 
introduced in Episode Two as ‘a stone- 
hard, unbending man’; for the scenes in 


Hokkien or Cantonese, the script suggested 
superimposing ‘subtitles, translating 

the dialogue, as per a foreign film’. The 
dialogue was given in Hokkien/Cantonese 
and in English. Mailer is described as 

a ‘tough, vicious thug’. When Chin Lee 
attacks Senator Alcock in Fu Peng’s suite, 
‘over her entire figure a horrific Chinese 
devil-mask is forming, suspended in the 
air... Its eyes blazing fearfully, its mouth 
opening as though to devour him. Chin 
Lee herself has completely disappeared. 
Alcock screams as the nightmare monster 
blots out everything else in front of him. 
It swoops in to attack him... He sinks to 
his knees as the devil-mask towers over 
him appallingly..’ In Episode Three, when 
the Master arrives at Stangmoor, he is 
‘dressed like a Harley Street surgeon, 

and carries a small black bag’. When 

faced with the Keller Machine, the stage 
directions indicated, ‘We see a whole 

host of the Doctor’s past, nightmare 
opponents moving slowly towards him. 
Daleks, Primords, Silurians, Cybermen... 
When the Master was exposed to the box 


in Episode Four, ‘The screen fills with 
an image of the Master’s own particular 
fear - a giant Doctor Who’ The script 
indicated that the box, when mobile, could 
‘swing round’ to confront its victims. 
Major Cosworth, introduced in Episode 
Five, was ‘a precise, fussy man’, and the 
dialogue from the prisoner who found 
the Doctor and Jo signalling to the UNIT 
helicopter (an element added by Combe as 
an effective means of the Doctor escaping 
the climactic explosion) was originally 
scripted to be Fuller. The device rigged up 
by the Doctor was described as ‘a special 
“Dr Who” type junction box’. 

On Monday 12 October, two weeks 
before the main location filming was 
due to take place, Richard Franklin and 
Laurence Harrington recorded some 
lines of dialogue that would be heard 
over phone and radio, for use in the film 
sequences for Episodes Two and Five. 
Franklin was playing his usual character 
of Captain Mike Yates, and Harrington 
provided the voices of Mr Carr, a UNIT 
transport officer, UNIT’s Greyhound 7 and 
the ‘Chief’. 


Below: 

The Master's 
plan is too 
much for Jo and 
the Doctor. 


DOCTOR WHO | THE COMPLETE HISTORY 


109 


THE MIND OF EVIL =» stress 


Seaees \ \ NNER 


Production 


small amount of model 
filming was undertaken 
covering the explosive 
destruction of the hangar 
and the Thunderbolt missile, 
at the end of Episode Six. 
Jim Ward built the model of the hangar 
following a recce of the life-size version 
that would be used for the location shoot. 
The six-inch model of the missile was 
made by Ward’s assistant, Dave Havard. 
Filming for The Mind of Evil took place 
from Monday 26 October, with the crew 
having completed recording on Terror 
of the Autons the previous week. Barry 


— 
POLICE 


~ * 


€> DOCTOR WHO | THE COMPLETE HISTORY 


OTHE TANOEREOLT HES 


Letts was able to secure the help of the 
RAF on the serial, letting slip that the 
Army had already provided troops and 
equipment for The Invasion [1968 - see 
Volume 13] two years earlier. An agreement 
was reached in which the 36th Heavy 

Air Defence Regiment would provide 
personnel, equipment and vehicles to 
support the production. 

The main location for the first three 
days of filming was Dover Castle in Kent, 
with the castle and its grounds being used 
as the exterior of Stangmoor Prison. The 
BBC team had applied to the Home Office 
for permission to film at a real prison 


D MISSILE 


THE MIND OF EVIL = » store 


Connections: 
Jailhouse 
» The name of the 


for some of the Stangmoor 
sequences, but was told that 
this would not be possible. 
Because the castle looked 


Pandora's box 
® The original title of 


prison in The Mind of Evil, 
Stangmoor, is fictional 
and was created by 
author Don Houghton by 
DY combining the names 


more like a fort than a 
prison, a line of dialogue in 
which the Doctor told Jo how 
it had been a Middle Ages 
fortress was added. 
Shooting on the first 
day, Monday 26 October, 
was scheduled for 1lam 
to 5.30pm after the unit 
had travelled down from 
Television Centre (with John 
Levene driving Jon Pertwee), 
starting at the castle’s 
Constable’s Gate which was 
dressed with a sign reading 
‘HM Prison Stangmoor’ and 
a prop surveillance camera. 
Sequences scheduled for the 
first day included the Doctor 
and Jo’s arrival in Bessie in Episode One, 
the Master’s arrival by Daimler Limousine 
and the Doctor’s return in Episode Three, 
the arrival of the Brigadier in his Ford 
‘Transit van along Constable’s Road in 
Episode Four and also the Black Maria 
leaving the prison in Episode Six. The 
fight sequences were arranged by Havoc 
stuntman Derek Martin, who also played 
a prisoner and worked with his colleagues 
Roy Scammell, Mike Stevens, Marc Boyle 
and Terry Walsh as UNIT soldiers. The 
vehicles were supplied by Kingsbury 
Motors, and between takes Jon Pertwee 
and Katy Manning enjoyed exploring the 
fortress; the show’s two leads were both 
taken with the sophistication of the story. 
There were problems with Bessie which 
arrived with a damaged fibreglass trim 
and had problems starting because of a 
corroded battery or regulator failure. Two 
16mm cameras - one silent - were used to 


of two real prisons: 
Strangeways 
and Dartmoor. 


the story, The Pandora 
Machine, was inspired 
by the Greek legend of 


Pandora who opened a 
sealed jar that held 
all the evils of 
the world. 


DOCTOR WHO | THE COMPLETE HISTORY 


capture some of the action sequences from 
two angles. 

The UNIT troops then took up their 
position in the stables area within the 
castle’s grounds. 

Following the first night, staying in 
various hotels in Dover, work from 8.30am 
to 5.30pm on Tuesday 27 used four 
different areas of the castle. The Doctor 
being pursued by the convicts was filmed 
first for the end of Episode Three, followed 
by the scenes of the Master sending the 
prisoners out to hijack the missile and 
their subsequent return in Episode Four; 
these all used the Keep yard by the King’s 
Gate. The Master’s departure in Episode 
Four was also filmed along with elements 
of the UNIT battle against the inmates 
in Episode Five filmed in the stables area. 
Other shooting at the castle used the 
perimeter and entrance for Benton’s 
party to mount their attack at the end 
of Episode Five, preparing to climb the 
walls at the Barbican by the King’s Gate 


es Production f 


and the Fitzwilliam Gate entrance. The 
Keep again featured as the Brigadier 
signalled his men to move in during 
Episode Five, while the yard area again 
featured in the ensuing battle along with 
the roof of the inner bailey. 


. Batman and Robin” . 


ombe planned the action sequences 
as thoroughly as he could. By filming 


some shots from the top of the 
Keep, a dramatic battle could be captured 
between criminals and UNIT. The castle 
allowed plenty of steps and walls from 
which convicts could be shot or fall down. 
The UNIT troops sealing the fortress were 
a team of eight Marines whose services 
Combe and Letts had been able to secure. 


Combe and film cameraman Max Samett 
tore around the castle at speed grabbing 
exciting shots from various vantage points 
and became nicknamed “Batman and 
Robin” by the crew. However, the autumn 


light started to fail earlier than expected, 
and Combe had not got all the shots 
he wanted. 

From 8.30am on the morning of 
Wednesday 28, the ambush of the missile 
convoy in Episode Four was filmed on 
Archer’s Court Road in Whitfield, just 
outside of Dover. The Thunderbolt missile 
was a genuine Thunderbird missile loaned 
to the BBC by the RAF’s 36th Heavy Air 
Defence Regiment, based at Horseshoe 
Barracks, Shoeburyness. The key action 
scene of the hijacking of the Thunderbolt 
made use of four motorcyclists and two 
UNIT Land Rovers as escort on the main 
lorry towing the weapon behind it. Again, 
this was choreographed by Havoc and 
saw Walsh, Boyle, Scammell and Stevens 
joined by Billy Horrigan, Max Diamond 
and Derek Martin as prisoners and UNIT 
soldiers. During the hijack sequence, 

John Levene was hauled from the lorry 

cab by one of the stuntmen playing a 
convict. Keen to make the whole affair look 
convincing, Levene fell heavily to the road 


: : : Left: 
below, catching his leg in the process and Jolooks after 
badly injuring himself. the Doctor 
With the filming of the ambush eee patos. 


completed, the production crew returned 
to Dover for the afternoon where from 
2.45pm shots were filmed 

of a Sud Aviation Alouette 

II Astazou helicopter 
(G-AWLC) hired from 
Héli-Union, appearing as 
Windmill 347 at the start of 
Episode Five, flying over the 
castle. Combe had been keen 
to make use of a helicopter 
in the story, feeling it was 
the only credible means of 
escape from the exploding 
Thunderbolt missile for the 
Doctor and Jo at the climax 
of the story. Combe felt 


Keller Machine. 


Connections: 

No press 

® The Brigadier gives 
the order that a'D’ 

notice should be issued 


to prevent the press 


reporting the death of the 
Chinese delegate. AD’ 
notice is alegally binding 
estriction that prevents 
the publication of anything 
hat might jeopardise 
national security. 


DOCTOR WHO | THE COMPLETE HISTORY 


Above: 

The Master's 
men open 
fire on the 
UNIT forces. 


confident about using the helicopter to 
good effect, having previously included 
one in Doctor Who and the Silurians. This 
late addition (plus delays involving 


accidents with cast and stuntmen) was 

to push the budget over its limit, and 
make it even more expensive than The 
Invasion. Combe’s overspending meant that 
Letts, a budget-conscious producer, was 
reluctant to use Combe again - despite his 
competent work. 

At the end of the filming day which was 
scheduled to wrap at 5.30pm, Pertwee 
was driving John Levene and both were 
still in costume. Pertwee suggested that 


Connections: 


Chairman Mao 


® The Doctor claims to have 


been friends with tyrant 
Mao Tse- Tung. This may 


seem like an un 


friendship, and 
earlier draft of t 
it was explained 
was actual 
grandfat 


ikely 


inan 


he script 
that it 
y Mao's 
her that 


the Doc 


or knew, 


Levene, who still had fake 
blood on his face, should run 
into a chemists and ask fora 
sticking plaster, whereupon 
he would run in too. The 
actors performed the stunt, 
but Levene’s metal studded 
boots caused him to slip on 
the shop floor and hit the 
counter. Both actors then 
signed autographs for 
the public. 

On Thursday 29, filming 
moved north to RAF 


414 DOCTOR WHO | THE COMPLETE HISTORY 


Manston aerodrome for the scenes of the 
Thunderbolt missile in the hangar and 

on the airfield near Stanham, with the 
helicopter once again present, but this time 
masquerading as Windmill 342. Shooting 
was scheduled for 8.30am to 5.30pm, with 
the RAF supplying a ground crew for these 
scenes. Unfortunately, the RAF personnel 
were in uniform as troops instead of 

being dressed as prisoners, an oversight 
which was not realised during shooting. 
Because of this, Dicks amended the studio 
recording script to have the Master explain 
that the men were ‘hired mercenaries in 
fake uniforms’ when talking to Yates in 
Episode Five. 

The first scene planned for the day 
included a stunt which did not go quite 
according to plan: Yates’ capture by the 
Master’s mercenaries at the hanger in 
Episode Four after watching the convicts 
deliver the Thunderbolt. Richard Franklin 
was meant to drive off on a motorbike 
in one shot, whereafter a stunt double 
would be shot at and winged from the 
vehicle. Although supervised by stunt 
expert Derek Ware, Franklin was unhappy 
with the mode of conveyance; he arrived 
at rehearsals daily on a Honda 50 but 


es Production f 


was inexperienced on larger bikes such as 
the new Triumph with which he was now 
confronted. The actor let the cycle slip 
from between his legs, fell to the ground 
and watched as the machine proceeded to 
smash into a pile of crates. However, the 
sequence was considered to look good, and 
was retained. 

The next two scenes planned for Episode 
Five may not have been filmed; these 
covered the Master leaving the missile at 
the hangar and shots of Mike’s subsequent 
escape from the premises. The third scene, 
of the Master watching the rocket being 
readied, would ultimately appear at the 
start of Episode Six, and the remaining 
scene was to have shown the Master having 
the prisoners and mercenaries tending the 
Thunderbolt gassed. 

The final scenes of the serial filmed on 
this day saw the use of the part of the 
Keller Machine that housed the alien 
mind parasite (an element suggested to 
Houghton by Dicks), a prop made by 
visual effects assistant Dave Havard. The 
base of the machine was equipped with 
flashing lights and dials, and inside the 
main cylinder was housed the parasite 
itself. There was also provision made to 
pump foam from the BBC’s fire-fighting 
foam generator out through the prop for 


the climactic sequences as the 
parasite perished. Letts had 
been disappointed when he 
first saw it demonstrated at 
the effects workshop as it was 
not particularly scary, and 
had asked for modifications 
to be made to what struck 
him as a cheap arcade 
machine. Bill Horrigan 
doubled for guest star Neil 
McCarthy in the scene where 
Barnham was run down by the Master. 
McCarthy had been cast by Combe because 
he had worked with him on BBC1’s 1967 
adaptation of Great Expectations. 

Thursday 29 also included a photoshoot, 
with BBC photographers taking publicity 
shots of Pertwee, Manning and Delgado. 


—— 


Ee ilming moved to RAF Swingate in 


Connections: 
Nurse Jo 
® Vosper refers to Jo as 
“a proper little Miss 
Nightingale” This is a 
reference to Florence 
Nightingale (1820-1910), 
the founder of modern 
nursing who served during 
the Crimean War. 


Dover from 9am on Friday 30, for 

various scenes from Episode Three, 
including the convoy passing by a research 
station which included a forced perspective 
shot using the model of the Thunderbolt 
missile, a Land Rover failing to start, Yates 
telephoning the Brigadier, and the Doctor 
driving off in Bessie. In the afternoon, 
two scenes of the convoy on the move for 


; Left: 
Episodes Three and Four were filmed on Sacer 
Pineham Road in Guston, on the outskirts Kettering 
of Dover through to the estimated wrap ae = 
time of 3.30pm. Machine: 


Having viewed some of the rushes, Letts 
was concerned that the battle sequence 
at the castle lacked pace due to much of 
it having been filmed in a single shot; he 
suggested to Combe that the assembly 
lacked cut-ins and close-ups and that 
these should be addressed in a reshoot. 
On Saturday 31, a minimal crew returned 
to Dover Castle for the remount of the 


DOCTOR WHO | THECOMPLETE HISTORY 115 


THE MIND OF EVIL = » store 


Connections: 

To the tower! 

® The Doctor tells Jo that 
he was once imprisoned 
in the Tower of London 
with Sir Walter Raleigh 
who “got into some trouble 


with Queen Elizabeth... 
He kept going on about 
this new vegetable of his 
he'd discovered, you 
see, called 
the potato.” 


Right: 

Jo andthe 
Doctor shelter 
from the 
mental assault 
of the alien 
parasite. 


battle scenes with Combe 
appearing as the convicts and 
production assistant John 
Griffiths as the UNIT soldiers 
to save having to rehire 

the actors. 

Following a day off on 
Sunday 1 November, filming 
relocated to London from 
Monday 2 where shooting 
was planned for 9am to 
5.30pm. The location for 
the day was 24 Cornwall 
Gardens in Kensington which 
would be used as the exterior 
of UNIT HQ. For the scene in Episode 
One where Chin Lee burns the missing 
papers in a children’s playground in the 
square opposite UNIT HQ, Combe’s own 
children and Bobi Bartlett’s son, Blake, 
appeared playing in the background, 
counterpointing the evil of the Master’s 
scheme with the innocence of the 
youngsters. A wind machine was used for 
some of these scenes, and Lim wore the 
telepathic amplifier prop behind her right 
ear. Across the street from the offices was 
placed a prop telephone exchange box 
and a workman’s hut, for the sequences 
in Episode Two where the Master tapped 
into the UNIT telephone conversations 
between Yates and Carr. As with Terror of 
the Autons, Delgado wore a thin fabric mask 
in his guise as the telephone engineer. This 
venue also appeared in Episode Three 
as the Doctor and Chin Lee returned to 
UNIT HQ past an Electruk Rider E15 milk 
float also furnished by Kingsbury. 

Filming continued at 24 Cornwall 
Gardens from noon on Tuesday 3 with 
a scene of Yates arriving at UNIT HQ in 
Episode One, although this was eventually 
cut from the finished episode. 

By 2.15pm, it was planned that the crew 
would be working at the nearby Cornwall 


DOCTOR WHO | THE COMPLETE HISTORY 


Gardens Walk, which had previously been 
used prominently in The War Machines. The 
scenes shot here were of Sergeant Benton 
trailing Chin Lee and falling under the 
mental assault of the Keller Machine in 
Episode ‘Two. Originally another character 
was to have fulfilled this role, but the actor 
concerned fell ill so John Levene as Benton 
stepped into the role. 

The remainder of the afternoon from 
around 4.15pm to 8.30pm as well as 
part of the following day was devoted to 
filming at the Commonwealth Institute 
on Kensington High Street. Here, shots of 
Mike Yates leaving in Episode One as well 
as the Doctor meeting Fu Peng in Episode 
Two were filmed. This latter scene 
involved the arrival of the international 
delegates at the conference, among them 
was Francis Williams playing the African 
delegate. However, Combe found that 
the actor playing Fu Peng, Singapore- 
born Andy Ho, was unsuitable due to his 
lack of vocal variation. Although Ho had 
a great deal of TV experience, Combe 
decided to replace him with a new actor 
for the studio scenes. Consequently, the 


WA RABN 


film scene could not be used in the final 
version of the episode. 

While the film for the serial was being 
developed at Denham Film Labs, there was 
an accident; part of the building collapsed 
because of an artesian well and some of the 
negatives for the convoy sequences filmed 
on Friday 30 October were badly scratched. 
This necessitated a reworking of some of 
the convoy sequences during Episode Three 
and a restructuring of some of the storyline. 


Casting 


ehearsals for the studio recording of 
Episodes One and Two at the BBC 


Rehearsal Rooms in Acton began on 
Sunday 8 November. Since Delgado was 
absent from Episode One and appeared 
on film sequences only for Episode Two, 
he was not needed for the recording or 
the two weeks of rehearsals leading up 
to it. Singapore-born actor Kristopher 
Kum who ran an agency specialising in 
East Asian actors - Andy Ho’s agency - 
offered to replace his client and was now 
cast as Fu Peng, learning to speak with 
a Hokkien dialect rather than his own 
Cantonese. Michael Sheard, cast as Dr 
Roland Summers, had previously appeared 
as Rhos in The Ark [1966 - see Volume 7]. 
Of the four prison officers (two of whom 
were referred to as Samuels and Johnson), 
Bill Matthews had played Davis in Doctor 
Who and the Silurians the previous year, 
while Dave Carter (a long-standing extra 
since 1966) had been several Silurians 
in Combe’s previous serial, a Primord in 
Inferno [1970 - see page 6] and a museum 
attendant in Terror of the Autons. Haydn 
Jones appeared as Vosper, having provided 
the Auton leader voice in Terror of the 
Autons a few weeks earlier; Combe cast him 
having spotted him on the stage. Pertwee 
was delighted that Senator Alcott was 


Left: 
Pik-Sen Lim, 
who played 
Chin Lee, was 
married to the 
author of The 
Mind of Evil, 
Don Houghton. 
played by Irish actor Tommy Duggan, an 
old friend of his from their days on 
radio. Pertwee and Delgado warmly led 
the company for the serial. As a vocal 
warm-up exercise, Pertwee used to lead 
the cast in a booming rendition of “Harry 
Roy” (the name of a famous dance band 
leader), but in honour of the serial’s 
director amended this on occasion to 
“Tim Combe”. For scenes where people 
were attacked by the Keller Machine, 
their movements were arranged by 
choreographer Bridget Espinosa. 
Since the characters of Fu Peng and 
Senator Alcott, plus the Chinese delegation 
suite set only featured briefly at the start of 
Episode Three, it was decided to record all 
these scenes with Episodes One and Two. 
The first two episodes were recorded in 
Studio TC3 at BBC Television Centre on 
the evenings of Friday 20 and Saturday 
21 November. Recordings for the studio 
sessions ran from 8.30pm to 10pm on 
Fridays and 7.30pm to 10pm on Saturdays. 
In keeping with the approach adopted for 
Terror of the Autons, the first evening was 
used for recording ‘inserts’ of technically 
complex sequences while the second was 
designated for the main recording. 
The first evening commenced with all 
the scenes in the Chinese delegate’s suite 
and hallway - plus the hallway for the US 
delegate - being recorded for Episodes 


DOCTOR WHO | THECOMPLETE HISTORY 117 


Above: 


‘Puff the Magic 
Dragon’ in his 
full glory. 


One to Three, 
including 

the closing 
credits for 
Episode Two. 


Fu Peng’s suite made use of a photographic 
backdrop of London showing St Paul’s 
Cathedral outside its large windows. 


For the conversation in Hokkian between 
Fu Peng and the Doctor in Episode Two, 
a few slide captions of subtitles were 
superimposed on the screen as the two 
started to speak (eg “This unworthy 
person welcomes you and delights in your 
safe arrival”). Combe liked this element, 


Connections: 

Missing circuit 

® The Doctor was able 
to remove the vital 
dematerialisation circuit 
from the Master's TARDIS 
in the previous story, 


Terror of the Autons [1971 
- see page 54], stranding 
the Master. Here, the 


Master gets it back, 


>» allowing him to 
meee? leave Earth, 


since it showed the Doctor’s 
mastery over languages. The 
dialogue had been written 
by Houghton, working in 
conjunction with his wife 
who coached Pertwee in 

its delivery. Pertwee had 
some problems with the 
dialect, and so the speech 
was trimmed down 

during rehearsals. 

In the inserts for Episode 
Three, the Doctor spoke to 
Chin Lee in Cantonese as 
well as Hokkian, but this 


zis DOCTOR WHO | THE COMPLETE HISTORY 


time subtitles 
were not used 
to translate the dialogue. For the end of 
Episode Two, Chin Lee had to turn into 

a dragon which then advanced on Alcott. 
The dragon was created by visual effects 
assistant Dave Havard and operated by an 
effects assistant standing in the legs of the 
creature and holding its neck and head in 
front of him. Unfortunately the creature 
looked so friendly and cuddly, like a 
quilted pyjama case, that it was nicknamed 
‘Puff the Magic Dragon’ after the 1963 
children’s song recorded by Peter, Paul and 
Mary. Combe, unhappy with what had 
been created, kept its use to an absolute 
minimum and concentrated on close-ups 
of its head. The effect of Chin Lee turning 
into the dragon was achieved by use of 
inlay ripple and cross-merging two out-of- 
focus images, a similar effect to the video 
distortion seen during the Keller Machine 
attacks. A recording break was scheduled 
so that Pik-Sen Lim could leave the set 

and be replaced by the dragon, previously 
seen against a CSO background. A further 
recording break was then scheduled for the 
first scene of Episode Three to allow the 
dragon to be removed and Pik-Sen Lim to 
return to the set. 


After this, the rest of the evening was 
spent on the two sequences of the Keller 
Machine attacking first Kettering and then 
the Doctor in the process chamber during 
Episode One, followed by the closing titles 
for Episode One. These two scenes saw the 
use of superimposition as 29 feet of 16mm 
BBC library footage of water was placed 
over shots of Kettering and 20 feet of 
16mm stock of flames from the Movietone 
library was similarly used for the assault 
on the Doctor. There were numerous 
delays with scenes involving the Keller 
Machine itself, which did not seem to work 
properly. The main control console for the 
machine was a stock control panel based 
on an ICT 1301 with working dials which 
had featured in the previous serial Terror 
of the Autons as well as episodes of Out of 
the Unknown. The machine glowed when 
activated, and generally the studio lighting 
was dimmed to enhance this effect. 


