THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO
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DOCTOR
THE COMrEE Te HISTORY
PLANET OF THE DALEKS,
THE GREEN DEATH ano
THE TIME WARRIOR
BIBIC]
1B} BIC)
VOCTOR
1) WHO
THE COMPLETE HISTORY
PLANET OF THE DALEKS
THE GREEN DEATH
THE TIME WARRIOR
INTRODUCTION
PUBLICITY
Contents
PLANET OF THE DALEKS
10 16 24
STORY PRE-PRODUCTION PRODUCTION
40 43 45
BROADCAST MERCHANDISE CAST ANDCREDITS
POST-PRODUCTION
A
PROFILE
THE GREEN DEATH
INTRODUCTION
75
PUBLICITY
32 38 64
STORY PRE-PRODUCTION PRODUCTION
76 79 81
BROADCAST MERCHANDISE CAST ANDCREDITS
1973/4 SERIES
73
POST-PRODUCTION
PROFILE
INTRODUCTION
114
PUBLICITY
84
INTRODUCTION
THE TIME WARRIOR
94 98 104
STORY PRE-PRODUCTION PRODUCTION
BROADCAST MERCHANDISE CAST ANDCREDITS
124
INDEX
DOCTOR WHO | THE COMPLETE HISTORY
112
POST-PRODUCTION
PROFILE
1B] BIC}
DOCTOR
WHO
THE COMPLETE HISTORY
EDITOR JOHN AINSWORTH
EDITORIAL ASSISTANT EMILY COOK
DOCTOR WHO MAGAZINE EDITOR TOM SPILSBURY
ART EDITOR RICHARD ATKINSON
COVER AND STORY MONTAGES LEE JOHNSON
PRODUCTION ASSISTANT PETERWARE
ORIGINAL PRODUCTION NOTES ANDREW PIXLEY
ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON,
ALISTAIR McGOWN, TOBY HADOKE
WITH THANKS TO ALAN BARNES, CHRIS BOUCHER, DAVID BRUNT,
PAUL CONDON, KEVIN DAVIES, JOHN DORNEY, JAMES DUDLEY, DAVID
J HOWE, NIC HUBBARD, ANDREW MARTIN, BRIAN MINCHIN, STEVEN
MOFFAT, RICHARD MOLESWORTH, KIRSTY MULLEN, MATT NICHOLLS,
JUSTIN RICHARDS, STEVE ROBERTS, EDWARD RUSSELL, GARY
RUSSELL, JIM SANGSTER, STEPHEN JAMES WALKER, JO WARE, MARTIN
WIGGINS, BBC WALES, BBC WORLDWIDE AND BBC.CO.UK
MANAGING DIRECTOR MIKE RIDDELL
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© 2016 Panini UK Ltd
1BIBIC.
BBC, DOCTOR WHO (word marks, logos and devices), TARDIS, DALEKS,
CYBERMAN and K-9 (word marks and devices) are trade marks of the
British Broadcasting Corporation and are used under license, BBC logo ©
BBC 1996. Doctor Who logo © BBC 2009. Dalek image © BBC/Terry Nation
1963. Cyberman image © BBC/Kit Pedler/Gerry Davis 1966, K-93 image ©
BBC/Bob Baker/Dave Martin 1977. All images © BBC. No similarity between
any of the fictional names, characters, persons and/or institutions herein
with those of any living or dead person or institutions is intended and
any such similarity is purely coincidental. Nothing printed within this
publication may be reproduced in any means in whole or part without
the written permission of the publisher. This publication may not be sold,
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removed, nor ina mutilated condition.
VOLUME 20
~N\AX\N\NNN AAAS
elcome
ince the return of Doctor Who
to our TV screens in 2005, sad
partings, joyful reunions, tragic
losses, and other emotional
entanglements and upheavals
have become staples of the
series. Who can forget the Tenth Doctor’s
‘final’ meeting with Rose at Bad Wolf Bay
in Army of Ghosts/Doomsday [2006 - see
Volume 53] where he almost, but not quite,
declared his love for her? Amy and Rory’s
decision to put their faith in love and the
power of a time paradox by voluntarily
falling to their ‘deaths’ from the roof
of Winter Quay in The Angels Take
Manhattan [2012 - see Volume 72] is a
heart-wrenching moment. And, following
the events of the Last Great Time War,
guilt and angst are personal demons that
the Doctor does constant battle with.