- | 


T: following evening, fae remainder 


of Episodes One and Two was 

recorded. A photocall on the 
Saturday was held for two of the actresses 
involved in the serial. The first of these 
was Pik-Sen Lim (who was pregnant and 
had to have her costume let out between 
performances), and the second was 
Fernanda Marlowe who played Corporal 
Bell (initially ‘Corporal Bates’, a male 
character that Combe made female and in 
which he cast Marlowe whom he had seen 
for an earlier role), the Brigadier’s new aide 
and another female face in UNIT aside 
from Jo Grant. 

As with Terror of the Autons, the 1967 
arrangement of the theme tune was used 
for the serial. The main set of Stangmoor 
Prison was quite large and complex. ‘B’ 
Wing was a big two-level set with a central 


staircase leading up to a gantry, off which 
were the cells (with the prisoners largely 
unseen in early episodes, the extras could 
double as the people attending the Keller 
Machine demonstration). Off to the left 
was the process theatre in which the Keller 
Machine was housed. Behind this, running 
from the gantry, were stairs leading down 
a corridor to the condemned cell where 
Barnham and Mailer were held. Other sets 
at the prison included Dr Summers’ office, 
the adjoining medical wing room where 
Barnham was taken after processing and 
also the prison officer room (which had 

a monitor on which film of the Doctor 
was shown to indicate the gate security 
camera). After the demonstration, a 
recording break was scheduled to allow for 
make-up changes to Clive Scott who was 
playing Arthur Linwood so that the effects 
of the rat attack could be seen. 

UNIT HQ was represented by two 
linked sets: an outer ops room which led 
through to the Brigadier’s office. Sounds of 
London's traffic were used as background 
noises on tape for these scenes to match 
the outdoor film material. The noise of the 
Keller Machine in operation was added to 


DOCTOR WHO | THECOMPLETE HISTORY 119 


production 4 


Below: 
Corporal 
Bell makes 
her début. 


THE MIND OF EVIL = » store 


Right: 
Rehearsals on 
the prison set, 
(note Nicholas 
Courtney's lack 
of moustache). 


the film sequence in Episode One where 
the missing papers were burned by Chin 
Lee; it had originally been intended to 
superimpose a shot of the Keller Machine 
in the process theatre over this film, but 
this idea was abandoned. When it came 
to the material for Episode Two, this 
technique of a defocused superimposition 
of the machine prop was used for the 
telecine insert where Benton came under 
mental assault and collapsed. 

Rehearsals for Episodes Three and 
Four began the day after the first studio 
recording, on Sunday 22 November. The 
second studio recording session took place 
in TC6 (originally planned for TC8) over 
Friday 4 and Saturday 5 December. Once 
again, the Friday evening was used for 
set pieces and special inserts which were 
technically complex. Taping started on the 
composite prison set with action and stunt 
material connected to the riot in Episode 
Three; Vosper bringing Jo from the cell, 
Vosper talking through the door to the 
governor, and then the stunt sequence of 
Jo helping to overpower the prisoners. The 
fight arranger for the riot scenes in Episode 
Three was Derek Martin from Havoc. The 
Havoc stuntmen used by Martin included 
Marc Boyle, Alan Chuntz, Mike Stevens, 
Bill Horrigan and Val Musetti. 

The death of Charlie following the 
attack by the Keller Machine in Episode 
Four was recorded next on the prison set; 
a locked-off shot was used to make the 
box appear with the videotape showing 
the empty set rolled back and then mixed 
after a recording run-on to a shot with 
the machine prop in situ. The ripple effect 
was added to this, and the next shot of the 
machine disappearing. 

The action then moved to the process 
chamber set where a similar effect was 
used for the appearance of the Keller 
Machine before the attack on Vosper, and 


azo DOCTOR WHO | THE COMPLETE HISTORY 


— 


; 


an \ 


oN 


its subsequent departure. The appearance 
of the box attacking the Doctor and Jo 
was then recorded for the end of Episode 
Four, followed by the closing credits; the 
shot of the machine vanishing again at the 
start of Episode Five was then taped. Next 
came the box departing from the chamber 
in Episode Four and then the scene of 

the Master subjecting the Doctor to his 
creation at the end of Episode Three. For 
the mental assault on the Doctor at the 
climax of Episode Three, Houghton’s script 
suggested that the Time Lord saw some of 
his past enemies. These were represented 
in a series of full-length BBC photographs, 
including a Silurian (Doctor Who and the 
Silurians), a Zarbi (The Web Planet [1965 

- see Volume 4]), Slaar (The Seeds of Death 
[1969 - see Volume 14]), a War Machine 
(The War Machines) and a Cyberman (The 
Invasion); a Dalek was also planned but 
not used. Multiple camera images were 
mixed together: Jon Pertwee’s Doctor, the 
machine, the film of the flames, and two 
cameras zooming in and past the easel- 


mounted photographs of the monsters. 
Other monsters planned but not used 

for the Doctor’s vision included photos 

of the Slyther (The Dalek Invasion of Earth 
[1964 - see Volume 4]), the Servo Robot 
(The Wheel in Space [1968 - see Volume 12]) 
and a Sensorite (The Sensorites [1964 - see 
Volume 3]). The closing credits to Episode 
Three were then taped, followed by the 
Episode Four scene of the Master being 
confronted by superimposed images of the 
Doctor conjured up by the machine; this 
included a run-on for camera angles on Jon 
Pertwee to be changed. 

It had then been planned to record more 
material for Episode Three covering the 
Master meeting Mailer in his cell, the box 
becoming active, and the action sequence 
of the Master and Mailer’s break-out 
through to the shooting of the Governor. 
The next two scenes of the Master and the 
prisoners taking control of the main prison 
area were to have completed the evening’s 
work, but there were problems with the 
smoke effects used for the gas bomb 


Production 


sequences; the electronically detonated 
charges placed on the set to simulate 
gunfire had been mis-timed during the 
sequence and the result was less than 
satisfactory. Katy Manning’s back was 
injured when an extra fell against her 
while recording once of the action scenes. 
As such, this material was abandoned 
and could be remounted in the next 
recording block when the same sets would 
be available. 


he following evening, the other 
TT stecss scenes for Episodes Three 

and Four were recorded. CSO was 
used for one shot of Benton and Yates 
discussing moving of the missile in Episode 
Three; this scene had been inserted in the 
script to cover the damaged film sequences 
in an instalment which Combe had also 
discovered was underrunning. The two 
actors, standing against a bluescreen, 
were placed over a colour photographic 
caption slide of the RAF’s missile taken on 
location. The office of the Prison Governor 
(who was referred to as Victor Camford 
in the script) was built for Episode Three. 
As with the prison officers’ set in Episode 
One, this contained a monitor on which 
the Master could view the arrival of the 
Doctor at the main gates in Episode Three. 
There was also a projection screen used on 
this set, allowing the Master to brief Mailer 
in Episode Four about the hijacking of the 
Thunderbolt by showing him projector 
slides of the missile itself and the route the 
UNIT convoy was taking past Stangmoor. 
For the scene in Episode Three where the 
Doctor overpowered the Master in the 
Governor’s office, Pertwee was required 
to overturn a table on Delgado. An added 
complication for the sequence lay in the 
fact that there was a jug of water on the 


DOCTOR WHO | THE COMPLETE HISTORY 


Above: 

Jon Pertwee 
poses with 
members of 
the 36th Heavy 
Air Defence 
Regiment. 


nt hr, 


table which, when spilled, made the studio 
floor very slippery. When the sequence was 
recorded, Delgado slipped badly on the 
floor, but carried on with his scene. During 
this scene there was also a run-on to 

allow the mirror shattered by the Master’s 
gunfire to be placed on the set. 

The death of Charlie at the end of 
Episode Four saw a blast of interference 
being placed over the picture as the 
Machine attacked him, with a similar effect 
used for the demise of Lenny Vosper. The 
picture was also tinted red during the 
death scenes. 

Rehearsals for the final two instalments 
began on Sunday 6 December. As 
Christmas was approaching, Pertwee had 
the cast singing carols. Joining the cast 
as UNIT’S Major Cosworth was Patrick 
Godfrey, who had previously appeared as 
Tor in The Savages [1966 - see Volume 8] 
and had been directed by Combe in Z Cars 
during 1970. 

The studio recording took place on 
Friday 18 and Saturday 19 December, in 
Studio TC3 at Television Centre; it had 


azz DOCTOR WHO | THE COMPLETE HISTORY 


originally been planned that TC4 would 
be used, but there had been scheduling 
issues because TC4 had been needed for 
a live broadcast of Blue Peter on Thursday 
17 which would have restricted the set-up 
time of a camera tower for Doctor Who. 
Insert work on the Friday night 
commenced with the remounted post- 
recording of the Episode Three sequences 
in which the Master, Mailer and the 
prisoners took over the prison. Again, the 
action sequences were handled by Havoc 
and the remount necessitated the recall of 
Eric Mason (whom Combe had directed in 
Z Cars during 1970), Raymond Westwell 
(a Scots actor recommended to Combe by 
his father-in-law) and Roy Purcell (whom 
Combe had noticed on stage and on 
television and wanted to work with), who 
had all completed their material in the 
previous studio session. 


“Monster montage 


ork then continued with inserts 
WW: Episode Five, starting with 

the roll-back-and-mix with 
inlay ripple effect of the Keller Machine 
vanishing from the process chamber at the 
start of the instalment. A shot of the box 
rematerialising in the chamber was then 
recorded for later in the episode. Taping 
then continued with the sequence of the 
Doctor preparing himself with the coil in 
the warder’s office and moving through 
the prison to the process cell where he 
trapped the machine and completing 
with Mailer taking the Doctor back to 
his cell. When Pertwee advanced on the 
prop holding a coiled wire in his gauntlets, 
the coil burst into flames on cue. The 
montage of monster photos was used 
again; added to the images this time 
were BBC shots of Koquillion (from The 
Rescue [1965 - see Volume 4], a Dalek (from 


4! 


es | eroduction 4 


The Dalek Invasion of Earth) and an Ice 
Warrior (The Seeds of Death). 

Recording then moved onto inserts for 
Episode Six showing the Keller Machine 
breaking free of its constrains in the 
process chamber with use of the inlay 
ripple and roll-back-and-mix techniques, 
after which it reappeared. Similar shots of 
the prop materialising and dematerialising 
in the main prison area as it attacked the 
warders were then scheduled at the end 
of the evening; taping over-ran by five 
minutes to complete these complex effects. 

The remaining scenes for Episode Five 
and Six were then recorded in sequence 
the following evening. A photocall on 
the final day covered various scenes set 
inside the prison, including the climax of 
Episode Five as Mailer held Jo hostage. 
For the scenes in Episode Six where the 
Machine broke free of the power coil, the 
standard inlay ripple and picture tints were 
used, plus the camera zooming in and out 
with stagehands hurling props across the 
process theatre set from just off camera. 
The power box connected to the cable was 
rigged to ignite, the cable smoked and then 
split in a close-up, allowing the machine 


mobility once more. An overexposed 
camera effect was used for the deaths of 
two prisoner officers at the hands of the 
machine. After Barnham had pacified the 
parasite, the Doctor removed the top of 
the Machine to reveal a pulsating brain-like 
bladder with a single eye. 

In a late change to the script, Benton’s 
reference to the National Grid was 
changed to the ‘National Complex’ to tie 
in with the Nuton Complex which would 
feature in the next serial, The Vampire from 
Space (latterly The Claws of Axos [1971 - see 
page 138]. Another change was that the 
Master originally told the Doctor he was 
launching the missile “at the World Peace 
Conference building”. 

The Master’s TARDIS interior appeared 
very briefly at the end of the serial as a 
flat one-wall set seen in close-up. For this 
scene, Delgado shed the dark business 
suit he had worn during The Mind of Evil 
and reverted to the black Pandit Nehru 
style jacket seen at the start of Terror of the 
Autons. This scene was originally to have 
been set in a phone box. Recording overran 
by five minutes due to complex effects 
work and a telecine breakdown. 


PRODUCTION 

Mon 26 Oct 70 Dover Castle, Dover, Kent 
[Stangmoor Prison: Tower Area; Gate] 
Tue 27 Oct 70 Dover Castle [Stangmoor 
Prison: Courtyard] 

Wed 28 Oct 70 Archer's Court Road, 
Whitfield, Kent [Missile Ambush]; Dover 
Castle, Dover, Kent [Stangmoor Prison: 
Helicopter] 
Thu 29 Oct 70 Alland Grange, RAF 
Manston, Kent [Hangar; Stanham Airfield] 
Fri 30 Oct 70 RAF Swingate, Dover, Kent 
[Roads]; Pineham Road, Pineham, 

Kent [Roads] 
Sat 31 Oct 70 Dover Castle [Stangmoor 


Prison: Battle (remount)] 

Mon 2 Nov 70 Cornwall Gardens, 
Kensington, London [UNIT HQ] 

Tue 3 Nov 70 Cornwall Gardens [UNIT 
HQ]; Cornwall Walk Gardens, Kensington, 
London [Chin Lee and Benton]; 
Commonwealth Institute, Kensington, 
London [Conference] 

Wed 4 Nov 70 Commonwealth Institute 
[Conference] 

Fri 20 Nov 70 Television Centre Studio 
3; Episodes One to Three Inserts: Process 
Chamber; Chinese Delegate's Suite; US 
Delegate's Hallway 


Sat 21 Nov 70 Television Centre Studio 3: 


Episodes One and Two: 

remaining scenes 

Fri 4 Dec 70 Television Centre Studio 

6: Episodes Three and Four Inserts: 
Condemned Cell; Main Prison: Fight; 
Process Chamber 

Sat 5 Dec 70 Television Centre 

Studio 6: Episodes Three and Four: 
remaining scenes 

Fri 18 Dec 70 Television Centre Studio 
3; Episodes Three (remount), Five and 
Six Inserts: Condemned Cell; Main Prison: 
Fight; Process Chamber; Warder's Office 
Sat 19 Dec 70 Television Centre Studio 3: 
Episodes Five and Six: other scenes 


DOCTOR WHO | THE COMPLETE HISTORY 23 


124 


THE MIND OF EVIL = » store 


Post-production 


Below: 
Mailer takes 
control of 
the situation. 


diting of The Mind of Evil was 
conducted on Monday 21, 
Tuesday 22, Wednesday 23, 
Tuesday 29 and Thursday 31 
December 1970 plus Monday 4 
January 1971. Various cuts were 
made to the finished episodes. Episode 
One lost film of Yates leaving the peace 
conference and arriving at UNIT HQ, 

as well as the subsequent scene where 

he entered the UNIT office and asked 
Corporal Bell if the Brigadier was up. 
Further trims were a scene in the Process 
Chamber where the Doctor asked Jo 

to get Kettering’s medical history from 
Summers while he checked the machine 
(which he referred to in Episode Two) and 
a short scene of the machine activating 

as the Doctor started work on the box. 
Episode Two dropped a filmed scene of 
the Master in his car listening to Captain 
Yates speaking to the armoury in order 


AC 


DOCTOR WHO | THE COMPLETE HISTORY 


to draw ammunition for a minimum 
escort detail. Episode Three lost the end 
of Jo and Summers being pushed into the 
condemned cell, their discussion about 
what Mailer would do with them and 

the start of the next scene where Fu Peng 
told the Doctor that Chin Lee must be 
punished while the Doctor explained that 
the Captain had not been responsible. 
Another minor trim was the start of a 
scene in the Brigadier’s office where Chin 
Lee exited to be looked after by Corporal 
Bell. An electronically modulated voice 
squawked in a Dalek-like manner over the 
monster montage; this Dalek dialogue was 
unscripted and appears to have been added 
in post-production to this sequence and a 
similar scene in Episode Five. 


Lost scenes 
= pisode Four lost Jo asking Vosper 


to get Summers, Jo and the Doctor 
looking out of the Governor’s 
office and seeing (on film) Mailer and 
the convicts being met by the Master, 
plus the end of the film sequence at the 
convoy where the Brigadier told Benton 
to rendezvous with Major Cosworth while 
he looked in at Stangmoor. Removed from 
Episode Five was film of the Brigadier in 
the UNIT ‘copter confirming that he had 
sighted the Doctor and Jo at Stangmoor 
and was returning to base, a short scene 
of the Keller Machine appearing in the 
process chamber, Fuller having the Doctor 
and Jo returned to their cell where the pair 
wondered if the Brigadier had seen them 
and the Doctor hoped that the Brigadier 
did not attack the prison, the Master noting 


that the Doctor was taking a long time to 
prepare the coil for the attack on the Keller 
Machine while in the Governor’s office, 
the Master leaving the trapped Machine in 
the process chamber, and Fuller alerting 
Mailer that soldiers were storming the 
prison from the provision lorry. Opening 
with a shortened version of the assault 
film from Episode Five, Episode Six lost 
the end of the scene in the Governor’s 
office between Summers and Benton (with 
Summers commenting that he needed to 
perform an emergency operation), part of 
the scene where Jo encouraged the tired 
Barnham to remain with the machine in 
the process chamber, the start of a scene in 
the chamber where the Doctor told Jo to 
do as he had told her, and a film sequence 
of the Doctor, Jo and Barnham leaving 
Stangmoor in the Black Maria. 

Dudley Simpson was booked on Monday 
4 January 1971 to score the serial, and 
recorded the music over nine days into 


Post-production 


= 


February. He composed just over 25 Above: 
minutes of music for the story, once again loandai 

; ; — % = 8 Doctor are 
using the electronic facilities of Brian incarcerated, 


Hodgson and the Radiophonic Workshop, 
as he had with the preceding Terror of the 
Autons; the score made heavy use of the 
EMS Synthi 100 known as the ‘Delaware’. 
The theme for the Master, which he had 
developed in the earlier story made a 
return, as did a new arrangement of his 
UNIT melody from The Ambassadors of 
Death [1970 - see Volume 15], this time 
rendered electronically for the storming 
of Stangmoor in Episode Five. The other 
piece of music added to the finished 

serial was 17 seconds of Robert Fripp’s 
composition The Devil’s Triangle from the 
King Crimson album In the Wake of Poseidon 
released by Island in May 1970 (ILPS 
9127). This was used in Episode Three for 
the sequence where the Master listened 

to music on his radio as he was driven to 
Stangmoor Prison. Mf 


DOCTOR WHO | THE COMPLETE HISTORY 125 


THE MIND OF EVIL © stonvse Ps SN NY 


' 


c ® The Mind of Evil was previewed in a 
- id one- minute, eight- second videotape 
trailer which was voiced by Richard 
Bebb, after Terror of the Autons Episode 
{ Four at 5.38pm on Saturday 23 
= = January 1971. 

. S » In keeping with the trend set by Terror 
of the Autons, Radio Times included 
black-and-white photographs and 

4 the series logo with some of the cast 
listings for The Mind of Evil. Episode 
One had a shot of the Doctor leaning 
across the control console in the 
process theatre, while Episode Three 
had a small picture of the Doctor 
in close-up. 


126 DOCTOR WHO | THE COMPLETE HISTOR 


SAN AN 


Publicity | Broadcast 


Broadcast 


DB The Mind of Evil saw a slight dip in 
the ratings after Terror of the Autons, 
although Episode Two got a notably 
larger audience. The fragmented 
nature of the ITV regions meant 
that Doctor Who had a wide variety of 
opposition in its Saturday slot. LWT 
screened its own show Stewpot with Ed 
Stewart for four weeks (also taken by 
Anglia and Grampian), later replacing 
this with wildlife documentaries 
from Anglia’s Survival series. Many 
regions such as ATV, HTV, Tyne Tees, 
Border and Yorkshire screened the 
new Yorkshire sitcom The More We Are 
Together, while Granada opted for the 
Western Bonanza, Westward placed the 
similar import Gunsmoke and Southern 
initially ran episodes of Voyage to the 
Bottom of the Sea. Scottish screened 
the game show The Sky’s The Limit and 


Ulster scheduled the local show T-Time. 


® In mid-February, various ITV regions 
attempted to relaunch the latest 
science-fiction series from Gerry and 
Sylvia Anderson. Financed by ATV, 
UFO had made its début in an adult 
slot in September 1970 and failed 
badly. In many regions the series had 
been dropped midway through, and 
in February it was rescheduled in a 
family adventure slot to capture the 
Doctor Who audience. UFO entered 
the opposition slot on Southern on 
Saturday 20 February, followed a 
week later by ATV (which had aired 
an episode of Land of the Giants the 
previous Saturday). In the later weeks 


of The Mind of Evil, opposition Above: — 
included the imported science-fiction Teeroadas 
P tasks Captain 
adventure Voyage to the Bottom of the Sea Yates with 
on Tyne Tees and Scottish, Gunsmoke moving the 
on Grampian and Kenny Everett’s Ev Thunderbolt 
missile. 


on Anglia. 


® At the Programme Review Board 


on Wednesday 3 February, head of 
serials Ronnie Marsh noted that there 
had been two telephone complaints 
about the opening episode, while 
Monica Sims - the head of children’s 
programming - commented that 

the serial was “a very adult story on 
not avery pleasant theme, more like 
[the adult BBC1 drama] Doomwatch”. 
On Wednesday 10 February, Aubrey 
Singer, the head of features, suggested 
that the references to Mao Tse-Tung 


DOCTOR WHO | THE COMPLETE HISTORY 


THE MIND OF EVIL =» stows Rane? 


Right: 
The Doctor 
and Jo assess 
their situation. 
during Episode Two could affect Thursday 4 March. This was his first 
the sale of BBC product to China, experience of Doctor Who and he felt 
but this idea was doubted by Huw it was ‘a splendid effort’, the format 
Wheldon, the managing director for being ‘a well-balanced combination 
television. The following week, BBC2 of science fiction and Runtania’. He 
controller Robin Scott commended concluded that ‘a lot of expense had 
Episode Three but felt that it was gone into this episode. It was money 
“a little frightening”. well spent. The young are no fools 
when it comes to picking out the best 
® Shortly before the final serial, at the on television, 
Board Review on Wednesday 3 March, 
audience data was presented to the ® Sold to Australia in August 1971, The 
BBC executives which indicated that Mind of Evil was allocated an ‘A’ rating 
45 per cent of the Doctor Who audience and was considered to be unsuitable 
was under 11, with 40 per cent for transmission at this time (the usual 
between the ages of 11 and 14. Doctor Who serial being rated ‘G’). It 
was not until 1986 that the serial was 
» James Towler reviewed Episode Five broadcast in Australia, by which time 
in the trade paper Television Today on only a black-and-white telerecording 


128 DOCTOR WHO | THE COMPLETE HISTORY 


a broadcast 


could be offered, since the colour 
videotapes had been erased in the 
mid-1970s. The same was true for 
North America where it was also 
syndicated as a TV movie running 
two hours, 16 minutes. The USA 
had however seen the serial in colour 
from 1972 up to around 1978, when 
The Mind of Evil formed part of a 
13-serial package of Jon Pertwee 
stories marketed on 525-line videotape 
by Time Life to PBS stations. 


® When originally screened by UK 
Gold from June 1993, the station 
was provided with only the TV movie 
compilation edition of The Mind of 
Evil, and so selected different episode 
endings when transmitting the serial 
in its six part form (eg Episode One 
ended with Dr Summers saying that 
Kettering drowned in an empty room). 
The serial was broadcast by BBC Prime 
from September 1995. 


® Asmall amount of colour material 
consisting of sequences from Episode 
Six (including the opening titles, 
reprise, and a couple of later scenes set 
in the prison) was taped by a viewer 
on an American home video system 
from a 1970s transmission. The entire 
serial was later restored to full colour 


ORIGINAL TRANSMISSION 

EPISODE DATE 

Episode One Saturday 30 January 1971 
Episode Two Saturday 6 February 1971 


Episode Three Saturday 13 February 1971 
EpisodeFour Saturday 20 February 1971 
Episode Five Saturday 27 February 1971 
Episode Six Saturday 6 March 1971 


by using the chroma dot recovery 
process which was able to extract the 
coded colour information from the 
existing black and white film prints for 
Episodes Two to Six. This information 
was not available on the film print 

for Episode One, so the colourisation 
of this episode was achieved by a 
combination of hand colouring by 
multimedia artist Stuart Humphryes, 
and motion estimation software. 


® As part of the BFI’s Doctor Who at 50 


celebration during 2013, the restored 
colour print of The Mind of Evil was 
shown at 2.30pm on Sunday 10 March 
and followed by a discussion with 
Katy Manning, Richard Franklin, 

John Levene, Timothy Combe and 
Terrance Dicks. 


Left: 

The Doctor 
uses his 
Venusian 
karate to pacify 
Barnham. 


CHANNEL DURATION RATING(CHART POS) APPRECIATION INDEX 


BBC1 24'39" 
BBC1 2431" 
BBC1 2432" 
BBC1 2440" 
BBC1 23'34" 
BBC1 24'38" 


DOCTOR WHO | THE COMPLETE HISTORY 


129 
a 


THE MIND OF EVIL = » stor se 


Merchandise 


Far right: 

The soundtrack 
to The Mind 

of Evil was 
released by 
BBC Audio in 
February 2009. 


Right: 

The original 
novelisation, 
with a cover 
by Andrew 
Skilleter. 


he serial was novelised by 

Terrance Dicks as Doctor Who - 

The Mind of Evil with a cover of 

the Master and the Thunderbolt 

missile by Andrew Skilleter. 

The hardback edition from 
WH Allen came in March 1985, with the 
paperback from Target, book number 96 in 
the Doctor Who library, issued the following 
July. Doctor Who — The Mind of Evil also 
formed part of The Eighth Doctor Who Gift 
Set of four Target paperbacks which was 
issued in 1985. The book was latterly 
issued (along with Doctor Who and the Claws 


EVIL 


+ \ 


TERRANCE DICKS 


130 ©=DOCTOR WHO | THE COMPLETE HISTORY 


Who Classics series by 
Star Books in March 
1989. 

The soundtrack 

to The Mind of Evil 

was released by BBC 

Audio in February 

2009. It was narrated by and contained an 

exclusive interview with Richard Franklin. 

A talking book of the novelisation, read by 

Richard Franklin, was published by BBC 

Audio in April 2017. In October 2017, 

BBC Physical Audio released Classic TV 

Adventures: Collection Two, six narrated full- 

cast TV soundtracks of classic Doctor Who 

TV serials, including The Mind of Evil. 

The Mind of Evil was released on 

BBC Video in May 1998. The story was 

in black and white but also included the 

only existing colour footage from Episode 

6. In June 2013, 2lentertain released the 

newly colourised version of The Mind of 

Evil on DVD. This set came with the 

following extras: 

2» Commentary with actors Katy Manning, 
Pik-Sen Lim and Fernanda Marlowe, director 
Timothy Combe, producer Barry Letts, script 
editor Terrance Dicks and stunt arranger Derek 
Ware. Moderated by Toby Hadoke 

® The Military Mind: Making The Mind 
of Evil - a |ook at the making of the story. 
Featuring actors Nicholas Courtney, Pik-Sen 
Lim and Fernanda Marlow, director Timothy 
Combe, producer Barry Letts and script editor 
Terrance Dicks 

® Now & Then: The Locations of The Mind 
of Evil - visting the filming locations used in 
the story to see how they have changed over 
the years 


AA BAB 


» Behind the Scenes: Television Centre - 
back in 1971, presenter Norman Tozer visited 
BBC Television Centre to find out what went on 
over 24 hours in the life of what was then an 
incredibly busy ‘television factory’ 

» Radio Times listings in Adobe PDF format 

»% 1971 Kellogg's Sugar Smacks promotion 

» Programme subtitles 

» Production information subtitles 

» Photo gallery 

¥ Coming soon trailer 

» Digitally remastered picture and 
sound quality 

The serial was available with issue 143 
of GE Fabbri’s Doctor Who — DVD Files, 
published in June 2014. 

In 1972, one section of music from 
The Mind of Evil was used as a mono 
demonstration track on a flexidisc called 
Sounds from... EMS. This was an example 
of the sounds which could be obtained 
from synthesisers available from Brian 
Hodgson’s new Electronic Music Studios 


Merchandise 


(London) Limited. Sections of 
the score for 

The Mind of Evil were then 
re-recorded in 1973 for a short " 

suite of music entitled The World } BI HE mit) OF EVIL 
of Doctor Who, most notably the / 
sequence of the Keller Machine 
attacking Benton in Episode 
Two. Compiled by Dudley 
Simpson with help from the 
BBC Radiophonic Workshop, 
this suite formed the ‘B’ side 
to the BBC single release of : 
Simpson’s theme to Moonbase 3 (a BBC 


Above: 

: ; : The DVD 
science-fiction drama series created by reloneeee 
Dicks and Letts) released in October 1973. the story 
This stereo band of music also turned up with a cover 

by Lee Binding. 


on other records from the BBC, such as 
Music from BBC Children’s Programmes in 
1975 and formed part of the Silva Screen 
CD release Doctor Who — Earthshock in 
December 1992. A special BBC LP and 
cassette issued to celebrate 21 years of the 
Radiophonic Workshop contained a band 
of music entitled Minds of Evil, which was Left: 
the attack on the Doctor by the Keller reo 
Machine heard at the end of Episode videcreiaees 
Three. The album, BBC Radiophonic 
Workshop 21, was issued in April 1979. 
Sound effects and music from The Mind of 
Evil were also included on Doctor Who at 
the BBC Radiophonic Music — Volume 2: New 
Beginnings released by BBC Music in May 
2000. Music from the serial was included 
on the four-disc CD Doctor Who: The SOth 
Anniversary Collection from Silva Screen 
in December 2013 (with the tracks The 
Master’s Theme, Hypnosis Music, Dover Castle, 
Keller Machine Appears and Vanishes and 
Keller Machine Theme); the same material 
was included on the 11-disc release in 
September/November 2014. 

The 2017 Andrew Skilleter Target Art 
Calendar featured artwork from The Mind 
of Evil in April. 


DOCTOR WHO | THE COMPLETE HISTORY 132 


THE MIND OF EVIL = » storse 


Cast and credits 


CAST Neil McCarthy .........cccccccuen Barnham [1-3, 5-6 
POMMPGNMEWI OC eras tesrsictssesrcccrcsccssesssssssessnesnee Dr Who Tommy Duggan Senator Alcott [2]? 
with Fernanda Marlowe...................... Corporal Bell [1-4 
HAE YPM AIAIMIIAG crt trircccsssscssrecsasccssssscncssssevesssens Jo Grant MOMMSE RS ODED etre teccrscccsessessscessescoreostsvssssssssssens Linwood [1 
Roger DelgadO........... ccc The Master [2-6] Roy Purcell........ Chief Prison Officer Powers [1-3 
Nicholas Courtney... Brigadier Lethbridge-Stewart Eric Mason........... Senior Prison Officer Green [1-3 
Richard Franklin.......ccuu Captain Mike Yates Bill Matthews, Barry Wade, Dave Carter, 
JOHN LEVENE......... cen Sergeant Benton [2-6 Martin Gordon Prison Officers [1-4,6 
William Marlowe............cccce Mailer [2-5] PVAVIGIGAIGETISD icsscsscscsssssssssssssssessssssis Charlie [4 
HAYDN JONES... Vosper [2-4] MRPIARNMAMIRS ALCS trite iissipssssesscccsuscsescvssensvssecsecanon Fuller [5 
Pik-SeN LIM... Captain Chin Lee [1-3] Matthew Walter.............. Main Gates Prisoner [5]? 
Kristopher Kum.........cccccss Fu Peng [2-3] 
Raymond Westwell Prison Governor [1-3 ‘Uncredited in reprise of Episode Six; credited in 
Michael Sheard.............0008 Dr Summers [1-4,6 Radio Times 
Patrick Godfrey...............004. Major Cosworth [5-6] “Uncredited in reprise of Episode Three; credited 
SIMON LACK ............: ee Professor Kettering [1 in Radio Times 


? Uncredited on Episodes Three and Four 


Right: 

Cameras roll 

on the large UNCREDITED 

sands Leslie Weekes, Tony Jenkins.......Prison Officers 


Desmond Verini, Dennis Balcombe, Phillip 
Webb, George Ballantine, Francis Batsoni, 
Leonard Kingston, Ned Hood, Cy Town, 
Alistair McFarlane, Paul Blomley, Roger 
Marsden, Wolfgang Van Jergen, Richard 
Atherton, Val Musetti, Michael Carter, 

Les Conrad, Les Clark, Derek Martin, Max 
Diamond, Bob Blane, Derek Chafer, Ricky 
Lancing, Johnny Clump, Pat Donahue, 
Michael Ely, Timothy Combe................ Prisoners 
Desmond Verini, Dennis Balcombe, Phillip 
Webb, George Ballantine, Francis Batsoni, 
Leonard Kingston, Ned Hood, Cy Town, 
Alistair McFarlane, Paul Blomley........ Audience 
Maureen Rae |... Female Student 
Charles Pickess, Charles Finch................cc0cu08 
PT Ter iisshaishngauriasayassovesssecsnens Medical Orderlies 
Charles Marriott, Stuart Fell, Nick Hobbs. ....... 
PPP a TS PRRTSceereverrtea ceiiiiisterastseasevtsvscaapoennstvcnnaveins UNIT Staff 
Francis Batsoni.........ccuuus Corpse of Cheng Teik 


132. DOCTOR WHO | THE COMPLETE HISTORY 


AAA Vw Cast and credits 


Charles Marriott, Stuart Fell...... Photographers 


Paul Blomey.........cccccsses Police Superintendant 
Peter ROY.....ncsiuncsonnnnetimennnisnyn: Policeman‘ 
MIChHaelElY inne tiicccnunttenumoe UNIT Chauffeur’ 
Francis Williams...............00008 African Delegate’ 
JOM DOAN EY icccsiiscsis:serrarnse.necemenennnvte, Passer-by 
LAUFENCE HAMPINGHON ..........ccccscss ssn 
eRaTeLaTcsussciiiss Voices of Mr Carr and Transport Officer 
Francis Williams..............0008 Master's Chauffeur 
Paul TAN isscsescissiicrouscantinttg sence. Chinese Aide 
Nick: HODDS: Aicscccoseceeee American Aide 
Charles SayNOF.......ccccien Commissionaire* 


Basil Tang Chinese Chauffeur’ 
Marc Boyle, Alan Chuntz, Mike Stevens, Bill 

HOPrigaMincaminninnnnsanins Stuntmen/Prisoners 
BG Heat.) iors ccscn.nssannaceeetaem Milkman 


Dennis Balcombe, Roger Marsden, Leslie 
Weekes, Tony Jenkins, Charles Marriott, 
Michael Carter, lan Elliott, Robert Bald, John 


GrifffthiScccnccac eee UNIT Soldiers [| CREDITS Above: — 
Richard Atherton. ............cc Police Inspector Written by Don Houghton Mes age 
CY TOWN yiciti ecionesccmmencnnee Medical Orderly Title Music by Ron Grainer 

Richard Atherton, Les Clark, Gordon and BBC Radiophonic Workshop 
StOPPAN” ii.) ssaicoineacansonetes Prison Officers Incidental Music: Dudley Simpson 

Les Conrad 6.55 cctaintuiinnc inno Mes Film Cameramen: Max Samett [3-6], 
Marc Boyle, Roy Scammell, Terry Walsh, Fred Hamilton [2-3; uncredited on 1] 
Mike SteVe@NS:) .6icicicicemmntianstrammenmratncain Film Editor: Howard Billingham 

Treen Cee Stuntmen/ Motor Cyclists/UNIT Soldiers [2, 4-6; uncredited on 1 and 3] 
Frank Bennett, B G Heath, Gary Gregory......... Fights arranged by HAVOC [4] 

SEcrRPO STEELE ECO EET Black Maria Drivers Action by HAVOC [5] 

B G Heath, Laurie Ayres.................. Rocket Drivers Visual Effects: Jim Ward 

Sergeant Herridage, Bombadier Andrew Videotape Editors: Sam Upton [6], 
Graham, Gunner Kenneth Davenport, Lance Roger Harvey [6] 

Bombadier Robert Berkely, Bombadier Costumes: Bobi Bartlett? 

Robert Thompson, Bombadier John Lamb, Make-up: Jan Harrison? 

Sgt. David Talbot, Bombadier Barry Hall........... Studio Lighting: Eric Monk? 
iiss w« Mercenaries/UNIT Soldiers Sound: Chick Anthony? 

Billy HOFTIQAN.............cccsccssssssesssseeessnee UNIT Corporal Special Sound: Brian Hodgson 
Laurence Halringtoe ..........ccccccscssemnin and BBC Radiophonic Workshop® 

Ree er es aitcccvinnsrccneinisss Voices of Greyhound 7 and Chief Script Editor: Terrance Dicks 

BG Heatiniits scsicaninnannarmeemcee ons Van Driver Designer: Ray London 

MOCINOVAK iiscss:ccsccutccee sian asic UNIT Pilot Producer: Barry Letts 

Bill Horrigan.................. Stunt Double for Barnham Directed by Timothy Combe 


* All cut from finished programme ° Credited on Episodes One and Six only 


DOCTOR WHO | THECOMPLETE HISTORY 133 


THE MIND OF EVIL = » store 


Profile 


Incidental Music 


udley George Simpson was born 
on 4 October 1922 in Malvern 
East, a suburb of Melbourne, 
Australia, to Charles, a postman, 
and Edna (née Stephens). 

He played piano by ear from 
age four, only receiving formal tuition from 
11. At 13 he won a piano competition on 
radio station 3AW and became accompanist 
on their Saturday children’s show. 

During WWIL, he served in New Guinea, 
driving trucks with the AASC. A Japanese 
attack injured Simpson’s left hand but 
stints as a concert party pianist helped 
his rehabilitation. 

Post-war, he earned a diploma in 
music with honours at the Melbourne 
Conservatorium of Music. While playing 
piano in hotel bars and restaurants, he was 
spotted by the Borovansky Ballet. Becoming 
associate conductor/musical director with 
the company, he met British ballerina Dame 
Margot Fonteyn in 1957, who suggested 
Simpson try his luck in Britain. 

Previously married to ballerina Jennifer 
Stielow from 1950, he met second wife 
Jill Bathurst, another ballet dancer, at the 
Borovansky. They married in 1960 and had 
three children: Karen, Alison and Matthew. 

Simpson had relocated to the UK by 
1958, and became guest conductor at the 
Royal Opera, then musical director and 
principal conductor on Fonteyn’s world 
tours with the Royal Ballet. 

Looking to compose, he met TV 
producer Gerald Glaister at a party, who 
commissioned Simpson to write for single 


134 DOCTOR WHO | THE COMPLETE HISTORY 


play Jack’s Horrible Luck (transmitted 14 
August 1961), composing on an old piano 
bought for £5. He next wrote for Glaister’s 
wartime resistance drama Moonstrike 
(1963/4), its theme even issued as a cover 
version single by Ron Goodwin. 

Many TV themes and incidental scores 
followed, including thrillers Epitaph for a 
Spy (1963), Detective (1964), Curtain of Fear 
(1964), Naval costume thriller Triton (1968) 
and its sequel Pegasus (1969). 

He wrote for classic serials Lorna Doone 
(1963), Kidnapped (1963), Mary Barton 
(1964), Esther Waters (1964) and The Scarlet 
and the Black (1965) and contributed to 
play anthologies Story Parade (1964), The 
Wednesday Thriller (1965), Thirty-Minute 
Theatre (1965-70), Out of the Unknown 
(1965-71) and Theatre 625 (1967). He also 
conducted the English Chamber Orchestra 
for Peter and the Wolf (1965). 

Simpson's first Doctor Who score came 
via associate producer Mervyn Pinfield, 
previously a director on Moonstrike. For 


Planet of Giants {1964 - see Volume 3} 
contrasting piccolo and tuba emphasised its 
minuscules and giants theme. He returned 
for The Crusade and The Chase [both 1965 

- see Volume 5], while on The Celestial 
Toymaker [1966 - see Volume 7] created 

a clockwork effect using organ, clarinet, 
xylophone and woodblocks. 

The Underwater Menace |1967 - see 
Volume 9] marked Simpsons first 
involvement with the BBC’s Radiophonic 
Workshop, using their proto-synth of 
oscillators lashed-up to a monophonic 
organ keyboard. He redeployed this on The 
Macra Terror, The Evil of the Daleks [both 
1967 - see Volume 10] and Fury from the 
Deep [1968 - see Volume 12] to provide 
aggressive electronic bass notes. 

The Ice Warriors [1967 - see Volume 11] 
featured soprano Joanne Brown over the 
opening credits, Simpson reproducing this 
ethereal effect on The Space Pirates [1969 - 
see Volume 14]. 

Until 1968, many Doctor Who serials still 
used stock music and special sound, and in 
this decade Simpson wrote to scripts and 
rough timings, his cues later crudely edited 
to fit onscreen action. 


Though freelance, he was virtually the 
‘in-house’ composer from The Seeds of 
Death [1969 - see Volume 14] onwards. 
Additionally, producer Peter Bryant took 
him from Doctor Who to RAF drama Special 
Project Air (1969) and three series of Paul 
Temple (1970/1). 

Simpson missed just eight 1970s 
Doctor Who serials, with Carey Blyton 
composing Doctor Who and the Silurians 
[1970 - see Volume 15], Death to the Daleks 
[1974 - see Volume 21] and Revenge of the 
Cybermen [1975 - see Volume 23], and 
the Radiophonic Workshop’s Malcolm 
Clarke scoring The Sea Devils [1972 - see 
Volume 18]. 

From Terror of the Autons [1971 - see page 
54] Simpson wrote to timecoded videos, a 
technology imported from Germany after 
frustrations on Paul Temple, enabling him 
to compose to the second. This season 
used the Workshop’s compact EMS VCS3 
synthesiser for its almost-totally electronic 
scores. Though hugely beneficial, timecode 


shortened Simpson’s time to produce scores 


to completed footage. He often drove late 
nights to deliver music from his home in 
Esher to his sheet music copier in Surbiton 


and on one occasion was stopped by police. 


SS Ee ee 


Above: 
Dudley 
Simpson's 

first score for 
Doctor Who 
was Planet of 
Giants in 1964. 


Left: 
Simpson 
conducts 
Peter and the 
Wolf in 1965. 


DOCTOR WHO | THECOMPLETE HISTORY 135 


THE MIND OF EVIL = » store 


it gel as science fiction, rather than as 
pure drama.” 

Recording the score for two episodes, 
usually 10 minutes per episode, in a three- 
hour recording session at BBC Lime Grove, 
budgets typically allowed for five players, 
occasionally swelling to eight. Electric organ 
featured alongside French horn, trumpet, 
clarinet, oboe, saxophone and glockenspiel- 
like marimba. Kettledrum timpanist Tristan 
Fry, later of rock band Sky, provided an 
array of percussion. 

Simpson made two screen appearances, 
in The Talons of Weng-Chiang |1977 - see 
Volume 26] as the Palace Theatre’s band 
conductor, and in BBC2 documentary The 
Lively Arts: Whose Doctor Who (transmitted 


Above: The 1972 series utilised the Workshop's 3 April 1977), discussing adding cello, 

load new EMS Synthi 100, installed April 1971, marimba and car springs to a scene. 

in 1977's a room-sized collection of VCS3 machines, Director Douglas Camfield decided to use 

be ae é also known as the Delaware (after the stock music by Delia Derbyshire on Inferno 

Bocter Wha: Workshop’s Delaware Road address). [1970 - see page 6] and Geoffrey Burgon’s 
Simpson added Delaware music to his sparse cellos and flutes for Terror of the 
eight-track tape of his acoustic studio Zygons [1975 - see Volume 23] and The Seeds 
session, assisted by the Workshop’s Brian of Doom [1976 - see Volume 25]. He didn’t 
Hodgson and, later, Dick Mills. use Simpson on Blake’s 7 either, preferring 

Simpson and Hodgson also collaborated stock on his episode Duel (1978). 

as Electrophon, releasing In a Covent This fuelled rumours of a feud, yet when 
Garden (1973), an album of electronic Philip Hinchcliffe left Doctor Who to produce 


arrangements of classical music. Tracks later § Target (1977/8), utilising Simpson for its 
appeared on The Robots of Death [1977 - see 


Right: 

City of Death Volume 26]. 

is considered From the 1973/4 series, BBC politics 

by many to be denied Simpson Workshop access, forcing 
Simpson's most : ; 

auraceeeill him to hire a Yamaha EX-42 organ or Korg 
score, PE2000 synthesiser, a problem resolved 


when his keyboard player Leslie Pearson 
bought his own expensive synth. 

Simpson felt their futuristic feel was 
vital, as he told Doctor Who Magazine's 
Patrick Mulkern and Richard Marson in 
1985: “All of a sudden I had to do Doctor 
Who with all music, simple music, and it 
wasn't as good. You know, I needed those 
effects, just that little bit, to lift it and make 


136 ©=QOCTORWHO | THE COMPLETE HISTORY 


WA RABUN 


funky theme and incidentals, Camfield 
happily used Simpson on his two episodes. 

Alongside his prolific Doctor Who output, 
Simpson contributed to The Last of the 
Mohicans (1971) and sequel Hawkeye, the 
Pathfinder (1973), Gerald Glaister’s The 
Brothers (1972), children’s thriller The Long 
Chase (1972), A Little Princess (1973), A Pin 
to See the Peepshow (1973), Microbes and 
Men (1974), acclaimed documentary series 
The Ascent of Man (1973) and provided 
themes to The Venturers (1975), North and 
South (1975) and Headmaster (1977). He 
scored prestige costume serials Madame 
Bovary (1975) and The Lost Boys (1978), and 
orchestrated Margot Fonteyn’s The Magic 
of Dance (1979). For ITV, he contributed to 
Salvation Army drama Sally Ann (1979). 

Other science-fiction included Moonbase 3 
(1973), the hypnotic theme for ITV’s Doctor 
Who rival The Tomorrow People (1973-9) and 
the theme and incidentals for all but two 
episodes of Blake’s 7 (1978-81). 

His final Doctor Who credit came on The 
Horns of Nimon [1979/80 - see Volume 
31]. He scored 62 Doctor Who serials in all, 
covering almost 300 episodes. 

He called Doctor Who his “baby” and in 
the 1973 Radio Times Anniversary Special 
explained: “I always find Doctor Who very 
hard to write for. Some of the stories are 
romantic, some dramatic, some straight 
sci-fi. But I always treat it as serious drama 
and try to give the music a sense of doom.” 

Invited to lunch with incoming producer 
John Nathan-Turner in 1980, Simpson was 
told his services were no longer required. 
The budget-conscious Nathan-Turner 
shifted to all-electronic scores, using in- 
house Radiophonic Workshop composers. 

Simpson continued to score Sunday 
serials for Barry Letts; Katy (1976), Rebecca 
of Sunnybrook Farm (1978), The Legend of King 
Arthur (1979), Sense and Sensibility (1981), 
Stalky and Co (1982), Dombey and Son (1983), 


Goodbye, Mr Chips (1984), Oliver Twist (1985) Above: 
and The Diary of Anne Frank (1987). He also Theta 
: of Nimon 
wrote for BBC Shakespeare entries Hamlet was Dudley 
(1980), The Winter’s Tale (1981), Henry the Simpson's 
Sixth (1983), Richard the Third (1983) and Me score for 
octor Who. 


Titus Andronicus (1985). On ITV he scored 
kids’ comedy Supergran (1986/7), and two 
Tales of the Unexpected episodes, aired 1988. 

Retiring to Australia in 1987, he soon 
returned to reside part of the year in 
Kinsale, Ireland, where he conducted the 
1990 album Over the Sea to Skye for flautist 
James Galway. A heart condition saw 
Simpson resettle in Sylvania, Sydney. 

In 1993 a CD of Pyramids of Mars [1974 - 
see Volume 24] and other early Tom Baker 
scores was issued, recreated by composer 
Heathcliff Blair. 

Simpson attended the Doctor Who prom 
at the Royal Albert Hall in 2013 during his 
last visit to the UK, where highlights from 
City of Death [1979 - see Volume 31] were 
played. Simpson died on 4 November 2017 
in Australia, aged 95. 