It wasn’t always like this, though. Other
than fear and horror, such naked displays
of intense emotion were a rarity during
the televised adventures of the first eight
Doctors. But, perhaps because these
occasions were so few and far between,
when they did occur, they packed a real
wallop and it is often these moments that
had a tendency to really lodge themselves
in the viewers’ memories.
Perhaps one of the most powerful
examples of this is the departure of the
Doctor’s companion, Jo Grant, at the
end of The Green Death [1973 - see page
48], the final story of the 1972/3 series.
Having had a brush with romance in
Planet of the Daleks [1973 - see page 6],
turning down an offer to return to Skaro
with the Thal, Latep, Jo succumbs to the
charms of Professor Cliff Jones - not least
of all because he reminds her of a younger
version of the Doctor. Having allowed
himself to grow close to Jo, the Doctor
suddenly finds himself on his own again.
The story concludes with the Doctor
feeling sad and lonely as he drives off alone
into the night.
Of course, this wasn’t the first time that
the Doctor had parted company with
one of his companions. Jo’s departure
is perhaps particularly moving as her
relationship with the Doctor had been
such a close one and the series was now in
an era in which the Doctor had only one
companion rather than two or more, as
had been the case for the first two Doctors.
The Doctor’s relationships with his
companions, and his reluctance to allow
himself to become emotionally involved,
would be explored in more detail in later
adventures, most notably School Reunion
[2006 - see Volume 52]. Jo herself would
eo also have a chance to air her thoughts on
o catches
Rewilth the the subject when she meets the Eleventh
Doctor in an Doctor in the 2010 Sarah Jane Adventures
episode of the
spin-off series
The Sarah Jane
Adventures.
episode, Death of the Doctor.
John Ainsworth — Editor
4 DOCTOR WHO | THE COMPLETE HISTORY
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DOCTOR WHO.) THE COMPLETE HISTORY &
PLANET OF
THE DALEKS
=» STORY 68
At the request of the wounded Doctor, the
Time Lords pilot the TARDIS to the hostile
planet Spiridon. There, the Doctor and Jo join
forces with a group of Thals to prevent the ©
Daleks from launching a galactic invasion.
e) DOCTOR WHO | THE COMPLETE HISTORY
ia
ew
PLANET OF THE DALEKS »® sw <«
Introduction
Below:
Another Terry
Nation story,
another jungle.
ou may think that you’ve seen
this all before. Producer Barry
Letts and script editor Terrance
Dicks commissioned three
Dalek stories from writer Terry
Nation and noted his tendency
to supply variations of the same idea.
Even this story - the first he wrote for
Letts and Dicks - is strongly reminiscent of
his earlier Dalek stories. Just like the very
first one he wrote back in 1963 [see Volume
1], the action is split between a jungle and
a futuristic Dalek base. The Daleks’ plan to
release deadly bacteria is similar to scenes
in the first Dalek story where they plan
to explode a neutron bomb to destroy all
life outside their city. At one stage, one of
the Doctor’s friends gets inside an empty
Dalek casing, so they can bluff their way
past their enemies. The planet Spiridon
itself, like Mira in The Daleks’ Master Plan
[1965/6 - see Volume 6] is home to a race
of invisible creatures and, as was the case
DOCTOR WHO | THE COMPLETE HISTORY
ESN
in the earlier story, the Daleks are planning
to invade the solar system.
But to suggest that Planet of the Daleks
is merely a retread of earlier Dalek
triumphs is to sell it short. It has been
observed that the Daleks are the most
defeated race in the series’ history, and
this story addresses that by making
them more fearsome than ever. The
trump card comes at the end of Episode
Two when some more Thals arrive to
warn compatriots that, somewhere on
Spiridon, there are 10,000 Daleks!
During the course of the story, we see the
Doctor and Codal - and the Doctor and
Taron - struggle to subdue just one Dalek.