Speaking to Doctor Who Magazine's 
Tim Gebbels in 1993, he summed up his 
contribution: “My stuff might have been 
a bit corny but it had impact.” A modest 
appraisal for defining the sound of 1970s 
Doctor Who. 


DOCTOR WHO | THECOMPLETE HISTORY 137 


Earth, offering to Bi: the miracle of BAe 
only the Doctor is suspicious. His fears soon 
prove correct when it transpires that the 
Axons are in league with the Master, and 
intend to devour the Earth’s energu. 


© DOCTOR WHO | THE COMPLETE HISTORY 


< 


— 


DOCTOR WHO | THE COMPLETE HISTORY © 


.~A AW BN 


Introduction 


iven the limitations of the 

Doctor being stranded on 

Earth and unable to travel in 

time, the production team 

tried hard not to rely too much 

on the plotline of the Earth 
being invaded - and they found a number 
of ingenious ways of getting around this 
problem. In the case of The Claws of Axos 
the initial twist was that the latest aliens 
to visit Earth wanted to be our friends - 
offering us a gift that would revolutionise 
our lives. And when their true motivations 
were uncovered, it wasn’t anything as 
simple as occupying the Earth and either 
killing or enslaving humanity. Axos was a 
parasite that was going to absorb all of the 
Earth’s energy. With the help of the Master, 
they also wanted to learn the secrets of 
travelling in time. 

This technique - of devising slightly 
more elaborate schemes for the alien 
menace of the week - was picked up 
by writer Russell T Davies when he 
resurrected the series. Like Axos, the 
Slitheen family seen in Aliens of London/ 
World War Three [2005 - see Volume 49] 
wanted the Earth as a source of power. 

The manner in which Axos was 
dispatched was, like their strategy, 
another original innovation. New writers 
Bob Baker and Dave Martin had the 
Doctor trap Axos in a time loop - passing 
constantly through the same points in time 
and space. This idea proved particularly 
popular during the 1977/8 series when 
whole planets were said to be timelooped 
in Image of the Fendahl [1977 - see Volume 
27| and The Invasion of Time [1978 - see 
Volume 28]. Time loops were used again in 


the years that followed: in The Armageddon 
Factor [1979 - see Volume 30] and Meglos 
[1980 - see Volume 32]. 

Like the Nestene Consciousness 
that preceded it at the beginning of the 
1971 series, Axos was seen in different 
forms. It appeared as a series of gold 
humanoid figures, and as a writhing mass 
of blood-red tentacles! These arresting 
visual manifestations made Axos an ideal 
monster to bring back in spin-off media - 
notably in comic-strip form and in a brief 
appearance in an episode of the K9 TV 
series. The distinctive voice of Axos-actor 
Bernard Holley also made this alien entity 
an ideal choice for resurrecting on audio. 

In the world of TV Doctor Who, Axos 
may have remained trapped in its time 
loop, but the creativity behind the original 
story obviously gave this insidious lifeform 
enough power to live on. 


DOCTOR WHO | THE COMPLETE HISTORY oe 


Introduction 


Below: 

The Slitheen 
family want to 
sell the Earth 
as fuel, 


THE CLAWS OF AHOS =» stv? 


EPISODE ONE 


NIT’s radar station detects an object 
TL approaching Earth. [1] 

The Brigadier, meanwhile, has 
enough on his plate. Mr Chinn of the 
Ministry of Defence wants to know who 
the Doctor is, while Bill Filer from the 
Washington HQ has a report on the 
Master. Yates has news that a UFO is 


approaching Earth. The Doctor calculates | 


that it will land on the south-east coast, 
the site of freak weather conditions. 

Chinn orders a nuclear missile strike 
against the UFO, but as the missiles 
approach the target, it disappears. The 
missiles are aborted and the alien craft 
lands near the Nuton Power Complex. 

The first person to approach the alien 
craft is a tramp. [2] A tentacle drags him 
inside, where he is analysed, absorbed, 
processed and rejected. 

Filer is the next on the scene. He is also 


grabbed by a tentacle and dragged into 


Pe RN 


the craft. Then the Doctor and Jo 

arrive with UNIT accompanied by Sir 
George Hardiman and Professor Winser 
from the Power Complex. UNIT’s mobile 
HQ detects a heartbeat coming from 

the craft, and then a voice: “Axos calling 
Earth. Fuel systems exhausted. Request 
immediate assistance.” [3] 

The Doctor, the Brigadier, Hardiman, 
Winser and Chinn enter the alien craft 
leaving Jo at HQ. Then Benton discovers 
Filer’s car and the desiccated remains of 
the tramp. 

Filer wakes up in a cell with an 
unexpected cellmate - the Master! [4] 

Jo enters the craft and hears Filer calling 
for help. The Doctor’s group, meanwhile, 
is welcomed by four humanoid figures. [5] 
One of them, an Axon man, explains that 
they wish to stay until their craft has been 
replenished. In return, they offer a gift; a 
substance called Axonite. They show its 
potential by enlarging a frog. 

Elsewhere in the ship, Jo is surprised by 
a creature that is a mass of tentacles. [6] 


coe DOCTOR WHO | THE COMPLETE HISTORY 


EPISODE TWO | 


jhe Doctor hears Jo scream. When 
he and the Brigadier find her, she 
| has fainted. 

Hardiman is keen to use Axonite for the 
benefit of humanity. A sceptical Doctor 
suggests they analyse it first. [1] 

Chinn calls the Ministry from the UNIT 
mobile HQ, requesting special powers, 
then speaks to the Axon man, asking that 
Britain has sole rights to Axonite. 

The Brigadier and company return to 
the mobile HQ to find that the regular 
army has taken over. Captain Harker 
places the Brigadier, Yates and Benton 
under arrest. [2] 

The Axons create a duplicate of Filer. 
The Axon man speaks to the Master, who 
has led Axos to Earth in return for his 
freedom, the death of the Doctor and the 
destruction of all life on Earth. [3] 

Axos instructs the Axon Filer to 
capture the Doctor. The real Filer wakes 


up ina cell, and works himself free 
of his restraints. 


At the Power Complex, the Doctor 
suggests using Winser’s light accelerator 
on the Axonite: “If it is a thinking 
molecule, it should analyse itself!” [4] 

Axos agrees to release the Master, as 
it still possesses his time capsule. The 
Master leaves Axos - and Filer slips out 
after him. 

The Doctor is alone in Winser’s 
laboratory when he is attacked by the 
Axon Filer. [5] The real Filer arrives 
and after a struggle, the Axon Filer is 
destroyed in the particle accelerator. 

Harker confines the Brigadier, Jo and 
Filer to Hardiman’s office, but they 
overpower him and escape. 

The Doctor places the Axonite in the 
accelerator to force it to analyse itself. 
Jo and Filer rush in, followed by Winser, 
who is electrocuted. The Doctor realises 
the Axos ship, the Axons and Axonite are 
one creature. Then an amorphous Axon 


monster forms and two more burst in! [6] 


DOCTOR WHO | THE COMPLETE HISTORY 143 


‘| 


THE CLAWS OF AHOS =» stoxvs? 


EPISODE THREE 


he creatures knock out Filer, 
Tiessen into their humanoid 

forms and lead the Doctor and Jo 
back to Axos. [1] 

The Brigadier orders two soldiers to take 
Filer to the medical wing, then Harker 
informs Chinn that he has been ordered to 
hand over command to the Brigadier. 

Chinn is lambasted by the Minister and 
is instructed to implement the worldwide 
distribution of Axonite immediately. [2] 

The TARDIS is installed in Winser’s 
laboratory, supervised by Benton and 
a general - who is actually the Master in 
disguise! The Master unlocks the TARDIS 
and goes inside. 

By threatening to age Jo, [3] Axos forces 
the Doctor to give up the equations 
for time travel, which show the power 
required is beyond Axos’ capacity. But 
with the additional output of the Nuton 
complex, it will have enough power. 


6 DOCTOR WHO | THE COMPLETE HISTORY 


PS RN 


Filer recovers and tells the Brigadier that 
Axonite is a threat to the whole world. 

The Brigadier confronts an Axon in the 
complex as it reverts to its tentacular form. 
[4] It kills three UNIT soldiers and enters 
the nuclear reactor. 

The Master fails to get the Doctor’s 
TARDIS working: “You may as well try 
to fly a second-hand gas stove!” [5] He 
emerges, unaware he is being observed 
by the Brigadier, Yates, Benton and 
Hardiman. They take him prisoner - as 
Hardiman warns that the reactors are 
about to go critical. The Master offers to 
prevent a disaster in return for his freedom 
and the Brigadier is forced to agree. The 
Master’s plan is to channel the power into 
the TARDIS and then feed it back to Axos 
in one devastating surge. 

Axos attempts to time-travel, only to 
find it has insufficient power. The Doctor 
escapes in the confusion and releases Jo. 

The Master channels the power from 
the TARDIS into Axos, which will kill it - 
along with the Doctor and Jo! [6] 


.~ AORN 


EPISODE FOUR 


he Doctor and Jo face nightmarish 
Tee: [1] but make it outside. 
The Master emerges from the 
TARDIS expecting to be congratulated. 
But Hardiman says Axos is now feeding 
the power back at them! He disconnects 
the cables - but at the cost of his life. 

The Master attempts to leave, but 
the Doctor blocks his way. He explains 
that Axos will soon consume every living 
thing and he needs the Master’s help to 
defeat it. [2] 

In Winser’s laboratory, Filer tells Jo he 
thinks the Doctor and the Master are up 
to something, while in the TARDIS, the 
Doctor suggests to the Master that they 
escape together. The Master agrees and 
proposes they use the trigger mechanism 
from the light accelerator to dematerialise. 

Axos activates its nutrition cycle and 
takes off. Benton drives Yates away and 
they both fend off an Axon attack. [3] 


Sars 8 


The Doctor leaves in the TARDIS 
with the Master, materialising inside 
Axos. He offers to give it the power 
to conquer time by linking their drive 
systems so then they can join forces 
against the Time Lords. [4] 

The Brigadier, Jo and the others are 
besieged in the laboratory - and then 
the Axons energise the light accelerator, 
which will keep on accelerating until 
it explodes. 

In the TARDIS, the Master realises the 
Doctor has set it in a time loop. He flees 
in his own TARDIS. < 

The Axons dissolve as the Doctor 
traps Axos in a time loop. But he will be 
trapped too, unless he can break free... [5] 

The light accelerator overloads, and 
the Brigadier, Jo and the others rush 
outside and take shelter as the complex 
is destroyed. The TARDIS materialises 
in the wreckage and the Doctor emerges 
unharmed. [6] He explains that Axos 
is trapped in a time loop but that the 
Master could have got away. 


DOCTOR WHO | THE COMPLETE HISTORY ms 


THE CLAWS OF AHOS =» stows? 


Right: 
The perfect 
Axon family. 


Pre-pro 


ate in 1968, writers Bob Baker 
and Dave Martin, who were 
part of the Bristol-based Marker 
Films, submitted a sitcom script 
to the BBC. Titled A Man’s Life, 
it concerned a new army recruit 
and was based on the experiences of Keith 
Floyd who would later achieve fame as a 
TV chef. Months later, the writers were 
phoned by BBC producer Derrick Sherwin 
who invited them to London. He and 
script editor Terrance Dicks had been 
impressed by the script, which had ended 
up on Dicks’ desk; it was fast, funny and 
reminded them of their own National 
Service days. Baker and Martin were 
given a merry reception in the BBC bar 
by Sherwin, Dicks, producer Peter Bryant 
and assistant script editor Trevor Ray. 
After discussing the sitcom, Dicks told the 
astonished writers, “We do Doctor Who” - 
and asked them to deliver a storyline. 
Although Baker and Martin had watched 
Doctor Who, they were unaware of the 
format changes then underway. Their 
initial storyline, Doctor Who and the Gift 
— written for Patrick Troughton’s Doctor - 
was extremely long. The narrative started 
from Baker’s notion of a massive pulsating 
space-brain shaped like a jellyfish which, 
able to project itself into any form, landed 
as a huge skull in Hyde Park one lunchtime; 
inside was a humanoid race which, although 
offering a wonderful gift, intended to 
destroy the Earth. The storyline included 
galactic battles and a cliffhanger in which 
a spaceship pilot (who was either strapped 
to or turning into a giant carrot) was to be 
seen crashing into Hyde Park and Battersea 
Power Station was blown up. 


oo DOCTOR WHO | THE COMPLETE HISTORY 


OSS SS, % 


cduction 


Dicks commissioned the first of six 
scripts as a trial piece on Monday 1 
December 1969 with a target delivery 
date of Friday 2 January 1970. The 
writers worked in Martin’s barn; Baker 
concentrated on plot while Martin (who 
did the typing) developed characters and 
jokes. The script was delivered on Monday 
6 April - but was immediately rejected. 

The impressive ideas in the storyline 
were felt to be disconnected, and new 
producer Barry Letts disliked the skull 
spaceship. The writers lacked the discipline 
of storytelling on a limited BBC budget; 
after giving them a great deal of advice, 
Dicks recommissioned a revised six-part 
storyline, The Friendly Invasion, that same 
day - 6 April - for delivery by Friday 8 
May. The writers delivered exactly on 
deadline. This version seemed even longer 
but, twisting ‘alien invasion’ cliché by 
having the ‘nice’ aliens turn out to be 
evil, it pursued a concept which Letts 
favoured. Themes involving trade, greed 


.~% SO 


and capitalism were worked in, but the 
narrative still contained too many ideas, 
forcing Dicks to have another rethink. 

In redrafting further that summer, the 
so-called ‘Bristol Boys’ were asked to 
incorporate the Master, the Doctor’s new 
Time Lord nemesis, into their narrative; 
Baker felt the villain fitted in badly. By this 
time, the story was called The Axons; the 
name of the monsters was derived from 
that given to nerve endings which convey 
messages from the brain. The concept of 
the reproducing cell, Axonite, was inspired 
by articles published in 1970 about the 
creation of an artificial ‘living cell’ by 
English biologist James Danielli. 


Wotes frompiehs 


n later breakdowns for the serial, 
I a film sequence was planned of 

the Master overhearing Winser’s 
instructions about having the TARDIS 
collected in Episode Two. Episode Three 
was then to have the Master arriving at 
the UNIT motor pool as the TARDIS was 
being loaded, and the outline also had 
the Brigadier telling Yates and Benton 
about the Doctor vanishing as well as 
stock footage of jets. In Episode Four, the 
Master’s TARDIS was ‘a round, organic- 
looking object in the spacedome’. 

Dicks commissioned a script for Gift 
Episode One (of Four) on Friday 11 
September with a target date of Monday 
21 September. On Monday 14 September, 
Dicks wrote to Baker and Martin regarding 
their script for Episode One saying it was 
generally acceptable but more of Filer was 
needed and the Axons’ appearance should 
be minimised. Dicks further responded 
on Thursday 1 October saying that it was 
too short. Because the script underran, 
Dicks sent scripts for the first episodes of 
Terror of the Autons [1971 - see page 54] 


Pre-production 


Above: 

The Master is 
responsible for 
bringing the 
Axons to Earth. 


and The Mind of Evil [1971 - see page 94] to 
Baker and Martin to indicate the quantity 
and layout required. Dicks also wanted 
clarification of the roles of Filer and 
Chinn (the latter was envisaged as either 

a ‘Little Englander’ or as a Parliamentary 
head of committee). He suggested that 
the alien Spacedome interior should be 
organic, almost woven (as opposed to 
looking manufactured) and that it should 
suck life from around it, killing nearby 
animals and vegetation. Considered too 
similar to events in The Ambassadors of 
Death [1970 - see Volume 15], the planned 
revival of the Axon crew with isotopes was 
dropped - and the effect of Axonite was to 
be demonstrated on a six-foot rat. Dicks 
also pointed out that episodes were now 
recorded in pairs, so the writers should 
aim to keep the sets the same and allow for 
four minutes’ film per episode (which was 
to be concentrated in Episodes One and 
Four). Dicks concluded by saying that the 
serial would be the third to be shown in 
the 1971 series. 

With the director joining the production 
in the first week of November, Dicks 
needed a rewritten Episode One by 
Friday 16 October; the remaining three 
scripts were due within the next three 


DOCTOR WHO | THE COMPLETE HISTORY ar 


Above: 
Teenage 
Axons. 


weeks. The next episode of the serial was 
commissioned on Sunday 18 October for 
delivery by Sunday 25 October. A revised 
draft of the first instalment of The Axons 
was delivered on Saturday 24 October, and 
by Wednesday 28 October, a first version 
of Episode Two had been received. The 
final two instalments were commissioned 
on Thursday 29 October for delivery on 
Monday 9 November. 

There were numerous differences 
between the rehearsal scripts and the 
transmitted serial. Episode One contained 
more dialogue between Chinn and 
Lethbridge-Stewart in which Chinn 
remarked that the Brigadier treated UNIT 
like his private army. Based on a local 
character called Burt Roach who drank in 
Baker and Martin’s lunchtime pub, Pigbin 
Josh, the ‘whiskery old tramp’ who found 
the spacedome in the woods, was given 
scripted Bristolian phonetic mutterings: 
“Furge-thangering muck-witchellers rock- 
throbblin’ this time o’day. Ur bin oughta 
gone put thickery blarmdasted zoines 
about, gordangum, diddenum? Hawer 
froggin’ law onnum, shouldnum?” Josh’s 
capture by Axos came when ‘a root-like 
tendril slithers out from under the dome, 
and lies still in Josh’s path. He... walks 
over the root - which rears up and strikes 
at him wrapping itself round him like a 
snake... There is a crackle like static, and 


oo DOCTOR WHO | THE COMPLETE HISTORY 


Josh goes limp.’ Inside Axos, there was 
to be: ‘Just a suggestion of the organic 
interior of the spacedome... a lumpy, 
shiny floor that occasionally pulsates with 
light... A soft sinister voice - to be instantly 
recognisable - whispers the results of 
the light-interrogation. Axos voice over 
whispering, sibilant.’ As Josh was absorbed, 
‘cracks appear in his face as in dry mud’. 
After scenes showing Filer in a ‘dark green 
American Ford travelling at speed along 
the motorway’, the American arrived in a 
scorched area of quarry where he found 
Josh’s bike beside Axos. He saw a tendril 
emerge from the spacedome and was still 
trying to determine its origin when UNIT 
arrived. Later, Filer emerged from hiding 
and was caught by the tendril. Following 
the arrival of Sir George Hardiman 
(‘burly ex-RAF head of the complex’) and 
Malcolm Winser (‘a much younger man, 
head of Research and Development’; the 
character’s first name was not used in 
the finished programme), the Brigadier 
announced that they were entering Axos. 
The soldiers stood by as the Doctor 
(referred to as ‘Doctor Who’ throughout) 
examined the bike. The Brigadier’s troops 
were to open fire as the spacedome 
entrance opened, whereupon the Doctor 
was to sigh angrily. Jo slipped through 
the spacedome’s ‘iris door’ while Benton 
showed Yates the corpse in the woods. 
Axos was referred to as a ‘spacedome’: 
‘a pulsating amoebic shape’ with a ‘dully 
shining entrance dome’ which opened 
like ‘an iris rather than a simple sliding 
door... Stretching open like an anemone.’ 
Inside: ‘the whole feel of the spacedome 
is organic... pale circular corridors and 
recesses, uneven, veinous glistening 
slightly, like a series of caverns, or the 
inside of an artery’. The brain area of Axos 
was: ‘the cerebellum of the spacedome 
[with] honeycomb walls of glowing light’. 


As the ‘magic eye’ scanned the UNIT party: 
‘A retinal screen - a fish-eye lens monitor 

- shows a distorted image of the person’ 
And the controlling core was described 

as ‘the “Eyeball’-stalk “soul” of Axos - a 
slender column, surmounted by a veined 
swivelling globe. The “Eye” area is golden, 
and the dilating pupil is black.’ 


MATE VOT 
he human Axons were introduced as: 
T: group of figures... revealed as the 
beautiful Axon “family”... the Adman’s 
dream “Cola-Cola” family... The Axon Man 
has his arm protectively round the Axon 
Woman’s shoulders and the two children 
stay close to their “mother”. A rather 
emotional Victorian type-pose - despite 
their silvery spacesuits.’ They speak: ‘with 
difficulty at first, gradually getting used 
to the “alien” tongue. Accent colourless 
mid-Atlantic’ The Axon monster which 
appeared at Episode One’s cliffhanger was 
described as ‘an Axon begins to “grow” 
out from the wall. It passes through the 
various stages of Axon Monster as it starts 
to become human.’ There were references 
to the monster’s ‘tendrilly hand’, and also 
the ‘repersonalisation’ process through 
which the monster becomes a golden 
humanoid standing over Jo. Later, ‘The 
Axon Woman is reabsorbed into the living 


wall of Axonite, and when 
the Doctor analysed Axonite, 
the Axon Man decomposed 
‘clutching his face: a quick 
glimpse of a streaming 
boiling glob streak running 
down through his fingers’. 
In the script, the Axon 
Man claimed that “all our 
worlds are totally - and 
permanently entropised” 
and demonstrated Axonite, 
‘a dark knobbly spiral- 
shaped object on a low 
control plinth... it seems to 
glow different colours’; he 
explained how Axonite had sub-atomic 
particles which behaved “in an ordered 
rather than a random fashion. They can be 
programmed and organised so that every 
molecule acts as a microcomputer which is, 
in turn, linked to every other molecule.” 
Originally, where the Doctor’s party 
emerged from Axos, they were to find 
UNIT surrounded by army troops; this 
was rewritten to take place in studio. 
Commenting on Josh’s corpse, Jo said: 
“Must have been directly under the 
ship’s landing blast area.” The Doctor 
examined a root which he had picked 
up, but it crumbled to dust: ‘Desiccated, 
dehydrated. Burnt out from within. Like 
the body. They puzzled over the fact that 
Filer’s car was not scorched. The fake 
Filer was intended to breathe heavily, 
speak in a monotone and be immune to 
the Doctor’s Venusian karate; once forced 
into the cyclotron, it was to become ‘a 
mass of boiling axonite glob - which 
burns away to nothing’. The Master’s 
TARDIS was described as a ‘plain white 
dome’. On leaving Axos, the Master 
pretended to collapse and then blasted 
the army guard with his laser gun (from 
Terror of the Autons). The energy noise of 


buckle 


DOCTOR WHO | THE COMPLETE HISTORY ae 


NNN rouuction—f 


Connections: 
Swash his 


» When Jo asks if Filer is 
going to handle the Master 
single-handed, Filer retorts, 
“No, no, that was Errol 


Flynn." Errol Flynn (1909- 
59) was the star of early, 
swashbuckling Hollywood 
action films such as Captain 
Blood (1935) and The 
Adventures of Robin 

Hood (1938). 


Left: 

The Doctor 
and Jo emerge 
from Axos. 


THE CLAWS OF AHOS =» stor? 


Connections: 
Cape name 


»% When distributi 


to the world, Chinn sends 
10 units to Cape Kennedy, 


Cape Canaveral 


was known as Cape 
Kennedy from 1963 
to 1973. 


150 DOCTOR WHO | THE 


the Axonite was emphasised (‘the “zizz” 
redoubles in strength’) - and, at the 
episode’s climax: ‘The axonite glob bursts 
the viewing section open and spills out 
into the lab... “zizzing”... its pseudopodia 
run towards them... tendrils and glob 
mixed up together’ The Doctor and Jo are 
confronted by: ‘three Axons - faces partly 
dissolved to glob... tendrilly hands reach 
out towards them... 

On Wednesday 4 November, Dicks 
informed the writers of other changes 
he wanted; Winser’s lab would replace 
another set which had been planned, 
the light accelerator would be damaged 
rather than destroyed, Yates would set 
up cameras to watch the spacedome and 
much of the planned narrative for Episode 
Four was redefined. 

In Episode Three’s script (delivered with 
Episode Four on Monday 9 November), 
the Axons surrounded the Axonite glob 
and it became a fourth Axon; the Doctor 
and Jo were stunned by a crackle of 
energy. There was an extended warning 
from the Axon Man to Hardiman about 
Axonite going critical as a consequence 
of the Doctor’s tampering. In Axos, Jo 
refered to the tendrils holding her as 
“slimy” (references to ‘tendrils’ were 
later revised to ‘claws’), but the Doctor 
was fascinated to find himself inside the 
creature, commenting that this must be 
how Jonah felt inside the whale. Chinn 
accused the absent Doctor 
of sabotage and suggested 
that Winser was killed trying 
to stop him. The Axons 
proposed taking the stunned 
Filer to Axos for ‘treatment’, 
but the Brigadier stopped 
them. Initially, the visiphone 
conversation between 
Chinn and the Minister 
contained comments on 


ng Axonite 


in Florida 


COMPLETE HISTORY 


how “the Soviets and Americans are 


holding a nuclear trigger to Britain’s 
head... we face the threat of nuclear 
attack”. Chinn claimed that he’d warned 
that the Doctor was an alien saboteur. 

A scene in Hardiman’s office, removed 
before rehearsals, featured the Brigadier 
arguing with Chinn over the message sent 
from UNIT HQ, warning that Axonite 
was a trap and saying that they needed to 
speak to Filer when he recovered. Another 
redundant scene in Hardiman’s office was 
removed; in this, the Brigadier demanded 
to search Axos and the Axon agreed, 
whereupon the Brigadier instantly declined 
and went to check on Filer. Originally, the 
Master was to be shown arriving in the 
UNIT lorry disguised as a general. 

There was more Axos/Doctor dialogue 
regarding how the Doctor would replace 
the Master and allow Axos to conquer the 
universe by means of space/time travel: 
“We shall become the entire universe. 
There will be nothing that is not Axos.” As 
the Doctor thought the equations, tendrils 
from the base of the ‘eyeball’ attached 
themselves to his temples (‘It should look 
as if they have grown into his skull’). 

Chinn’s survey of the global map 
included more dialogue concerning 


Aldermaston, Cambridge, Woomera 

and Houston; there was also to be 
additional film showing the Axon Man 
‘depersonalising’. In the subsequent attack, 
two UNIT guards at the reactor doors were 
having a quick cigarette while pretending 
to examine the padlocks when: ‘Omigawd! 
The Axon is now absolutely terrifyingly 
lumpen and tendrilly’ When the Master 
was captured, he used the general’s voice 

- and Benton realised that he had been 
duped earlier. 


\The Doctor andes escape | 


T: script of Episode Four indicated 


that the Doctor and Jo’s escape 

through Axos should use Colour 
Separation Overlay (CSO) effects ‘similar to 
the “trip” sequence in 2001’ (a reference to 
Stanley Kubrick’s landmark 1968 movie); 
doors opened to reveal ‘a particularly foul 
depersonalising Axon reaching out jerkily 
for their faces... falling to the floor... 
where it becomes a shapeless lump’. As the 
Doctor and Jo emerged from Axos, they 
saw ‘all the grass, weeds, shrubs, etc. are 
dead and dying - very much the “blasted 
heath” look’, with ‘blasted heath’ being a 
quotation from Shakespeare’s Macbeth. 


Pre-production 


A TARDIS scene was cut before 
rehearsals: as the Master struggled to 
shut down the controls, he muttered, 
“This is what you get for volunteering,” 

- and emerged from the TARDIS to say 

that he had “no intention of becoming 

a martyr”. After the Brigadier’s abortive 

struggle to save Hardiman, ‘Hardiman 

(or his stuntman substitute) is blown 

several feet by the explosion’. When the 

Master attempted to escape, Filer shoved 

his gun against the Master’s head and, ‘in Left: 


real “Little Caeser” [sic] style’, said: “One The true form 
move and believe me I'll blow your head of the Axoris 
is revealed. 


off.” The subsequent scene in Hardiman’s 
office was at first far longer: the Doctor 
discussed the power convulsion with the 
Master, and said that he may return the 
favour some time. 

It was indicated that Yates and Benton, 
carrying backpacks, would climb a wooded 
slope to set up a camera to observe 
Axos; they connected the cables back 
to their Land Rover, which was hidden 
in a gully. The call signs ‘Yankee’ for 
Yates and ‘Bravo’ for the Brigadier were 
used; these were later changed to “Trap 
One’ and ‘Greyhound’ respectively. The 
TARDIS scene between the Master and 
the Doctor was rewritten; originally, the 
Master suggested adapting another laser 
system to effect repairs (“New wine in 
old bottles,” said the Doctor). Remarking 
that the real problem with the TARDIS 
was its navigational system, the Doctor 
claimed: “I never really knew for certain 
where I was going to land... Or when, 
come to that.” A control box scene in 
which the Brigadier showed the Doctor the 
camera images of the spacedome, and the 
Doctor detected the Axonite recall order, 
was removed. Chinn and the Brigadier 
planned a tactical nuclear strike, but 
the Doctor pointed out that Axos feeds 
on energy: “You can’t kill a vulture by 


DOCTOR WHO | THE COMPLETE HISTORY 1 


THE CLAWS OF AHOS =» sors 


Right: 

Roger Delgado 
awaits his cue 
inthe mouth 
of Axos. 


feeding it meat.” Another major excision 
was a teleprinter message from UNIT 

HQ Washington: “PLANE CARRYING 
AXONITE CRASHED WASHINGTON 
THIS A.M. SUBSEQUENT EXPLOSION 
DESTROYED PENTAGON... REQUEST 
IMMEDIA... ZFB... ZFB... FB...” (the R/T 
operator explained that ZFB means “fading 
badly”). As disasters began across the 
world, the Doctor made a paper aeroplane 
out of one of Chinn’s papers, saying, 

“Tt’s a matter of time” - and flew the plane 
in a loop. 

For the woodland battle with the 
Axons, it was indicated that UNIT’s 
machine-gun fire should have no effect on 
the Axons: ‘If possible reverse film shots 
of bullets hitting Axons (so that the bullet 
holes close up). After the Doctor struck 
his deal with Axos, a mass of tendrils grew 
over his TARDIS, and two Axon guards 
accompanied the Doctor and the Master 
into the ship. When the Master fled, the 
Doctor sent the guards out after him, 
and the ‘eyeball’ appeared on the screen. 
When the complex exploded, and it was 
believed that the Doctor was lost, Chinn 
grudgingly agreed to mention the Doctor 
in his report. He then slipped, twisting 
his ankle in the rubble; the Brigadier 
watched on, disgusted. In the final scene, 
the Doctor again flew his paper plane to 
illustrate the time loop. 

As far back as Friday 9 October, Dicks 
had suggested retitling the serial The 
Vampire from Space which he felt had the 
‘right melodramatic Dr Who ring’; this 
new title was in use on breakdowns for the 
serial’s revisions by Friday 20 November, 
although the title The Axons was still in use 
through to early December. The scripts 
were delivered as the crew was appointed 
in late autumn. In charge was BBC staff 
director Michael Ferguson, who had 
previously directed The War Machines 


DOCTOR WHO | THE COMPLETE HISTORY 


[1966 - see Volume 8], The Seeds of 

Death [1969 - see Volume 14] and The 
Ambassadors of Death; since the latter, 

he had worked on episodes of the BBC1 
thriller series Paul Temple. Designer 
Kenneth Sharp had previously worked 

on The Macra Terror [1967 - see Volume 
10] and visual effects were supervised by 
Spearhead from Space’s [1970 - see Volume 
15] John Horton. Costume designer 
Barbara Lane joined the series for the first 
time, whereas Jan Harrison continued her 
run as make-up supervisor. Brian Hodgson 
of the BBC Radiophonic Workshop was 
assigned to produce the usual special 
sounds in January 1971 and would deliver 
a total of 57 items, including a new long 
dematerialistion sound effect for 

the TARDIS. 

During the casting process, Fernanda 
Marlowe was contracted to play ‘UNIT 
Corporal’ in Episode One on Tuesday 15 
December, replacing the role of ‘UNIT 


R/T Man’ and giving direct continuity to 
The Mind of Evil, in which she had played 
Corporal Bell. 

Dicks sent the rehearsal scripts to Baker 
and Martin on Tuesday 29 December, 
asking for changes regarding the Master’s 
escape from the complex and his return 
with the TARDIS, the scenes with Chinn’s 
Minister and some colloquialisms to 
distinguish the real Filer from his duplicate. 
Dicks requested the first two scripts by 
Tuesday 5 or Wednesday 6 January. 


LClartronic vwicips 
Ele CTTOME VIS! 


s with The Ambassadors of Death, an 
Py erresmec studio session was 

conducted at Ferguson's request 
in Studio TC7 on Tuesday 22 December 
to ‘examine a number of electronic and 
mechanical visual effects... see on camera 
the special costumes and make up effects... 
record a sequence of model shots involving 
CSO’. This was to try out Sharp’s plans 
to blend sets with CSO foregrounds and 
to testing second phase CSO with the key 
colour yellow instead of blue in an attempt 
to overcome the ‘fringing’ problem. 
Pulsating light projection effects were 
tested alongside techniques using videodisc 
and front and back projection. The 
psychadelic lighting effects were provided 
by a specialist group known as Crab 
Nebula Light Show, who provided similar 
lighting for the BBC’s Top of the Pops. 
After afternoon rehearsals, the test was 
recorded between 7pm and 8.30pm. The 
shots taken were of: the red-lit spacedome 
superimposed over a projector slide 
showing stars; zooming in on the model 
so it appeared to approach; the spacedome 
prop heading towards a slide caption 
showing Earth; the spacedome entering 
the time loop; and the model TARDIS 
(the prop made for The Daleks’ Master 


| 
| 


Pre-production 


Plan [1965/6 - see Volume 6]) escaping 
the spacedome. Further experimentation 
included testing yellow as a CSO trigger 
colour; blue-coloured rice being dropped 
before the camera to give a mix between 
two different faces (for Jo’s aging and 

the Axon face changes); the use of back- 
projected blue light on a film screen; the 
projection of effects lights; testing CSO 
model set elements (including a moving 
membrane); a figure appearing to grow by 
means of CSO; colour and effectiveness of 
the Axon monster costumes; the inflating 
Axon face mask; videodisc reverse shots 
of Axon tendrils; and the Golden Axon 
make-up. The model for make-up and 
costume tests was Clinton Morris. 

The Axon costumes were supplied by 
Jules Baker of Events Suits, an outside 
firm which had approached Letts about 
working on Doctor Who. The main costume, 
that would be used on location, was a 
fully tentacled suit with heavy latex rubber 
tendrils and foam placed on a chamois 
leather bodysuit; one main tentacle could 
be manipulated on wire. Another costume 
was less tentacled and two more were 
Axon ‘globs’ which had styrofoam padding 
over a bodysuit. The ‘Rolling Axon Glob’ 
featured in Episode Two’s climax was 
effectively a painted sack. All the costumes 
were suffocating in studio, and extra 
walk-ons were contracted to wear them 
for short periods. The golden Axons 
were achieved by using gold greasepaint 
on the actors’ faces and hands, which 
proved very difficult to clean off. Gold 
wigs and forehead/eye appliances were 
added; the artiste saw through pinholes 
in the eyeballs. The cast wore painted 
gold bodystockings after an idea to CSO 
an oil-based fluid pattern over yellow 
bodystockings had been rejected. At 
this stage, Letts was unhappy with the 
Axon outfits. ll 


DOCTOR WHO | THE COMPLETE HISTORY 153 


rod 


ocation shooting on 16m 
for The Vampire from Space got 
underway at Dungeness in Ke 
on Monday 4 January 1971 
4 Filming on the Dengemarsh 
= = Road near Lydd began at lp 
sequences shot on this first day showed 
stuntman Derek Ware (who had worked 
on the show since its very beginning) as 
Pigbin Josh both on a rubbish tip and 


playing Filer, driving his Ford Galaxie 500 
past Dengemarsh Farm. Grist, a Welsh 
actor, had been a regular cast member in 
the BBC1 serial 199 Park Lane where he 
had been directed by Ferguson; Ferguson] 
had subsequently cast him as Lt Simon 


(154) DOCTOR WHO | THE COMPLETE HISTORY 


riding his bike into a ditch, and Paul Grist, 


on 


amb in Triton and its sequel Pegasus. 
Snowy weather conditions plagued 
erguson’s crew, and Ware performed his 
stunt fall into freezing water twice, with 
a wetsuit worn underneath his costume. 
The scheduled wrap was Spm. 

With shooting for the next few days 


planned from 9am to 5.30pm, Tuesday 


5 January was spent alongside the Lydd- 
Dungeness Road; it was frosty, and the 
pebbles on the beach around Axos’ landi 
site were frozen together. The day’s 
filming called for the use of several special 
vehicles - including the ‘army green’ 
Commer C-Series BBC Outside Broadcast 
Unit MCR23, which was dressed as 

UNIT mobile HQ. To flesh out the UNIT 


“i 


presence, an army Land Rover 80” Series I 
with mounted Wombat gun was provided 
by Risborough Barracks at Shorncliffe, 
alongside 10 army men. The film unit 

was visited by the Kentish Express who 
interviewed a freezing Barry Letts and Jon 
Pertwee; the item was published on Friday 
8 January. 

The regular cast - Jon Pertwee (who had 
just returned from a Christmas break in 
Ibiza), Katy Manning, Nicholas Courtney, 
Richard Franklin and John Levene - was 
joined by guest artists Donald Hewlett, 
Peter Bathurst and David Savile. Hewlett 
was an old Naval friend of Pertwee’s; 
Bathurst had previously played Hensell in 
The Power of the Daleks [1966 - see Volume 
9| whereas Savile had been Lt Carstairs in 
The War Games [1969 - see Volume 14]; 
Ferguson had also directed Savile in the 
BBC1 twice-weekly serial The Doctors. 


equences shot for Episode One 


weather conditions, Letts determined that 
in the future he would avoid scheduling 
location-heavy productions over the New 
Year period. 

The crew resumed shooting at the same 
venue on Wednesday 6, by which time mild 
fog was present instead of snow. Roger 
Delgado joined the cast with filming for 
the spacedome scenes in Episodes Two and 
Four. For the scene in which the Master 
attacked the army soldier, stuntman Stuart 
Fell was rigged with a smoke charge to 
show the effect of the laser gun. It had 
been intended to shoot the Spacedome 
vanishing on location, but this was later 
staged as a model shot; other scenes were 
shortened due to both the lack of location 
light and slow performances from the 
frozen cast. A photocall was held at the 
entrance to Axos. Terrance Dicks wrote 
to thank Baker and Martin for prompt 
rewrites, saying Dungeness had been 
“bloody cold” during his visit with 
Barry Letts. 

Fog gave way to rain on Thursday 7, 


: Below: 
S were those showing Josh by the when the crew moved to the MOD army The truetionn 
boats, plus all those set outside the training ground St Martin’s Plain Camp at of an Axon. 


spacedome. The design team provided 

the Axos entrance; made from foam and 
latex on a chicken-wire frame, it opened in 
sections, and a wire-operated tendril could 
emerge from inside. A wax model of Ware’s 
face was created for the scene in which 
Josh’s corpse decomposed. Conditions 
were so cold that special make-up had to 
be applied to Manning to make her look 
warm; it transpired that her Biba boots 
were so thin she almost suffered frostbite, 
and between takes Pertwee wrapped 

her in his cloak to protect her from the 
cold. During breaks, the crew huddled 
around the open vehicle bonnets to warm 
themselves from the running engines or 
sheltered in front of the Axos prop on 

the frozen shingle beach. Because of the 


DOCTOR WHO | THE COMPLETE HISTORY 155 


THE CLAWS OF AHOS =» stv? 


Shorncliffe near Folkestone. 
This was the venue for 
action sequences arranged 
by film cameraman AA 
Englander featuring Ware 
and his Havoc stunt team. 
The first scene filmed was 
the Master jumping from a 
railway bridge onto a moving 
Bedford RL lorry; here, Jack 
Cooper doubled for Delgado. 
The main sequence was the 
Episode Four battle between 
Yates, Benton and four Axons 
during which a Land Rover 
was blown up and a prop tree 
was arranged to fall on cue 
when hit by an Axon tentacle. 
The sun emerged on Friday 
8 for filming at the Dungeness Nuclear 
Power Station, which doubled up as the 
Nuton Power Complex. The first sequence 
filmed was the arrival of the TARDIS in 


Connections: 

New TARDIS 

» Clearly seen beyond the 
interior double doors of 
the Doctor's TARDIS is a 
wall with the same circular 
design as the interior of 
the ship. This suggests 
that the control room 


doors no longer led directly 
outside, The wooden 


throne-like chair, which 
had been seen in previous 
Stories, is present in the 
TARDIS control room, 
Ya along with an 
| By eagielectern. 


visual effects assistant Dave Havard and 


covered in unlubricated contraceptives. 


Episode Three, following which Ware 
arranged the action sequence in which 
an Axon, played by Fell, attacks UNIT 
soldiers played by other Havoc stuntmen; 
flash charges were again used to show the 
troops’ demise filmed outside the turbine 
hall. The final sequence, filmed in the 
afternoon, was the evacuation and the 
return of the TARDIS in Episode Four. 
A photocall featuring Pertwee, Delgado, 
the TARDIS and the Axon monster was 
also held here and the planned wrap for 
the day was 6pm. 

A small amount of model filming 
was undertaken. Shots included those 
showing the radar station in Episode 
One and numerous sequences for Episode 
Four, such as Axos rising from the ground 
and the two-dimensional photo model 
of Nuton exploding as seen through 
the Brigadier’s binoculars. The Axos 
model was crafted from fibreglass by 


186 DOCTOR WHO | THE COMPLETE HISTORY 


Rehearsals for Episodes One and Two at 
the BBC’s Acton Rehearsal Rooms began 
on Monday 11 January; Ferguson’s concern 
over the extreme weather conditions on 
location led to Corporal Bell’s additional 
dialogue reporting “freak weather 
conditions” at the Axos landing site. Joining 
the cast was Bernard Holley as the Axon 
man; Holley had previously played Haydon 
in The Tomb of the Cybermen [1967 - see 
Volume 10] and had featured regularly as 
PC Newcombe in Z Cars since 1967 up to 
January 1971 when he recorded his final 
episode in which Newcombe was killed off; 
Ferguson had first directed Holley in an 
episode of the BBC1 soap The Newcomers 
in 1966 and worked with him on many 
editions of Z Cars as well as casting him 
in an episode of the BBC2 science-fiction 
anthology Out of the Unknown. Holley was 
absent from the start of rehearsals as he 
was recording Horrible Conspiracies, one of 


and inside the mobile HQ. UNIT HQ 
incorporated three monochrome monitors 
- which were stolen over lunchtime and 
had to be replaced. Some of these showed 
the missile attack (this being 56 feet of 
stock 16mm film acquired from the British 
Aircraft Corporation). During these 
recordings, the Axos voice was played in 
from pre-recorded tape and film transfers 
were performed (with the full demise of 
Josh’s corpse intact). After this, Episode 
Two scenes set in the mobile HQ, back . 
at UNIT HQ and inside the lorry cab —e 
were recorded. 

Taping between 7.30pm and 10pm the 
following day was preceded by a photocall 


for the different versions of the Axons. Left: 
The first time that Bernard Holley walked Mle ee 
onto the set in costume, he wore his alltanceneinn 
Z Cars police cap as a joke, delivering one the Master... 
of his lines as “Axos calling Z Victor One”; or does 
the plays in the Elizabeth R series which was this joke went down better than when 
recording at Television Centre on Monday he had worn his headgear on the set of 
11 and Tuesday 12. John Hicks, the Axon i Elizabeth R. Firstly, the scenes in Axos Below: 
Boy, had previously been a Quark in The | were recorded; these large connected The tendrils 


Dominators [1968 - see Volume 12] while sets were very flimsy, constructed from of Wee 
: ae : ; a operate 

Ferguson had directed Patricia Gordino, the foam, plastic and latex rubber with blue ae al ae 

Axon Woman, in Pegasus. Chinn’s Minister CSO background/foreground models assistants. 


was played by Kenneth Benda with whom 
Ferguson had worked on an episode of 
Z Cars. 


VHA 


T: Vampire from Space began recording 


in TC3 over Friday 22 and Saturday 

23 January with a photocall for Katy 
Manning in her dressing room during 
the first day. The Saturday taping ran 
from 8.30pm to 10pm and comprised 
material for both episodes. The 1967 
arrangement of the theme tune was used 
for the serial. First Episode One was taped 
in order, omitting all Axos scenes, focusing 
instead on material set both at UNIT HQ 


DOCTOR WHO | THE COMPLETE HISTORY 7 


THE CLAWS OF AHOS =» sto? 


Below: 
Axon 

actor Stuart 
Fell takes 

a breather. 


and coloured lights. Sharp, who had 
conceived the sets to pulse like the interior 
of a giant brain, was inspired by the 1966 
movie Fantastic Voyage, which featured 
miniaturised scientists roaming around 
inside a man’s bloodstream. 

Recording began with the spacedome 
cell scenes. The Crab Nebula light patterns 
were superimposed over shots of Josh 
and Filer being analysed; rapid videodisc 
intercuts were added, and both actors were 
held by tendrils operated by visual effects 
assistants Colin Mapson, James Ward 
and Dave Havard beneath the raised set. 
Four shots were then edited in from the 
experimental session tape; these included 
an Axon monster inside Axos, plus CSO 
shots of Axos in space. Letts had hoped 
that the technique of placing spaceships 
over CSO backgrounds would be effective 
enough to save money on filmed models, 
but was disappointed by the result. 


138 DOCTOR WHO | THE COMPLETE HISTORY 


se Se SS, 


The remaining Episode One Axos scenes 
were recorded next, with the exception of 
the cliffhanger. A distorted lens was used 
to suggest the mental attack on the Doctor, 
plus a multi-lens point-of-view shot of the 
Brigadier. Roll-back-and-mix was used to 
give the illusion of the Axons’ appearing 
from behind the vanishing wall. CSO was 
also used to make the frog appear to grow 
larger and smaller; the animal had to be 
kept cool as it became over-stimulated in 
the studio heat. 


ith Episode One almost complete, 
WW: Axos scenes for Episode Two 

were recorded, bar effects shots. 
Effects were undertaken together, and 
included: Jo seeing the Axon appear (by 
means of the blue CSO mix); the Axon 
woman ‘depersonalising’ (for which stunt 
woman Sue Crosland wore a suffocating 
latex mask, breathing via a length of hose 
pipe secreted inside the appliance); Filer’s 
duplication; the back-projection scenes of 
the brain area; and superimposed shots 
of the Axons staggering about when the 
Doctor activates the Axonite. With the 
Axos material complete, recording of 
the Nuton Complex scenes for Episode 
Two began with the CSO shot placing 
Winser’s Lab within a glass painting of 
the cyclotron. However, the complex 
effects meant that only the first two Nuton 
scenes were recorded before the ten o’clock 
deadline; the remaining material would 
have to be remounted. 

During rehearsals for the final studio 
session, from Monday 25 January, Letts 
changed the serial’s title from The Vampire 
from Space (which he felt invited Hammer 
horror comparisons) to The Claws of Axos; 
the opening titles to Episodes One and 
Two, therefore, needed re-recording. 


However, numerous publicity items had 
already been issued bearing the original 
title, and the Frank Bellamy comic art 
for Radio Times which introduced the 


subsequent serial Colony in Space [1971 - 
see Volume 17] used The Vampire from Space 
title. Dicks informed Baker and Martin 
of the change of title on Thursday 28 
January, explaining that the team felt that 
it ‘strikes the correct ominous and sinister 
note’. Dicks commented that neither he, 
Letts or Michael Ferguson had been happy 
with the former title because of the word 
‘Vampire’. A memo about the title change 
was circulated around the BBC, but due 
to a misunderstanding, the new title was 
erroenously given as The Clause of Axos. 

Bernard Holley’s role in Doctor Who was 
noted in the Thursday 4 February edition 
of the trade paper Television Today which 
described his appearance as ‘a Greek God 
Space Monster’. 