If a vast army is unleashed, surely all is lost?
Especially as they are also close to unlocking
the secret of the natives’ invisibility.
Some years later, the Cybermen
would use this potent combination. The
cliffhanger to Part Two of Silver Nemesis
[1988 - see Volume 45] reveals a fleet of
invisible Cyber warships - thousands
of them. As for the Daleks themselves,
whenever we see them in such vast
numbers, the consequences are dire. Rose
is the only person who doesn’t die in The
Parting of the Ways [2005 - see Volume 50],
and the Dalek fleet seen attacking Gallifrey
in The Day of the Doctor {2013 - see Volume
75] triggers the greatest crisis of the
Doctor’s life.
Planet of the Daleks is perhaps an
archetypal Terry Nation Dalek story,
retold for a new generation (it had, after
all, been seven years since he last wrote for
the series), but it’s also a reminder that the
Doctor’s greatest enemy is as deadly
as ever. Hi
DOCTOR WHO | THE
.
PLANET OF THE DALEKS
STORY 68
he Doctor has been shot. Jo helps
him into the TARDIS where she
uses the telepathic circuits to send a
message to the Time Lords. [1] Jo moves
the Doctor on to a bed; he tells her to
record everything in the TARDIS log then
loses consciousness.
The TARDIS materialises and Jo
emerges into an alien jungle. [2] She
moves away from the TARDIS, unaware
she is being followed.
The Doctor wakes up and is surprised
to discover that the TARDIS is still using
its own oxygen supply.
Jo finds some footprints and, as she
examines them, a plant squirts some
liquid on to her hand. The footprints lead
her to a derelict spacecraft containing a
cobweb-covered astronaut. [3]
The TARDIS doors refuse to open and
as the oxygen runs out the Doctor is
forced to use the emergency supply.
DOCTOR WHO | THE COMPLETE HISTORY
Jo is discovered by two astronauts,
Taron and Vaber, and asks them for their
help. A third astronaut, Codal, arrives
and warns them that a patrol is coming.
Jo hides while the astronauts lead the
patrol away. After they have gone, an
invisible being enters the spacecraft and
starts searching it.
Taron, Vaber and Codal reach the
TARDIS, which is now encrusted in a
fungus-like yellow substance. Vaber and
Taron scrape it away and help the Doctor
outside. [4] He recovers and recognises
them as Thals and introduces himself as
a figure from their legends.
Jo discovers that her hand is now
covered in a fungal growth. [5]
Vaber tells the Doctor they are on the
planet Spiridon, home of the invisible
Spiridons, on a top-secret mission.
In the spacecraft, Jo is unconscious.
The Doctor and the Thals hear
something approaching. It halts and the
Thals use a paint spray on it to reveal...
a Dalek! [6]
jaron and Codal scout ahead, leaving
the Doctor with Vaber. Vaber thinks
M Taron is not up to being leader and
that they should attack the Daleks. He
is ensnared by a tentacle but the Doctor
rescues him. [1] Taron and Codal return
and they hide from a patrol of invisible
Spiridons. Codal attempts to lead the
patrol away but is caught and knocked
out by a Spiridon.
The Doctor, Taron and Vaber discover
the TARDIS log recorder by the derelict
spacecraft. They are forced to duck out
of sight as two Daleks glide out of the
undergrowth. The Daleks report the
spacecraft to their command centre and
are ordered to destroy it. The Doctor
attempts to stop them but is stunned. [2]
The Daleks then obliterate the spacecraft
and take the Doctor prisoner.
The Doctor is led into the Daleks’ base
and is placed in a cell with Codal. The
Doctor praises Codal’s bravery but Codal
does not feel very brave. The Doctor
assures him that courage isn’t a matter of
not being frightened, it’s being afraid and
doing what you have to do anyway. [3]
Jo is still alive, having been carried
from the spacecraft by a Spiridon called
Wester. He treats her infection with a
potion, which causes her to fall asleep. [4]
Taron and Vaber check their cache
of explosives. Vaber wants to go on
the attack but Taron disagrees. Their
argument is interrupted by the sound of
a descending spacecraft. [5]
The Doctor reverses the polarity of
the TARDIS log recorder to induce a
brainstorm in any nearby Dalek.