The second studio spanned Friday 5 
and Saturday 6 February in TC4; Rhian 


Davies took over from Jan Harrison 

as make-up supervisor. The TARDIS 
interior was redesigned for its first colour 
appearance; Kenneth Sharp rebuilt the 
damaged central console with assistance 
from a Pinewood-based visual effects 
company. The new panels were more 
hi-tech versions than previously, while the 
column was refurbished with neon tubes. 
Jon Pertwee set his precedent for activating 
the TARDIS by using three levers on one 
of the panels simultaneously. The existing 
walls comprising indented roundels were 
fitted with a blue CSO disc to act as a 
scanner and a small computer bank was 
added beneath this. 

Recording on the first day ran 
between 8.30am and 10pm and, after 
a re-recording of the Episode One 
cliffhanger, was fundamentally a scene- 
by-scene performance of Episode Three 
from the second scene onwards. For the 
scenes in which the Doctor talks to Axos, 
the head of the Axon Man turning was 
superimposed by mixing two camera shots 
from slightly different angles. CSO was 
used for the screen via which Chinn talked 
to the Minister, and Delgado wore a latex 
mask when disguised as a general. 

For the Axos interrogation, patterns 
were superimposed over an image of the 
Doctor and intercut with flashes of pink; 
back projection showed the time equations 
on the screen. When the 
Axon Man ‘depersonalised’, 
a golden Axon artiste put 
on a ‘globby’ Axon monster 
mask and gloves; a full 
‘globby’ monster was used 
next. As Axos’ power built 
up, a red oscilloscope trace 
was shown and the camera 
rocked and twisted to show 
the chaos in Axos. During 
recording, Delgado became 


Rally cry 


Harold ll. 


Connections: 


B The Doctor's sneering ° 
comment of “England for 
the English” to Chinn was 
apparently the eleventh- 
century rally cry of the 
supporters of both Godwin, 
Earl of Wessex and his son 


Left: 


Bernard Holley 
played the 
golden Axon 
Man, as well 
as the voice 

of Axos. 


DOCTOR WHO | THE COMPLETE HISTORY 


159 


Above: 
Axonon 
the rampage. 


concerned when it appeared that the props 
man had lost the key to the handcuffs he 
was wearing. 

With Episode Three completed, a 
number of inserts were shot. These 
included: a short TARDIS scene with 
Hardiman on the CSO screen; the ‘blue 
rice’ CSO mix between Manning and older 
actress Mildred Brown for the ageing of Jo 
(recorded as a videodisc replay); and the 
final shot of Jo and the Doctor. The crew 
then remounted the remaining scenes of 
Episode Two through to the first scene 
of Episode Three. Ware supervised the 
fake Filer fight and doubled for Grist; the 


BBC’s foam machine and a superimposed 


PRODUCTION 


Kent [Road] 


Tue 22 Dec 70 Television Centre Studio 
7, Experimental Session 
Mon 4 Jan 71 Dengemarsh Road, Lydd, 


Tue 5 - Wed 6 Jan 71 Dungeness Road, 
Lydd, Kent [Roadside; Axos] 

Thu 7 Jan 71 St Martin's Plain Camp, 
Shorncliffe, Kent [Bridge; Attack on Road] 


Station, Dungeness, Kent 
[Power Complex] 


Episodes One and Two: U 
Mobile HQ 


160 DOCTOR WHO | THE COMPLETE HISTORY 


Fri 8 Jan 70 Dungeness ‘A Nuclear Power 


Fri 22 Jan 70 Television Centre Studio 3: 
IT HQ; 


Sat 23 Jan 70 Television Centre 
Studio 3: Episodes One and Two: 
Spacedome Cell; Outer Area; Brain Area; 


OKRA 


spark generator contributed to the replica’s 
demise. When Filer was overpowered at 
the start of Episode Three, a videodisc 

was used for the shot of the Axon tendril 
striking him. 

Recording of The Claws of Axos concluded 
on Saturday 6 with a 7.30pm to 10pm 
session. This began with all the scenes 
in the Power Complex; a helmeted Jack 
Cooper doubled for Hewlett in Hardiman’s 
death fall, a monochrome monitor showed 
model film of Axos, CSO was used for the 
disappearances of the Doctor’s TARDIS, a 
one-third scale model made for The Rescue 
[1965 - see Volume 4] and The Romans 
[1965 - see Volume 4]. The Master’s 
TARDIS was represented by a full-size 
white box with a door in it. A polystyrene 
lab door melted as the Axons broke in, 

a blue spark was superimposed over the 
light accelerator and the Axons ‘vanished’ 
using CSO. Parts of the set were rigged 

to collapse and, for the final scene, part 
of the office wall was removed to imply 
the building’s devastation. All the Axos 
scenes were recorded at the end of the 
evening; the heads of golden Axons were 
superimposed over the Doctor and Jo’s 
escape sequence. Recording overran by 27 
minutes due to the complex effects with 
this additional studio time cost queried at 
the BBC’s Programme Review Board on 
Wednesday 17 February and justified by 


| head of serials Ronnie Marsh. 


Inner Chamber; Corridor; 

Replication Section; Winser’s Lab; 
Hardiman’s Office 

Fri5 Feb 70 Television Centre 

Studio 4: Episode Three; Closing Scenes 
for Episode Two 

Sat 6 Feb 70 Television Centre 

Studio 4: Episode Four; Opening Titles for 
Episodes One and Two 


2 Production | Post-production 


diting took place from Monday Brigadier’s office in which Chinn demanded 
8 to Tuesday 16 February. that since the Doctor did not officially let d 
Episodes One and Two overran exist he must be suspended from duty was very, very 
their 25-minute limits and removed. The collapse of Josh’s corpse was dangerous. 
required editing. Episode One’s flared to a whiteout as the original effect 
opening scene, featuring two was considered too grotesque by head 

radar technicians, was trimmed to remove of serials Ronnie Marsh, and two short 

one of the two checking a list of comets scenes of Jo exploring Axos were removed 

(“Comus-Sola due 1969... Pons Winnecke and other material shortened when 

1970, Encke 71... Westphal, 75...”). A Marsh found it too psychedelic. One of 

short scene in which Jo bumped into Filer | the Axonite discussion scenes was heavily 

for the first time was cut (partially due to trimmed to remove the Doctor advocating 

sound problems), and a sequence in the § that Earth should develop on its own, 


DOCTOR WHO | THE COMPLETE HISTORY ast 


THECLAWSOFAHOS »sovs | 


Below: 

UNIT troops are 
met with the 
deadly force 

of an Axon. 


whereupon Chinn ordered the Brigadier to 
silence the Doctor, whom he believed to be 
hindering government negotiations. 
Episode Two was heavily cut. Chinn’s 
telephoning the Minister lost a remark 
about Chinn’s reputation and future 
career being “the least important matter at 
stake”. The start of the next Axos scene - in 
which the Axon offered to show Jo around, 
and the Doctor assured Jo that she was 
hallucinating - was cut. (The Doctor, who 
was more concerned about the Axonite 
deal, commented: “Beware Greeks bearing 
gifts.”) The end of the scene lost the Doctor 
attempting to keep the Axonite away from 
Chinn while talking to Winser about his 
light accelerator. There was more dialogue 
in the cell between the Master and Filer: 
the Master confirmed that the Axons were 
universal scavengers who did not have 
a home planet - a fact which Filer later 
referred to in the broadcast version - and 
said that he was captured off Antares Four. 
A complete scene in Axos was then cut: in 
this, the Doctor suggested experimenting 
alongside Winser and Jo attempted to warn 
the Brigadier about the Doctor’s interest 


all 


. 


162 DOCTOR WHO | THE COMPLETE HISTORY 


in time travel - but Lethbridge-Stewart’s 
mind was on Chinn. The end of the scene 
in the mobile HQ where the Doctor left 
with Winser was removed; here, Jo believed 
that the Doctor had changed sides, to 
which the Doctor commented: “A matter 
of loyalties... mine must be to science.” The 
end of the first scene in Winser’s lab lost 
the Doctor suggesting that the scientists 
cannibalise parts of the TARDIS. A scene 
in the corridor outside Hardiman’s office 
was cut; in this, the Doctor argued with 

a corporal about seeing the Brigadier as 
Harker arrived. Filer gained access by 
saying that he was a CIA interrogation 
officer sent to question UNIT, but after 
the Doctor and Filer entered Harker went 
to check with Chinn. Also excised was a 
‘flaring out’ of the shot of Winser’s face 
decomposing. The only cut to Episode 
Three was the end of one scene between 
the Doctor and Axos in which the voice 
proclaimed, “Axos will live forever, the 
supreme life-force” - to which the Doctor 
countered, “A cosmic parasite.” Episode 
Four was left uncut and slightly overran 
its 25-minute maximum. 


udley Simpson was booked to 
D provide the score for the serial 

on Wednesday 27 January; this 
was recorded using the EMS Synthi 100 
‘Delaware’ at the Radiophonic Workshop 
over 13 days from Monday 15 February 
to Friday 19 March. A total of 47 minutes’ 
worth was composed, with Simpson 
reusing his Master Theme from Terror of the 
Autons. In 1972, Brian Hodgson left the 
Workshop, established Electronic Music 
Studio, and issued a demonstration record 
Sounds from... EMS featuring Simpson's 
The Axons Approach and a flexidisc with the 
same band titled Axon Attack. @ 


> SSS SS 


Publicity 


» A promotional document for The 
Vampire from Space was released by the 
BBC on Wednesday 16 December 1970 
promising an ‘exciting story’ with an 
‘action-packed climax’. 


® Episode One of The Claws of Axos was 
promoted with a small item entitled 
That Golden Feeling about Bernard 
Holley in the Radio Times ‘People’ 
section, plus two photographs 


alongside the programme listing ® Inthe Daily Mirror, a small item about Above: 
showing the Doctor, Jo and Axos. 22-year-old model Patricia Gordino’s West 
Episode Four gained a small item in appearance as the Axon Woman return toEarth 
the ‘Preview’ section under the title j appeared with a photo of the actor in the TARDIS. 
Who on earth...? which speculated on a in make-up promoting the evening’s 

possible end to the Doctor’s exile. début instalment. 


Broadcas 


» The viewing figures maintained the 
series’ standards well; the show was 


Mr Chinn leads 


~ the party that 
opposed by episodes of the ATV welcomed 
financed UFO science-fiction film Axos to Earth. 


series in regions such as ATV (repeats) 
and Southern (first run) while other 
areas showed the documentary Survival 
(LWT), Westerns such as Bonanza 
(Granada) or Gunsmoke (Yorkshire/ 
Westward/Channel/Grampian), 

the imported science-fiction series 
Voyage to the Bottom of the Sea (Tyne 
Tees/Scottish), the US sitcom Arnie 
(HTV), Kenny Everett’s series Ev 


DOCTOR WHO | THE COMPLETE HISTORY 163 


THE CLAWS OF AHOS » sts 


® Visual effects elements from the serial 
subsequently appeared in the BBC1 
documentary Behind the Scenes which 
studied the workings of BBC Television 
Centre; filmed during Spring 1971 
it was broadcast on Wednesday 18 
August 1971. 


® The Claws of Axos was sold abroad 
as both 16mm monochrome film 
recordings and as colour videotapes 
in both 625- and 525-line standards. 
Australia’s ABC received the serial in 
September 1971 and screened it in 
May 1972. Time-Life marketed it to 
the USA in 1972 (where it was shown 
until 1976); it was also purchased for 


ah (Anglia), puppetry with Shari Lewis broadcast by Hong Kong, Singapore 

ater (Border), the cartoon Arthur! and the and Gibraltar. 

good first Square Knights of the Round Table (Anglia) 

impression. and the local show T-Time (Ulster). » TV Ontario in Canada broadcast 

the serial in 1976, and returned 
® At the Programme Review Board on the 525-line tapes of the whole 

Wednesday 17 March, John Culshaw story to the BBC in the early 1980s. 
- the head of music programmes - The serial was re-marketed in the 
praised the opening instalment, a mid-1980s; New Zealand transmitted 
sentiment echoed by Monica Sims, it in September 1985, ABC in April/ 
head of children’s programmes - who May 1986 and in North America it 
also noted that the new story was also aired as a TV movie of one hour, 
continuing the trend towards the 31 minutes duration. 
type of material being covered in 
the adult BBC1 drama Doomwatch. » UK Gold transmitted The Claws of Axos 
At the meeting the following week, in episodic and compilation form from 
BBC1 controller Paul Fox felt that the March 1993. BBC Prime screened it 
adventure was going well. from September 1995. 


ORIGINAL TRANSMISSION 
EPISODE DATE TIME CHANNEL DURATION RATING (CHART POS) APPRECIATION INDEX 
Episode One Saturday 13March1971  5,15pm-5.40pm BBC1 2351" 7.3M (57th) 


Episode Two Saturday 20March1971  515pm-5.40pm BBC1 24'00" 8.0M (43rd) 
Episode Three Saturday27March1971  5,15pm-5.40pm BBC1 24'05" 6.4M (70th) 
Episode Four Saturday 3 April1971 5.15pm-5.40pm BBC1 25/19" 7.8M (49th) 


166 DOCTOR WHO | THE COMPLETE HISTORY 


Merchandise 


he Claws of Axos was first due to 
be novelised in May 1974, but 
Dicks’ Doctor Who and the Claws 
of Axos would not be published 
until April 1977; it was issued 
simultaneously in hardback 

by Allan Wingate and in paperback by 

Target with a cover painting by Chris 

Achilleos. The paperback 

‘| was reprinted with a new 

| cover by John Geary in April 

1979. It was paired with 

Dicks’ adaptation of The 

Mind of Evil as one of Star 

Books’ Doctor Who Classics, 

issued in March 1989. The 

novelisation was released 

as a BBC Audiobook 

in June 2016, read by 

Richard Franklin. 

The serial was issued 

by BBC Video in May 1992 

with a cover painting by 

Andrew Skilleter. 

BBC Worldwide released 
the serial on DVD in 
April 2005. 

It included these extras: 
» Commentary with actors 

Katy Manning, Richard 

Franklin and producer 

Barry Letts 
»® Deleted and extended scenes 
» Now & Then: The Locations of The Claws 

of Axos - a look at the locations used in The 

Claws of Axos, contrasting how they appeared 

in 1971 with how they are now, Narrated by 

Katy Manning 
» Reverse Standards Conversion: The Axon 

Legacy - restoration featurette 


@ 


Broadcast | Merchandise 


} Directing Who: Michael 
Ferguson on The Claws of Axos - 
director Michael Ferguson recalls 
his work on The Claws of Axos 

» Programme subtitles 

» Production information 
subtitles 

» Photo gallery 

The Claws of Axos — Special 

Edition was released in 

October 2012. It included 

these extras: 

» Commentary with actors Katy Manning, 
Richard Franklin and producer Barry Letts 

» Axon Stations!: Making The Claws of 
Axos - cast and crew look back at the making of 
the story featuring Bob Baker, Terrance Dicks, 
Michael Ferguson, Derek Ware, Katy Manning, 
Paul Grist and Bernard Holley 

» Now & Then: The Locations of The Claws 
of Axos 

» Directing Who Michael Fersguson on The 
Claws of Axos 

} Studio Recording - the entirety of the 
earliest surviving Doctor Who studio recording 
- complete with studio chatter, recording breaks 
and VT run-ups 

® Living with Levene - Toby Hadoke spends 
a weekend with actor John Levene 

» Deleted and extended scenes 

» Radio Times listings in Adobe 
PDF format 

» Programme subtitles 

® Production information subtitles 

» Photo gallery 

» Coming soon trailer 

® Digitally remastered picture and 

sound quality 
» Easter Egg: Reverse Standards 
Conversion 


BBB ovo 


Clockwise 
from left: 
Novelisation 
covers by John 
Geary and 
Chris Achilleos; 
the video 
release cover 
by Andrew 
Skilleter; and 
the original 
DVD cover 

by Clayton 
Hickman. 


THEE 
ne OF AKOS 


° . G iq 
The JON PERTWEE Years 1970 4 


DOCTOR WHO | THE COMPLETE HISTORY 165 


THE CLAWS OFAHOS »sovs; 


The Third Doctor DVD box 
set was available exclusively 
through Amazon from 
November 2006. It included 
The Claws of Axos. The serial 
was also available with issue 
97 of the Doctor Who - DVD 
Files, published by GE Fabbri 
in September 2012. 

Incidental music from The 
Claws of Axos was included 
on several releases, including 
the seven-inch flexidisc and 
pee EP Sounds from... EMS from Electronic 
right: Music Studio in 1972 (with the track 


OF HHOS 


Cis USED 


The JON PERTWEE Years 1970-74 


The Special Axon Attack). Elements of the score were 
Aaa featured in The Worlds of Doctor Who, the 
Underground B-side to the BBC single of Simpson’s 
Toys collectors’ theme to Moonbase 3 in October 1973. 
ace Brian Hodgson’s sound effect of 
the Master’s laser gun formed the track 
Laser Gun, Five Bursts on the BBC 
Records & Tapes sound effects LP Out 
of this World released in 1976. Effects 
and music from The Claws of 
Axos were included on the CD 
Right: Doctor Who at the BBC Radiophonic 
Eaglemoss’ Workshop — Volume 2: New 
figurine of the Beginnings 1970-1980 from BBC 
Axon Man. 


Music in May 2000 (with the 
tracks Brain Centre Atmosphere 
and The Axons Approach), 

the four-CD set Doctor 

Who: The SOth Anniversary 
Collection from Silva Screen 

in December 2013 (including 
the sound effect Copy Machine 
Tickover and the music cue The 
Axons Approach) and the 11-CD 
version in September/November 
2014 (with the tracks Axos Cell 
Interior Atmosphere, Brain Centre 
Atmosphere, Copy Machine Tickover, 
The Axons Approach and 
TARDIS Lands. 


165 DOCTOR WHO | THE COMPLETE HISTORY 


In August 2017 Fantom Films released 
Who Talk: The Claws of Axos. The unofficial 
two-CD set featured cast and crew from 
the serial reunited for new commentaries 
on all four episodes, including an 
alternative track for the last episode. 
Moderated by Toby Hadoke, this release 
featured Katy Manning (Jo Grant), Richard 
Franklin (Captain Yates), Bernard Holley 
(Axon Man), Bob Baker (writer), Terrance 
Dicks (script editor) and Michael 
Ferguson (director). 

The Stamp Centre issued covers for The 
Claws of Axos signed by John Levene in June 
2005. In 2006 A4 colour art prints of Chris 
Achilleos’ Doctor Who cover art for The 
Claws of Axos was available. 

In 1998 Harlequin Miniatures issued 

metal models of an Axon monster and 
_an Axon humanoid. Underground Toys 
issued a Master and Axon action figure 
| set in August 2010. An Axon Man was 
f available with issue 71 of the Doctor 
| Who Figurine Collection, published by 


> _ Eaglemoss i in May 2016. In August 
a 


2018, a figure of the Master from The 
Claws of Axos was included in Titan’s 
‘Master’ collection of mini vinyl figures. 
Axos made a return in The Feast of Axos, 
a Doctor Who audio drama, written by 
Mike Maddox featuring Colin Baker as 
the Sixth Doctor with Bernard Holley 
once again providing the voice of Axos, 
released in February 2011 by 
Big Finish. 


~~AA A SK XK \ Merchandise | Cast and credits 


Cast and credits 


CAST Patricia Gordino Axon Woman [1-2]° 
JoniPertwee).cccccccccaaanncannnons Doctor Who JONNHICKS:.....cccuanceransecan cc Axon Boy [1]° 
with Debbie Lee Londo... Axon Girl [1]? 

Katty Manning ou... Jo Grant Nick HODDS. sisisisssisciccsmnscromean Nuton Driver [2]° 

Nicholas Courtney... Brigadier Lethbridge-Stewart Royston Farrell.........cccccsussin Technician [4] 

Roger Delgado... The Master 

Richard Franklin... Captain Mike Yates ‘Credited as Bill Filer in Radio Times 

John Levene... * Credited as Sir George Hardiman in Radio Times 

Peter Bathurst ? Uncredited on Episode Two although credited in 

Pau Gist iccantninsninmnniiaieontanranuenenetn Radio Times 

Donald Hewlett...........cccccsssessss Hardiman? “Jointly credited as Radar Operators in Radio Times 

David! Savill Gi iwiississevccraiinsaccovamingive Winser [1-2] >Not credited in Radio Times 

Derek Ware.... .. Pigbin Josh [1] ® No on-screen credit; credited in Episode Two 

Bernard Hollley..........ccccscssssnnssse Axon Man in Radio Times and also appears uncredited in 

Kenneth Benda.............00008 The Minister [2-3]? Episode Three 

Tim Pigott-Smith. .................. Captain Harker [2-3] 

Michael Walker .........0..5 1st Radar Operator [1-2]' | UNCREDITED 

David G March.,............. 2nd Radar Operator [1-2]* GlOrIA WAIKET..... cscs Secretary 

Fernanda Marlowe.............0005 Corporal Bell [1] Pierce McAvoy, George Howse... Civil Servants 
Roy Brent, Bill Hughes, Douglas Roe, Clive cane 
Roger, Pierce McAvoy, Michael Stainer............., Stuart Fells 
HUTTE NENT NETO EOE UNIT Soldiers fitted into his 
Richard Franklin ....ccccccsesssssnsnsnn Radio Voice Axon suit. 


Stuart Fell, Steve Emerson, Derek Martin, 
Jack Cooper, REG HaFdinG........cccnn 


iquignnacianpinnemua ee Stuntmen/UNIT Soldiers 
Bernard Holley... Voice of Axos 
ROGeEF MINNIS... 2nd Axon Man 


Geoff Righty, Steve King, David Aldridge.......... 
eee cvssivniiaviaaneenissicisnpiteneeetes Humanoid Axon Men 
Nick Hobbs................005 Stunt Double for Axon Man 
Sue Crossland........ Stunt Double for Axon Woman 
Bill Barnsley, Paul Phillips, Peter Holmes, 


Victor Croxford................ Laboratory Technicians 
Jack Cooper................ Stunt Double for The Master 
Derek Wale... cesses Stunt Double for Filer 
Steve Smart, Pierce McAvoy, George Howse. 
ented, cremate seoicte Regular Army Soldiers 
Eden Fox, Stuart Myers........... Rolling Axon Globs 
Douglas Roe, Clinton Morris.......... Globby Axons 


DOCTOR WHO | THE COMPLETE HISTORY 187 


THE CLAWS OF AHOS $=» sows \ 


Right: 

The Doctor 
had reached 
the end of his 
tether with 
the Brigadier. 


7 Douglas Roe, Clive ROGEF......:.00 AxonGlobs | CREDITS 
Peter Holmes, Steve Smart, Clinton Morris, Written by Bob Baker & Dave Martin 
Mark Boyle, Jack Cooper............. Axon Monsters Title Music by Ron Grainer 
CHINTON MOPTIS occ Corporal and BBC Radiophonic Workshop 
GlOrIA WAIKET cscs Nurse Incidental Music: Dudley Simpson 
Stuart Fell Stuntman/Axon Monster Special Sound: Brian Hodgson 
Derek Maltin woes Stuntman/Corporal and BBC Radiophonic Workshop 
Steve Emmerson, Jack Cooper, Reg Harding, Action by Havoc 
Nick HObDS...........:.0008 Stuntmen/Army Soldiers Film Cameraman: AA Englander 
Mildred Brown..........005 Double for Jo Grant (old) Film Editor: Bob Rymer 
Brian Gilmar, Emett Hennessy, Bob Blaine, Visual Effects Designer: John Horton 
ERG ReARM PEISUIG Ger cre cscs sescstosvssttinasesescessinsssavsases Costumes: Barbara Lane 
catsas Stuntmen/UNIT Soldiers [inc McDougall, Parker] Make Up: Jan Harrison 
Jack Cooper..............05 Stunt Double for Hardiman [1-2; supervised all film sequences], 
Reg Harding, Derek Martin, Steve Emerson, Rhian Davies [3-4] 
Nick Hobbs, Stuart Fell... Lighting: Ralph Walton 


Stuntmen/Axon Monsters/ Sound: Dave Kitchen 

Doubles for Captain Mike Yates and Script Editor: Terrance Dicks 
Sergeant Benton Designer: Kenneth Sharp 

Producer: Barry Letts 

Directed by Michael Ferguson 


‘168 DOCTOR WHO | THE COMPLETE HISTORY 


.~ SAAN 


Profile 


Writers 


hough nicknamed the Bristol 
Boys by script editor Terrance 
Dicks, only half of the writing 
partnership originated in the 
West Country. Robert John 
Baker was born there on 26 
July 1939. His first TV work came making 
animations for BBC Bristol children’s show 
Vision On. 