Taron and Vaber approach the
spacecraft’s landing site where they meet
another Thal, called Rebec. She tells
them that her ship has crashed; only she
and two others, Marat and Latep, have
survived. They are here to warn them
that somewhere on Spiridon there are
10,000 Daleks! [6]
DOCTOR WHO | THECOMPLETE HISTORY ¢ a4
12
PLANET OF THE DALEKS
STORY 68
ester shows Jo the city the
Daleks are using as their base,
We where Spiridons are pushing in
containers full of vegetation samples. [1]
Taron and Vaber take their fellow Thals
to an ice tunnel, explaining that when
the Daleks built their city they used the
ice volcano to provide a cooling system,
so there are shafts leading into their city.
Taron, Marat and Rebec enter the tunnel.
Jo hides in one of the Spiridon’s
containers and is wheeled into the city.
A Dalek enters the Doctor and Codal’s
cell. The Doctor uses his device to send it
spinning into a wall. [2]
Molten ice pours into the tunnel ahead
of Taron, Marat and Rebec, forcing them
into a side-tunnel. [3]
Evading the Daleks, the Doctor and
Codal descend to level zero.
Taron reaches a ventilator grille and
spots the Doctor and Codal through it.
DOCTOR WHO | THE COMPLETE HISTORY
They help the Thals climb through the
ventilator grille into the corridor and they
only just make it through a closing door -
except for Marat who is exterminated. [4]
They are trapped in a room with a
refrigeration unit big enough to freeze
an ocean and a ventilation shaft through
which hot air is able to escape to the
surface. As the Daleks cut through the
door, the Doctor has an idea.
Hiding from the Daleks, Jo learns that
they know where the Thals have hidden
their explosives. [5]
The Doctor’s plan is to use a sheet of
plastic material to trap the hot air so it
rises up the shaft like a balloon, carrying
the four of them with it.
Jo sneaks out of the city, following the
Daleks sent to destroy the explosives.
The Doctor opens a hatch, revealing
a cave containing thousands of frozen
Daleks. He then joins the others,
grabbing a rope tied to a corner of the
plastic sheet - but together the four of
them are too heavy! [6]
s the Daleks finish cutting through
the door, the sheet begins to lift
WA and they rise up the shaft. [1]
The Daleks locate the Thals’ explosives
and set them to detonate. After the
Daleks have left, Jo emerges from the
undergrowth to adjust their timing
mechanisms, but she is knocked out by
a falling rock. She recovers in time to
grab two of the bombs before the third
explodes. [2]
Taron spots a Dalek coming up the
shaft below them on an anti-gravity
disc, and Rebec realises that the sheet is
tearing. They leap on to the ladders on
the side of the shaft and climb the rest of
the way to the surface. Codal and Rebec
hurl some boulders down the shaft onto
the pursuing Dalek. [3]
The Doctor and the Thals find Jo;
the Doctor and Jo are both delighted to
discover that the other is alive. Taron is
not delighted to see Rebec; the fact that
he loves her will cause his judgement to
be clouded. [4] Vaber and Latep arrive
and Taron decides they must go to the
Plain of Stones. On Spiridon it gets cold
at night, but the boulders on the Plain of
Stones radiate heat they have absorbed
during the day.
They reach the Plain of Stones as night
falls. Codal tells Taron that if they destroy
the Daleks’ refrigeration plant they could
wipe out the Daleks. Vaber wants to
attack at once.
In their laboratory the Daleks prepare
bacteria that will destroy all living tissue
on the planet apart from Daleks and
Spiridon workers. [5}
While the others are sleeping, Vaber
sneaks away with the two bombs.
Discovering he has gone, Taron and
Codal go after him. The others stay on
the Plain, surrounded by eyes glowing in
the dark. [6]
Heading to the shaft, Vaber blunders
into a group of Spiridons and is captured.