David Ralph Martin, born 1 January 
1935, meanwhile hailed from Handsworth, 
Birmingham. A pylonrigger and hospital 
worker before studying at Bristol University, 
he later worked backstage at Bristol Old Vic 
theatre, where he met and married drama 
student Celia Constanduros. They had 
children Thea and Leo, with a daughter Ann 
by his first wife. 

Baker and Martin met in 1968 while 
Martin was at advertising agency Harrison 
Cowley, and Baker worked in a late-night 
tobacconist’s run by a mutual friend, which 
Martin frequented. Baker was developing 
a friend’s animation based on poem Peter 
Grimes but the two collaborated on a 
more ambitious movie. Though ultimately 
unmade, their partnership persisted. 

A script based on the military memories 
of their friend, Old Vic barman Keith Floyd 
(later a famous TV chef) was picked up in 
1969 by Trevor Ray, Derrick Sherwin, Peter 
Bryant and Terrance Dicks, who brought 
Baker and Martin into the BBC bar to 
discuss ideas. 

Work for local ITV franchise HTV 
included Leonard Rossiter crime vehicle 


Cast and credits | Profile 


Thick as Thieves (1971), historical adventure 


dramas Pretenders (1972) and Arthur of the _ anit 
Britons (1972/3), single plays Bristol 600 and Bob Baker 
(1973), Item (1974), and M+M (1974), plus eel 
another Rossiter one-off Machinegunner creatlonmncel 


(1976). Output for other ITV companies 
included Hunter’s Walk (1974-6), Public Eye 
(1975), Scorpion Tales (1978) and Derrick 
Sherwin’s Skiboy (1974). 

Their first Doctor Who credit The Claws of 
Axos was followed by the similarly satirical 
and political The Mutants [1972 - see 
Volume 18]. The Three Doctors [1972/3 - see 
Volume 19] reunited all three Doctors to 
date and originated renegade Time Lord 
Omega. The Sontaran Experiment [1975 - see 
Volume 22] and The Hand of Fear |1976 
- see Volume 25] were both heavily steered 
by script editor Robert Holmes. For The 
Invisible Enemy [1977 - see Volume 27] Baker 
and Martin created robot dog K9, retained 
as a hugely popular companion. Known 
for overly ambitious ideas, they learned to 
write for inflation-hit budgets in Underworld 


DOCTOR WHO | THE COMPLETE HISTORY 168 


THE CLAWS OF AHOS =» sexs? 


Above: 

Dave Martin 
and Bob Baker 
were hungry 
for success. 


Right: 

The Doctor 
confronts 
aMutantin 
Baker and 
Martin's The 
Mutants. 


[1978 - see Volume 28], The Armageddon 
Factor [1979 - see Volume 30], and Bob 
Baker’s solo effort Nightmare of Eden {1979 
- see Volume 31]. 

The two writers were invited to discuss a 
potential K9 series. Eventual spin-off K9 and 
Company (1981) went ahead without them. 

Using anecdotes from former copper 
Robert Holmes, together Baker and Martin 
wrote for Z Cars (1974), also providing tales 
for Philip Hinchcliffe’s Target (1977/8). 

They wrote several children’s series for 
HTV: Sky (1975), King of the Castle (1977) 
and Follow Me (1977). Later, Baker created 
children’s fantasy Into the Labyrinth (1981/2) 
and wrote for teenage pop drama Jangles 
(1982). For grown-ups, the duo provided 
mystery mini-series Murder at the Wedding 
(1979) and play Rat Trap (1979). 

The pair wrote solo from the late 1970s, 
Martin moving to Dorset to write crime 
thriller novels. Their final collaboration, TV 
horror play Night Voices: Succubus (1987), was 
an old script revisited. 

Baker developed an association with 
producer Robert Banks Stewart, becoming 
story editor on a half season of Shoestring 
(1979), occasional writer on Bergerac 
(1981/3), and story editor on Aussie/ 

UK detective series Call Me Mister (1986). 


0 DOCTOR WHO | THE COMPLETE HISTORY 


a ee OS 


Baker also took executive producer and 
departmental script editor posts at HTV, 
including overseeing play anthology 
Function Room (1985). 

There were mixed fortunes as an 
independent producer before being 
recruited to write the BAFTA and Oscar- 
winning Wallace and Gromit films with 
animator Nick Park. Drafted in by old Vision 
On pal Dave Sproxton, Baker helped Park 
write second film The Wrong Trousers (1993), 
then A Close Shave (1995) and A Matter of 
Loaf and Death (2008), plus film screenplay 
The Curse of the Were-Rabbit (2005). Baker 
also produced factual series Wallace and 
Gromit’s World of Invention (2010). 

Baker spent a decade pushing for a K9 TV 
series, eventually made for Australian TV 
with Disney’s Jetix network in 2010. 2013 
autobiography K9 Stole My Trousers detailed 
his development frustrations. 

Dave Martin wrote four K9 picture books 
(1980) and Doctor Who adventure books 
Garden of Evil and Search for the Doctor 
(1986). On TV he wrote Leonard Rossiter 
TV movie Escape to the West (1980) but 
working on Harbour Lights (1999) soured 
any remaining enthusiasm for TV. He died 
of lung cancer on 30 March 2007, aged 72. Ml 


Index 


Page numbers in italic type refer to pictures. 


Abominable SnOWMEN, THe canomtoimonemmrinoninnsnnranings 56 
Acton Rehearsal ROOMS wvssessesssessssessseessessnes 66,.77,117, 
AGEOF SICEl, ThGiannnncconaniumigianninvennsocanmniicainnnedtit 
Ainley, ANnthon Viesiisdeiinncmnnceniimnnaunennannnmnnnicnainn ; 
AICO SSH aOR asiinencisunauitauiivniueinneicnainiaeuns 117,118 
ANGAS OF LONG OMisvsscoccewcevcecectecnere tesccstiteccevnaneeiotrernententvcventte 141 
Ambassadors Of Death, These 2/,.28,.29,31, 
Anaroid INnVGSION: Te wiccunnanmnnmmannronnammnme: 
Aiitkes T IG vesicevisuvssscseiveaneitenrensavsehet tevin ietuslecdancnetcniannits iienniciente a ten 


Armageddon Factor, The 
AUTONS sinudscismmrdinnudtsneimninaanimonnivn i F 

64,65, 67, 69, 70, 71, 72, 73, 

VA, 75,76, 77,78, 79, 81,82, 

84, 85, 87, 96, 117 


AROTUTS siersreresinconeevatainnrmeeenionetiiniany 138, 142, 143, 144, 147,149, 
150, 151, 152, 158, 161, 162 
AXOD Sinnscunmnoiiininmmaninmamnnnrtcsnms 51, 53, 138, 140, 142 


143, 144, 145, 146, 147, 1 

150, 151, 152, 153, 154, 156, 157, 

158, 159, 160, 162, 163, 164, 165, 166, 167 

AXOS snmimtininnmnnmacmnninmmnan 141, 142, 143, 144, 145, 148, 
149, 150, 151, 152, 154, 155, 156, 

157,158, 159, 160, 161, 162, 163, 166 


AZTECS. THC i cccsscieceisyiiscccseinugeiay tineavieciaibv nidigibs viakeuuaisha indus 27,52 
Bake BO Dice ninonsauannnatintewe 141, 144, 146, 147, 148, 153, 
155, 159, 165, 168, 169-170 
Bake@G-ColiNisiinccnnasnncnncanineunaniiianaamnanis 166 
Baker, Tom.. 
Baila Micravantamntannaaaatnaamaninnes 
102, 103, 104, 105, 115, 
119, 123, 125,129 
Bair'y, CHSTO PREF xanirinnmacmauimnnanmmmnmnmmnnanmnnny 47 
Bartlett: BOB) sisvsirnnennnnsnoncantiennrdenomconentamnnn 107,116 
BaSKEOMB) OAM snniwsiniesicnnmiecnmoncommncemnctnntstaiesani 71 
Bathurst; Pete hiinivcrinsmannrumimanienivenrrndinesineciainniin 51,155 
BBC AUC Okisaninusninmcmnmencrenininniraivrnoiinainnasiet 86, 130,165 
BBC Radiophonic WorkShop wuss 25, 31, 37, /4, 82, 
107,125, 131, 135, 136, 
137,152, 162, 166 


Bell) COFDO fall isuaicherigisunmetoriienssninin@aesaes 
Benda, Kenneth 
Benton, Sergeant 


15, 27, 29, 30, 31, 46, 47, 48, 49, 
52,58, 61,65, 70, 81, 96, 99, 101, 
107, 112, 116, 120, 121, 123,124, 
125,131, 142, 143, 144, 145, 147, 


148, 151,156 
BESS IG iisiesssensaysinvnisicceosernareneevennninnerinirattonrcteiet 10; 11,12, 15;,23;.30; 
44,71,106,112,115 
Big BANG). TAG nannnsacinnnennunmiinieninimmnannninanien 56 
Bitte Pater (BBE) ndcaiiesmunannanintaniinsunpneiemoucaaue 122 
Boyle, Marrs 112, 113,120 
BRIGGS ANIGHOlAS sismarrcenniinironairnceommnrnnimonoranianeny 48 
BIOMIGYisuntininecetasiancrecnimccinerinetnntnnnaminls 11,12, 13, 14,16, 
26, 27, 28, 29, 33, 34 
BrOOKES; PELEL asccsiiemmnnananunannumnaannmuenanany 86 
Brown) Mildiedinisnccntenannniitiinmercuiontenpincinearemmiinds 160 
BiOWATOS Chiacianinundrainnnen caditoamavnnciniiensainedpertntieandt 
Bryant, Peter 
BUNGESS, ChISTOBREL, wiiiiuinssiisiouiimsiiganmuunnauiuuguiide 71 
Cai JUCY simsntniiinnmmnnimn mime nan IORiON 30 
Camtleld DOW GS siiisiaresecionanennnsancoare 25,26;2/,,28, 29, 
30, 31, 32, 35, 37, 40 
45,47, 49, 136, 137 
Cart, MP ssn .106, 109, 116 
Cate, DAVE iii siniensciansnuicansyinigimarinyianinmanmariitys 2h, fap ll Z 
Celestial JOYMAKEG THe ciciwiimncacsscnnmncornnmemavmcccee 135 
CHALE rcrisiscicirenserrpimmanntnrcacencedincansenipinaieddinnareseeteanvin 120,122 
CHOSE; THE acsinicinnmenniannmmnniianaianuaenuiaiet 135 
CHIN) Mi isiisacommimnmmanimnrnniniancne 51, 142, 143, 144, 147, 
148, 150, 151, 152, 153, 
157,159,161, 162, 163 
Chuntz, Alan 1 
City of Death , 
ClAWS Of AXOS, TNO sccnensincnnannesngnc, 49, 51, 53,123, 130, 
138-140, 141, 142-145, 


146-153, 154, 155-159, 
160-161, 163-167, 168, 169-171 


DIOAI CASE ssininninisimonninuanimmmimnainnrins 163-164 
cast and credits.... 167-168 
COSTUMES sisniisinariinannnwiennunmnmmaiicimmmiiinvets 153 
Gia TE SENDS iicinriadrvcenncdi inirnecmeaninnniane 146-151 
COILING sanncgnincnnnconnicemmnmimerainsr 161-162 
merchandise..... 165-166 
post-production... 161-162 
pre-production... 146-153 
PFOdUCTION ess 154-160 
profile........ 169-170 
DUD Cli\VicereminietaminnnntonmmnatormmaneTs 163 
RATINGS siteomeonmniuniun caieeneiormandmoNarcatas 163, 164 
ehearsals 153, 156, 158 
SlOM onmnancinnvanandinnmnmmnnmannamnanin 142-145 
ST MGM ces ssnrssaea aested ws aiaeriebvmeanssrvariataieers enaatasenieatnaun onaaae 146 
The Axons (WOFkING Tite) ues 147,148, 152 
The Friendly INVaSION (WOFKING title) ..ssssessesen 146 


DOCTOR WHO | THE COMPLETE HISTORY 


171 


The Gift (WOFKING title) vous 146, 147, 148 
The Vampire from Space (working title)... 123) 152; 
154, 157, 158, 159, 163 
COMOTY 17) SPCC ssssssssssssssssssserencsccsssssrsnsneceneserensscsnseennsene ] 1 
Combe, Timothy 
119, 124, 122, 129, 130 
COMMONER SS wiaesinsivisssiseeiscancnursuatavecesiiies 41, 42, 86, 130, 165 
COOPER [A CKinicesssnisinmnnnnenieaniiemnarareanegtatnamnintenveds 156, 160 
Cosworth, Major... 102, 103, 109, 122, 124 
COWFMeY. NIGHOlASt naniinsennienmetineren 29, 30, 31, 33, 34, 
41, 42, 43, 48, 50, 65, 68, 71, 
73, 74,79, 86, 120, 130, 155 
Croslahd SUC rannvmsconnnnananmncorminecmmmrimecnianaeteis 158 
Crusade, The.. 
CSO camacimarnmnmimmimmnannrmemnen 
78,79, ‘118, 121, 151, 153, 
157,158, 159, 160 
CDE GMansiiinninquieenuendinnnemnmniiene 47,56, 105, 109, 120 
DOVIY=|OHMEMMSwaiduininrmnnudieniiramnncionmeywnan 28, 30, 32 
Dzemons, The i 
DGIVI Gh sniicanmonccmancmncimonunnmnanmnmuannin 
DGIV MMO siinnncatepnimangimaimnviniincounny 40, 68, 83, 163 
Daily Telegraph, TE wissen 
Dalek Invasion of Earth, The... 
De Ss ssi sessiaaasacisnniad avzenziisanantvanansi anissstsnaverasaanrsiaaianss 
Daleks’ Master PIGN, Th@vssssssssssesnsen , 
DAVIES, CREMY sisoawicustomiiantuinanmninnisnntaennmneiunviinss 
Davies} RUSSEl Iss adewniterdgs a steseewilueseaaiaeteemcnenabiumerenitns 
Davison, Peter... 
Day of the DalekS.......06 
Deadly Assassin, The... 
DGG 10 THO DOIERS wiviicinimmianummncumunsidnumnuns 135 
Delgad0;, ROGChumaviinnniannanininmimin 4, 5,47, 50,53, 56, 
57,62, 68, 69, 71, 72, 74,75, 
79, 83, 90-93, 97, 115, 116, 
117,121,122, 123,,Jd52,155; 
156, 159, 161 
Derbyshire, Deli@vaisiciieannsivsimiormaisonuninians 37, 43,136 
PVA NOP ICL MIAN, sascizira Gacnietstiny cearsersthatsrecssesmseadiannangnenananseansancayeiss 113 
DICKS; TARA NCO ssiisiinsaisianeniaisnrisraeiecemansecieen 18,19, 20, 21, 22, 
27, 33, 34, 41, 42, 62, 63, 65, 
66, 67, 68, 69, 72, 77, 86, 87, 
92,93, 104, 107, 114, 115, 129, 
130, 131, 146, 147, 150, 152, 153, 
155, 159, 165, 166, 169 
DOCHOMEGUS) Ti@iacisdkeanearivadieebincdiganiaiesiacaindariluanils 4 
Doctor WhO ANd the SIHULIGNS wissen 25, 27,75-76, 
106,107, 108, 114, 117, 120,135 
Doctor Who Magazine... 47, 49,136, 137 


DOMMAGLONS, TS sisi: wisiwsiyvisessnesereovcsviniveivivenens avian vevinsiniveassvoveeves 157 
DUGGAN, TOMMY assussansmmnnnnnmmaninmnmntmmamann 117 
DUA SEIS sesnortranastoae tearnaistritnsrttnna cin erin iets 26, 32,49 
PV DEX Stoamnunaanvneneninnamnnarmm rats 41-43, 86-87, 


130-131, 165-166 


a2 DOCTOR WHO | THE COMPLETE HISTORY 


Eins Willa itivinasinvtcanienicanonmnciniannanennunanemmiatmise 18 
Enemy Of the Word, THE visser 62, 71, 76,77 
ESpinoSa; Brig Otani nchrmndinainndnineniimanmmnainan 117 
Evil Of the DGIOKS, THO. 68,107,135 
Fel B Alcina visucsiraseeiionmiticccnvenececnmasnrnanden 27,28, 29, 33, 41 
Falitel SEN OR omunnnnicnnnaerannmntranicanenmin 59,60, 64, 67, 
69, 74, 76, 77,81 
Polite |: M iStacarcentuanenansemengs tina tartan mnaaeainatns 59,60, 76, 78 
Fale RE cavvinserennrerenncsivenesnercammminetenvendens 53,58, 59, 60, 61, 
64,65, 67,69, 70, 
74, 77,78, 81, 82 

Fel PSR aitcnonenmadexoniaoenins 


Ferguson, Michael 


156, 157, 159, 165, 166 


FILER Bill ssicesnsssiseasreensceraansnencitenseemnens 142, 143, 144, 145, 147, 
148, 149, 150,151, 153, 
154,158, 160, 161, 162 
FIVE DOETONS ji NC ianiainanimactnewmoiinnmindnmminkamnaiuady 49 
Prearik lim, RICH AN ssssssescsssssecveosssvininiseesemenesscnire 49, 66,67, 70, 71, 73, 
86, 109, 114, 129, 
130, 155, 165, 166 

Friedlander, John 


Frontier in Space... 
Peres sssissssscassasiseyssicns 
Fury from the Deep 
CUIGXY-F a cniarcmnnimnncnnmainanmannuanmeanama 18, 76 
Catt, DAVIE iccsmninsconnniionunicmomnnnimmincanaiante 70, 76,77 
General, the... «i 98, 105,107 
GOdirey: PatliCh vimainnimnnininennmmnundmintnencinie 122 
Gold, Sir Keith (see also Sir Keith Mulvaney) vases 10,11, 12; 
14,15, 16, 25, 
26, 33, 37,39 
Gomez; MICHSU ES srssiscissnaniananredadimariadrisiucntiwn wikvaeuenins 4 
COO G G ivrirsauyrcanerewonininennniiiarantreranin renin 53:58; 69;.76; 
77,78, 80, 81 
GOTO, PEE) asi sceespen axiaxcinescaas essesrtedinasacispsigaiatiesacatasiaainipdie edstansats 157 
Gorman, Pat 
Grainer, Ron 
GrANE, JO ciiconineininarannimanincanomneain , 592, 53,54, 58, 59, 
60, 61, 63, 64, 65, 66, 67, 68, 
69, 71, 72, 73, 74, 75, 77, 78, 79, 
80, 81, 82, 83, 89, 94, 96, 98, 99, 
100, 101, 102, 103, 105, 106, 108, 
109, 112, 113, 115, 116, 119, 120, 
123,124,125, 126, 128, 142, 143, 
144, 145, 146, 148, 149, 150, 151, 
158, 160, 161, 162, 163, 166 
GhECRararcssninarimnnmccumminnemomamelin 98, 99, 100, 108, 
117,119, 124,125,129 
GIFTS; OMIM: ssnnemenmneriennmnannimanmmeamennnTn 116 
CrSHPau lmunimaniornangrdnmunninamomiane 154, 160,165 


HONG OF F6GR THO cicsncaiionanmccnvanmncuninnummnannicananie 169 
Hardiman, Sir GEOrge.nues run 142, 143, 144, 145, 
148, 150, 151, 160, 162 
Maker. Cap tala wnncmmanuunandanmmanity wnat 143, 144, 162 
AF DOF. GRACE ssvvessveassttnecsaiccovvinencavesssnnvesinecsimenieecsrnaneuiarioiineciesetanine 91 
HARING TON. LAUTEMCEs cscissiecsscnaratdersrasonneconriessincentinnetenieniendecionse 109 
Harris, Michaeljohn......... 68, 70, 74, 76,78 
HarriSOn, JAN wave 68, 107,152,159 
Hartnell, WillaMinicnnnncnoinncnmnnianmnmineninnamnmniin 19 
HaVaid) DAVIE. aicansconacinmsnnnucaanien 110, 115, 118, 156,158 
FAV © Cera sscctraransiicgussssercctccsernurtveetsturvapaitocite 27,28, 29, 36, 42, 70, 73, 
108, 112, 113,122,156 
HER, WaltOR ciniuweiininiendcreiininuniienmianrann teins Chas 
Hewlett, Donald... wa 155,160 
HICKIMaN: ClAVTON wiiessccacenmonmmaimannundanmnnies 87,165 
HICKS JOD Minnincernirneenininvnercn connie neeriveaimnmanenenrnatenits 157 
FIGHGNGERS) Thi acuvosennintnodpaiiomadiunpmnnianinictarils 76 
Hinchcliffe, Philip... 136, 170 
PUN ES 5 PPAZEM sas ssasisinsaazacinniesasaitisoeanaisranonapiiigecnaiiatiiviaiisiuiie 47,91 
HOdgSOn) Bran swicccmencinstennenrtenn 25, 31, 74, 75, 82, 107, 
125, 131, 136, 152, 162, 166 
Holley, Bernard wesc 141,156, 157, 159, 163, 165, 166 
HOMES, ,RODEKt ncinumnncnnss 63, 64, 65, 68, 86, 169,170 
OFASOPINITMON, GHG iivnvsiccconniice nance nintieinnmannienstes 137 
Horrigan, Bills 
Horton, John... 
Houghton, Don pieO,21.2e,e3, 
24, 40, 41, 96, 104, 105, 106, 
107,108, 112, 115, 117, 118, 120 
HOWaiGl, COliMisiionenncanenanacimaniunmnndernimucnmuine 41, 43 
Fluke) Malca littixcnsitnnnasrnnasniadianiennuiana a unnmaeaints 51 
HUTTON, LET ncmmuscmnrononminanconaneminnartnnminimaant 25 
ICE WEFrlOrs; TAG ciiimiicninninninunnnmoninimornniemniii 25,135 
Image OF TREFENEG hh inusvicsnnnenmnimmmonimemnmne 141 
IRF ORO sssssis avivisssiesnvasiiscienscesvessoneaignatnineginbi 6-7, 8, 9,10-16, 17-18, 
19-23, 24, 25, 26, 27-28, 29, 
30-32, 33, 34-35, 36-38, 39-45, 
46, 47-49, 62, 76, 96, 104, 105, 
106, 117, 136 
DFOAU CASE scsrivisnccisveinenimnmentioannanceniaizmeenantecavceete 39-40 
CASTSMG CEC cinsssrireniccedernnisvsviecienmectansecentcve 44-45 
Doctor Who and the Mo-Hole Project (working title)..... 
19; 21 
GPa TE SCR DUS iia cnarseacumnneitenmunsnuiitnninsnentanit 21-24 
OCITING weve i037 
merchandise... ww 41-43 
OPENING THES cccisicmmncamnancimnnnnncanimen 31-32 
Operation: Mole-Bore (WOrkiNg title) wes 20 
post-production....... in 30-37 
DKE-PHOGUGHOMaasinmuniniacwneivivnnswnsvenndwevaienenes 18-27 
PrOdUCTION se wi2O-3o 
PEO ssscvsaesbacardvonsa haseuad Maairanree eras tigesh tn tantesbea a ienseteanivie 46-49 
Project Inferno (working title)... wie D-COneT, 35 
HUD nsirecanineod moira EET 38 


Fat) AG Siiucirenaraneeocrontnnnmuciourcnasan yin 39, 40 
rehearsals. 30, 31, 32, 34 
SLOLY tnsmicccimmanminmniniinnmnamcnminnmnannnraancinn 10-16 
storyline... 20-21 
Invasion of the Dinosaurs. maaan 48 
INVGSIONOF TIME, TAG inaicsisnoacuunidmnnasionpennuinmawad 141 
LAVGSION: TNC escissessvcesctscersiivaadseuceventencenneamnwcce 25, 26, 27, 47, 
71,107,110, 114, 120 
IAVISIDIC ERGY, TRG isssscescvsreevinneninscanianrceaviireraunseniein 169 
Jack; STEER iniandanminnnncaimmnmnneiemane 
JOAN Carlie wiceonmmamunnenenneacmennnte 
John Nicholas‘ HOWalidmnnnmnmmirnoummam 
JOMES, HAVE Mis ssasitsscnresineins 


Junior Points of View (BBC1) 


K9 and COMpONyY viii 170 
KS sccanninmeanieneanmnnqrietie 141,169, 170 
KECD CE OF THORCM) TWO svcsssscunsitcereiain nite twnniuiiainiamucis 4 
Keller Machine iscsssiccusssinasenssssieivessienens 96, 98, 99, 100, 101, 


102, 103, 105, 106, 107, 108, 
109, 113, 115, 116, 117, 118, 
119,120; 122,123,124, 125,131 


KELTERIAG, PFOLESSOM cissssisisisnasiinsiarnissinaicinunnigeiecnn 51, 98, 99, 104, 
108, 115, 119, 124, 129 
KGyS'OF MGRMUS:. NG sicccieconscocccmmnnanramincnnimnennienctnets 107 
KOTOAS; THE ii nimrwarineccenmmoennsinginmeanann ged 107,108 
Kili CHEISLO BMER sicnciasrinveanicteencantureniveiinnienituonscerrauntntans 117 
[An e), BAlWalciscuccéniunseiuanineanaaruniniiaN ionienad 
Last of the Time Lords... 
Lt Defiance cman en 
LAKE, Bal Dale isisicssiesicsrianicieavensanesinsansigaasiacenei nin ieee 
LSC Ini siarsiianhinigatacieacianvaucniusivianainin 
Lethbridge-Stewart, Brigade Leader. iginantansarineisasin 12, 13, 14, 


15, 23, 27, 29, 30, 31, 32, 33, 34 
Lethbridge-Stewart, Brigadier (see also Brigade Leader 

LethbDridge-Stewart) weiss 10,11, 12,13,15, 

16, 20, 23, 24, 26, 27, 36, 37, 47, 

52,59, 60, 61, 62, 63, 64, 65, 67, 

69, 70, 72, 73, A, 76, 79, 80, 82, 

83, 96, 98, 99, 100, 101, 102, 103, 

104, 105, 106, 112, 113, 115, 119, 

124,127, 142, 143, 144, 145, 147, 

148, 150,151, 152, 156, 158, 161, 162, 168 

LELES, Barry ciiniaiinieanieningesencimnenencnnanine 18,19; 21,27, 31, 

32, 33, 34, 35, 36, 40, 41, 42, 58, 62, 

63, 64, 66, 67, 68, 70, 71, 73, 74,75, 

76, 77,79, 80, 84, 86, 87, 91, 92, 93, 

104, 107, 110, 113, 114, 115, 130, 131, 

137, 146, 153, 155, 158, 159, 165 


DOCTOR WHO | THE COMPLETE HISTORY ¢ 


LEVEE) OM Mscienccmenniiuauniuatniinaniiann 27, 33, 34, 41, 42, 
46-49, 65, 70, 75, 112, 113, 
114, 116, 129,155, 165, 166 


Location Filming 
Archer's Court Road, Whitfield 
Berry Wiggins & Co, Kingsnorth on Medway wissen 28 
Church Lane Car Park, Chalfont St Peter wissssssssrnees 70 
Commonwealth Institute, Kensington High Street..116 
Cornwall Gardens, KENSINGTON wavs 116 
Dengemarsh Road, near LYd, KeN tosses 154 
Dover Castle; Ken Ewrniaucsadousinnae 110, 112,113,115 
Dungeness Nuclear Power Station, Kent 
DUNGENESS, KER siiiniiiiavnniiucnsnarnianen 
Hodgemoor Woods, near Chalfont St [email protected] 70 
Lydd-Dungeness Road, Kent 
Pineham Road, GUSTON wissen 
Queen's Wharf, Queen Caroline Street, Hammersmith.. 


RAP Marston, Sta nial usssisssinnisnnousviaiananisagninanniiee 114 

RAF Swingate, Dover 
Roberts Brothers Circus, Lea Bridge Road, Leyton 

68, 71,93 

St Martin's Plain Camp, SHOrN Cliffe, KENT vse 156 

St Peter's Court Shopping Centre, Chalfont St Peter .70 
Thermo Plastics Factory, Luton Road, Dunstable........ 74 
Totternhoe Lime and Stone Company, near Dunstable 
72,73 

ZouChES Farm, DUNSTADIE wesc 73,74 
Logan, Peter 
LOMAON,. RAV MONG sin cacisnrcoraeenivcennnvensieyenmnisrnvceiieet 108 


MGGIG! FEMOR TNC issstssccecvesserscieecccrnmmenantcesnrnnnceneantin 27,135,152 
Ma ETincdumumtnammnenanannune 99, 100, 101, 102, 103, 106, 
109, 119, 121,122, 123,124,125 

Mah MAG Kaly sccnicnanenimaaoneanmnennd 48, 50, 66, 67, 68, 
71,72, 73, 74,75, 76, 77,79, 83, 

86, 87, 93,112,115, 121, 126, 129, 

130, 155, 157, 160, 165, 166 


Mapsont, Colitiansisisinoanimonnonsaiinnmiuinsunuaniiaanin 158 
Marlowe, FOrnanda vivessssessssesssssesssseesssesssseessssessnersseeny 119, 130, 152 
Marsh, RONNI@ wwe 40, 62, 78, 84, 127, 160, 161 
MARTON LAM esccssvicincccrvsittsccnteccsitiwost ini niene aadignanadgebdsonitiiaeaitwuendtts 66 
Martin; DAV G iisssiiaiiwieccmininmnnsnarcne 141, 144, 146, 147, 148, 
153,155, 159, 169-170 
Martin; DERE Kissicanaiiancnnamennnnnntauvantet 
Mason, E 


Master, The (see also Colonel! Masters) , 23, 34, 56, 
57,58, 59, 60, 61, 62, 63, 64, 65, 67, 68, 
69, 72, 44,75, 76, 77, 78, 79, 80, 81, 82, 
83, 84, 86, 87, 90, 91, 93, 94, 96, 97, 98, 
99, 100, 101, 102, 103, 104, 105, 106, 107, 
108, 109, 112, 114, 115, 116, 118, 120, 121, 
122,123,124, 125, 130, 131, 139, 141, 142, 
143, 144, 145, 147, 149, 150, 151, 152, 155, 
156,157, 160, 161, 162, 166 


“1% DOCTOR WHO | THE COMPLETE HISTORY 


Masters, Colonel (See alSO The MaSteP)..usussnesnnn 58, 64 
MaLEMeWS: Bil lisdcdien avutantetiadearn dion mann uininnaonmniaans 117 
MeCaithy NGI idinccimnnnmnnannotunnonnimnmmnennan einen 115 
M CEP MIMON,, | SMMC seis iavveiaseesvennerervicscienriverasivanteenaneatnednay 47,62 
MCDErMoOtt verses 


41,51, 52, 53, 77, 83, 
93, 94-95, 96, 97, 98-103, 104, 
105-109, 110-111, 112-113, 114, 
115-117, 118, 119-124, 125-126, 
127, 128, 129-137, 147, 153,165 


Droadcastuvveen 127-129 
cast and credits.... 132-133 
Giant SCHOLES visummpccominrennmmunnnaananiuy 106-107 
COM G iecciminsrcnainomimiunndmrcanniennaretre 124-125 
MERCHANGISE, svisvndaisernmirepcnaiennidiikensasion 130-131 
Pandora Machine (working title)......104, 106, 107, 108 
HOSt=POCUEHOM i nsnunouiuamisoainuupiumguni 124-125 
PIE=PROdU COD tannic 104-109 
PROGUCHON wwikdiomminonwcdnimraniniiaemiasninin 110-123 
profile ........, 134-137 
DUD CV ciinnimmnmannimmmammnIUAIATMTA 126 
FACING Swinntieorcdnrsenteninnsdavini aac menmesiauennnnens 127,129 
rehearsals, i 
SLORY sesicssess 
Storyline wis 
Mind Robber, The 
MISSY crciiseneacnennnes 
MOONDOSE,, FNS iérsiciiesacmenaereacncnnisienmngennunitiasiapeieneensnad) 
MOMmISHEl MTOM iisivraniewasvinaneanieninniinteniimenmeaiantas 
Mulvaney, Sir Keith (see alSo Sir Keith Gold) wesc 
20, 21, 22, 23, 25 
MUSEETI, Val wncannennininanaimemnnmamnaninnmnaraaananades 120 


Mutants, The (AKA The DGIOKS) .ssssssssvssssssssscesessensssssstnisseane 25 
MET ORES AMG isicivinnireaneseamgnuannounnaenanniitenenrin 169,170 
Ngee A TITS Ne | TDM acsancasssaceeaissnsiaseniacneunstpanesasiasabonigszsuanaasneanesavongehe 137 
N@SEENES iitriinniiineecniincmmaimanarenineines 54, 56, 58, 61, 63, 
64,65, 67, 69, 74, 77, 78, 

79,81, 82, 86, 141 

Newark, DEFER iasininusiicimoadinomnungaiimaunansiwinnny 26, 34 
INIGHEMORGOT EGE Rts iccciairenroreicaninatontntdennnaninmnninnids 170 
OVEISEAS SaleStiimininiicanananmnmnn 40, 85, 128-129, 164 
PANGOHEE OPENS; THE a isiencieasnavasneiiiuimanisnanmmnimnsen 56 


PENG) FUbismnvmninncenennienmnioaannmantatceny 99,100, 108, 109, 
116, 117,118,124 


PEWS SIO aaieiisivesstcnancniscrsueeiianiediisnin pins 13.27 108,09/30) 
31, 32, 33, 34, 35, 36, 38, 39, 40, 

42, 43, 44, 47, 48, 49, 50, 51, 52, 

56, 62, 65, 66, 68, 69, 71, 72, 73, 

74,75, 76, 78, 79, 83, 86, 88, 93, 

104,112,114, 115, 117, 118, 120, 

121,122, 129, 136, 154,155, 156, 159 


PHU Sivccescenisnsisecostsenienrieridanstumaniacern 58, 59, 67, 70, 71, 80, 81 

PIQDIMTIOSH sceiiccnscnnsivirenmrenvenvcenenmenenn 142, 148, 149, 154, 
155,157,158}, 161 

Planet Of Aire nininnmunncamnnnnonnnnnmmmunmmncaniyanarie 

Planet of GIGNts wu 

Planet of the Spiders 


OlaStic CaO Siisriwrnemnnnernminwecns 


Pooley Olaf snmncnomemmrramnemuatoaranacens 
Powell, Dinny....... 
Powell Grego myirnniswerecawurienamronsrtivecasnvsaratinutewrmiratre 
Power Of thE DGIEKS,. TAC ss iisstseiserecioniiaruanesanceves 

Primeords (see also Primords) 
Primords (see also Primeords) 


16, 21, 26, 27, 28, 29, 31, 33, 


34, 37, 38, 47,109, 117 

PEISOM GOVE MO lssassnscacsessvicinstesvassieasecretescauestacncnt 98, 100, 105, 108, 
120, 121,124 

PONCE ROY ninicrinnianiinnmniiinmduccimanaginmanamanuintunnci 122 
PYFORTIGS OFF MGFSivcveesivacensvsevevceccvececccsvevesnsessteerevececesapnanrvvanerscervnceiie 137 
RGGIO: FUMES ventcccsarastcreecoenin 38, 83, 93, 126, 137, 159, 163 
Rahidalll, Walter, omsitinnigumrnnrannmnvoimimadiirereniguneis 27,30,35 
RaWwlinisyChASti ne iuncccnnenennncitmnninsaiinannnn nadine 25 
REIGN OF TENOF TRG ssncimmnmmmanicmmmianmmnesan 107 
RESCUE; [Ne siscmmiionianicninnteinnmnaummoncaninndcansie 160 
REVENGE OF ThE CY DEMME isi necinennamnnnmnnninnnnncnnaneinn 135 
Reynolds, TOMMY sven yf Op TT 
Richards; MarlOninncandonniinnminmanmaniedmamnniniinanin 25 
RISE OF TE G/DEMMEN icsnicminnempmacmciomaniecammaanra 8 
RODOE ssiticeissusvisinsssovviicintaienerieargioinegeiiriseranineteronienti niniakiieeatamorentndy 48 
RODOTSOF DEGEH?, TAG wssicisicssivnnermeivegapoenaiagngwpgarcnn 136 
ROMGAS; Te iscercitnnsccsesnnmaraihariennancansaiaitnutet 160 
ROSO aapuridinnaindwmimenmnnain ga annaamminnaNaUnE 56 
Rossini, Luigi... 58, 59, 60, 69, 71 
RYAN; PHIPisitccomimenapmragounnnenrmanimaanammmianiirt 27 
SOV SSE WING sccrctssas ceanrsvesprrneaatocanaticesnevamierea anette sh Tacs 122 
SAVE, DAVIG wisiininsisiemcandscnanicmncommnnmmnnanaimnmncnviantes 155 
SCaMMnell, ROW: jcsissenescvassessiccsn meterartcserenaienaicoavineieiniies 27,28, 29, 
30, 43,112,113 

SCOGKES WAM sminmnannamnannnitnemmaonintamNT 31 
SEOUL, CLIVE sanconmioninnianomniaconnsionsionreinemoninnndtes 119 
SEG DEVS) NG wectisisuniininsivcanmiencmmuiinnntiinvsantarrite 93,135 
Seeds of Death, The..... «76,107,120,123, 135,152 
SECUSOF DOOM: TNE stn siscsinisivavsiinsiasanmeaiiainninnunine 136 
SENSORS, Th rancnsanmnunnnnmnranononcnmnsnnmaarantins 121 
Shalia, KEN yiicccamannanannnnnnininasn 152, 153,158,159 


Shaw, Liz (see also Section Leader Shaw). 10,d1,.12,13) 
15, 16, 17, 20, 22, 23, 25, 26, 28, 
29, 31, 35, 36, 37, 62, 63, 68 


Shaw, Section Leader (see also Liz SHAW)... 12,13, 14,15, 
17,28;31 

Sieg Hay MIGHAG iitinaduntaisamedonminhansiennnadrcani ices abil 
SHE RWI Mp ORIG weesavsarevernedieceocedeotenniiins 25, 35, 42, 146, 169 
SIMEON, DAVIG vsiisiccsiisiraencieensiiinarnmnsiianiiceismentionienaannnndaaie 30 
SIMPSON, DUGIEY i issvsnvecesrneevecsrvisivennveiwervcetaveees 74,75, 82,125,131, 
134-137, 162, 166 

SIMS) MONICA nacacnnnnseninnmmmennmenenieniten 84,127,164 
Skilleter, Andrew...... #30, 131,165 
Sladen; Elisabethinmsannnaninimnatndninaiciitnanemctacnns 48 
SIOCU Mine sienvoaveeeyn «lO11,21,.22,27,.29,30 
SIMUGGICRS) TAC vais etetiuriseincecpcestcteatinstainavsndiambean nteinuepenieaience att 71 
SontaranExpenment: Theinoanwranscamemmencsneonnmunen 169 
SHGEO PIGS, Terai cconmiininnminnnniemaninands 68,135 
SPEAOrFhEaM FrOM SPACC wrssssssssssessssssssssessssssssseess 27,56,62,63;67, 
13; 13777, 152 

SPENdEr NiCKisiintinmncinanancimnnniininmnannumnrammNnc 41 
SGUS ROD a iiiniiinavmuaapnonunnuiaviignunguaGimiyonds 19 
Stahiman;.Professo lrivssscawniseccnvarennccerametn 6, 9,10, 11, 12, 
13, 14,15, 16, 18, 20, 21, 22, 23, 

24, 26, 30, 31, 33, 34, 37, 39, 40 

Staines) ANG rew snvesonsinanniumnnamonmaanmninnn ee 16,77 
SLANG MOO! PSOM csssascaccveniaesttarancenasteeerccasan 94, 98, 100, 101, 
105, 106, 107, 108, 109, 110, 

112, 119, 121,124,125 

Sta SVN GMM sis isinvsssssssiancessaagusatoespansinssaversasadiatteanvssrsicaghomnssiisn 77,78 
Stevens, Mike...... 112,113, 120 
STEWaiit; ROW niaincconmmsianncinmnnccentomnmemmniennnnannenTce 71 
SUMIMETS inriomnnornmiiiceierenvermmnuny amie 99, 98, 100, 108, 
117, 119, 124, 125, 129 

SUEON} GEG aitinnimnrcannanaiinimmnimaiens 10, 13, 14, 15, 16, 
21, 22, 24, 25, 26, 

33,36; 37,39 

SUUTIOM, SNAU NM eisstianataunummiinnniauwennianssaesien 27,39, 83,91. 
Talons Of WENG-CHIGNG, TRE vesssssissssssessssesnssesnseesssssnieen 136 
TARD IS vasssasissevreasssvecesrecsenevecscnvsvvavceveoessaorceccntatsovasen 4,8, 10, 14, 15, 16, 
20, 23, 24, 25, 30, 32, 38, 58, 59, 

61,64, 65, 69, 71, 72, 80, 96, 118, 

123, 144, 145, 147, 149, 151, 152, 

153, 156, 159, 160, 162, 163, 166 

TaRG Et DOOKS isiiicnncwccmmannenmnnamnns 40, 86, 130, 165 
TEIBVISION TOGGY isi inessiniuimnumpaunniiinsen ane 68,128,159 
Terror of the Autons 50,51, 52,53; 
54-55, 56, 57,58-65, 66-67, 68-69, 

70, 71-73, AA, 75-77, 78,79, 80, 81-87, 

88-89, 90, 91, 96, 107, 108, 110, 116, 

117, 118, 119, 123, 125, 126, 127, 135, 

147,149 

DROAUCAS Euivasyitenisinnedianaamnniinneemmatiaecatsensins 83-85 

GASP ANG ChEGIS sninnncmnmmanmnmnmanamemimmniT 88-89 
COSTUMES: rtestenant nascar tianaurmncd 68,72 
COILING sicanmamanimaiannnnmnnmnnennmimsannenamineed 80-82 
MERCHANGISE wininirinnonnunnaiiimmmndiiinvsatain 86-87 


DOCTOR WHO | THE COMPLETE HISTORY ¢ 


The Spray of Death (working title). 


NEMOrOFINCZVGONSintonciaminnnnnnumimRNT 48,136 
TAOMPSON PETER ncorwnimanannnuivcdnmaimmnannaeariins 2/7 
FHS DOCTORS, Tie hinitaicasinnsnntonamncninmannnennes 48, 169 
TRUAGEFDOlt MISSIIE cysinnwninenmrnrndinaen 52,98, 100,101, 


102,103, 105, 106, 108, 110, 111, 
li2, 113, 114, 115, 121, 122, 127,130 


WMP CIONGS te pctasesrecanterticteccereennnenndtsstanteannnd 4,54, 58, 62, 63, 64, 

69, 70, 76, 77, 80, 92 
TIMEMECGAIOSE TG sis scvississsviteecniveienss sven inendareiaiseninineeed 4,56 
Time Monster, The ia 


ony “i 
TOWG:- RSI canna amnion mnammanmaRN 76 
TRAN EIS: siscreecavsiercistanmnrennunceceandomanenatanianai aati 
Trew, Ken... 
TOll AG lhisivsdinnianunanimiininoriaomnniins 

69, 74, 76, 77,78 
TGOUGHEOM PALER sissies ncsinindijpaniasniinnduielaia 47,91, 146 
TWIGG dC hi Giicinvienncanncnsnmnannnmmronaannicanianmanncinnt 8 
Underwater Menace, ThE vissusssssssssssssrsessnsiessssisssnsnesese 8,135 
UNGERWOE GhestinceriiinncnnincaieaOnnMAtRRENNTT 169 
UNG dansiccnannncntiunnnmnmaminnss 11, 20, 21, 23, 26, 27, 


28, 30, 42, 43, 47, 48, 49, 50, 54, 

56, 58, 59, 60, 61, 62, 63, 64, 65, 
67,69, 70, 71, 72, 73, 74, 79,81, 96, 
102, 105, 106, 107, 108, 109, 112, 113, 
114, 116, 119, 121, 122, 124, 125, 142, 
143, 144, 147, 148, 149, 150, 151, 152, 
154,156, 157, 162 


6 DOCTOR WHO | THE COMPLETE HISTORY 


V 


VOSPO fisistivccsnnsiiinnmnnnnmmainarninnmmnanecirn 77,101,107,.115;, 


117, 120, 122, 124 


Walsh, Tetiys  nsiaccssniinecoiimniueisinuicsnininduavoieianns 28, 34,71, 
737/68, 112,113 
WF GOMES:. THO iisisn icra sannnuutinammndiamninias 47,68,155 
War Machines, Theé..... av 1LO8; 116,120; 152; 
Wat AM OS rcuniwnrecanisendyintwesuvinvnrsnioameiein 108, 110, 158 
Ware; Dele invntnnatiameanniiniannnnmminaunngt 27,28, 29, 
41, 42, 43,114, 130, 154, 
155,156, 160, 165 
Waterfield; Victor fai iianutnconaunnnanmamenmnnircemmnannsal 62 
WatsSOn: lan oninrconndimonnitnmmrnnaieme oT 68 
Web Of Fear, Tei séiincenanivatimsidiennam nau veien 27,47, 56 
WED PIGREE. TAO sconwinwvonsnmimnvnnaavnndnaniaiinnvemicaniadiie 120 
Westwell RAaVMONd sisnsinnccmanccnammmnninemmianaane 122 
WH All@naisessssssssrseesnn 41, 86, 130 
Wheelin Space: The hwancinancnneonimminnnnmnemnamnanni 121 
Wheldon, HUW... 84,128 
Wil lic NS: FRANCIS sascsesssaaievwssivscshsiaesasecanscecaasaipavaneeesieineninarnuinvaipaiaatea den 116 
Willems Petieicincntaiemeutismearnea 10:11; 13,14,.15, 16.21; 
22, 26, 33, 36, 37,45 
WILLOW ALAN cteseinnssnieervasscnaveianrenennnecnveteacena avennnennecntatennettts 86 
WISE PFOTESSOP wisscivisscesrvesnisivisnnisrteerevinncasveine 142, 143, 144, 145, 
147, 148, 150, 158, 162 
WES THEE IM TEMS Gl sissersiesanansvtiscaninaizdurn raise eciatsnanieitveeceuntteininttiniebi 
World Enough and Time 
WOHG! WEE TOS vevecvssscscncvevartrecginnaincrecneianscrdannbisternceiarnanttians 
Watt: iciiiinnmmnnnniuncnionanannamntiwn 
Yates, CaptalA MKC mivciuinonmnainmmaviasye 48, 49, 52, 56, 
59, 60, 61, 63, 64, 65, 
66, 67, 69, 73, 75, 76, 
78, 81, 96, 99,101, 102, 
103, 105, 106, 109, 114, 
115, 116, 121,124, 127, 
142, 143, 145, 147, 148, 
150, 151,156, 166 


1B] BIC! 


VOCTOR 


WHO 


THE COMPLETE HISTORY 


INFERNO 
A top-secret drilling project is on the verge of penetrating the 
Earth’s crust. A trip to an alternative reality gives the Doctor a 
glimpse of the catastrophe that will be unleashed. 


TERROR OF THE AUTONS 
The Time Lord renegade known as the Master arrives on Earth to 
pave the way for an invasion by the Nestenes. 


THE MIND OF EVIL 
The Doctor and Jo investigate mysterious deaths at Stangmoor 
Prison and discover that the Master is using an alien mind 
parasite in a plot to trigger a world war. 


THE CLAWS OF AXOS 
When the Axons arrive on Earth, offering to share the miracle of 
Axonite, only the Doctor is suspicious. The Axons are in Jeague 
with the Master, and intend to devour the Earth’s energy.