DOCTOR WHO | THE COMPLETE HISTORY
14
PLANET OF THE DALEKS |» sw <s
aron and Codal overpower the rear
two members of the Spiridons’
group, disguise themselves with
their fur cloaks and take their places. [1]
The Doctor wards off the night
creatures with a flaming torch. [2] It
grows light and Wester arrives with the
news that the Daleks are preparing a
bacteria bomb. He departs, intent on
finding some way to delay them.
The Spiridons deliver Vaber to a Dalek
patrol for questioning. Vaber makes
a break for it and is exterminated. [3]
Taking advantage of the distraction,
Taron and Codal grab the bombs and flee.
In their laboratory, a Dalek starts
administering the antidote for the
bacteria. The lethal bacteria is now ready
to be released. [4]
Taron and Codal return to the Plain of
Stones and tell the Doctor, Jo, Latep and
Rebec that a Dalek patrol is on its way.
DOCTOR WHO | THE COMPLETE HISTORY
The Doctor thinks it is time for a
change of tactics and investigates a
nearby ice pool.
Jo and Latep lead the Dalek patrol
through the jungle back to the Plain of
Stones, where the Doctor lures one of the
Daleks into following him to the pool,
where he and Taron shove it into the ice.
[5] Jo and the Thals then overpower the
other Dalek and push it into the pool.
Wester enters the Dalek laboratory,
claiming to have a vital message.
Rebec is concealed inside a Dalek
casing. Jo and Latep head to the
ventilator shaft while the rest of the
group disguise themselves as Spiridons
and enter the city escorted by Rebec.
They arrive outside the laboratory in
time to see Wester release the bacteria.
Wester is killed. [6] The laboratory is
hermetically sealed and the Daleks inside
will remain trapped for ever.
The Doctor tells the others to head
to the lower levels - but a Dalek spots
Codal’s boot and raises the alarm!
ushing the casing containing Rebec,
the Doctor, Taron and Codal flee
through the corridors of the city.
The Daleks destroy the casing but it is
empty; Rebec is in the elevator with the
others, descending to level zero.
In the control room, the Daleks are
informed that the Dalek Supreme will
arrive shortly to assume command.
Jo and Latep watch the Dalek Supreme’s
spaceship come in to land. Jo points out
that if their mission is successful, the
Thals can use the ship to return home.
Latep tells Jo that it was meant to be a
suicide mission but he’s found a reason
for wanting to stay alive. [1]
The Doctor and the Thals barricade
themselves into the cooling chamber.
The Dalek Supreme orders the Dalek
army to be activated.
Jo and Latep reach the top of the
ventilation shaft and lower a rope.
The temperature rises in the arsenal
and the Dalek army starts to wake. One
of them knocks one of the Thals’ bombs
off a catwalk and the Doctor is forced to
squeeze between disorientated Daleks to
recover it. [2]
Latep and Jo reach the cooling chamber
just as the Daleks break through the
barricade. [3] Latep blows them up, then
he and Jo find the Doctor in the arsenal.
The Doctor and Codal set the remaining
bomb. After it is detonated the cave is
inundated with liquid ice. [4]
Outside the Dalek Supreme’s spaceship
the Thals thank the Doctor for his help.
In return, the Doctor asks Taron not to
glamorise their adventures. [5]
Latep asks Jo to return to Skaro with
him but she declines. He leaves with the
other Thals - and the Dalek Supreme
emerges from the jungle. The Doctor
and Jo run back to the TARDIS which
dematerialises. The Dalek Supreme is
defiant; the Daleks have been delayed,
not defeated! [6]
DOCTOR WHO | THECOMPLETE HISTORY ¢ 45
Dalek creator
Terry Nation
rallies his
troops!
PLANET OF THE
ms
DAL i | STORY 68
— ry)
Seev
a Saf
Pre-production
ince his last association with
Doctor Who on The Daleks’
Master Plan back in 1965, writer
Terry Nation had been very
active in the film and television
industry. After completing a
stint as script supervisor on ITC’s The
Baron in 1966, Nation made an abortive
attempt to sell the format for a series
based around the Daleks to both the BBC
and one of the American TV networks.
After this he wrote some episodes for
his colleague Dennis Spooner on The
Champions, followed by an episode of The
Avengers entitled Invasion of the Earthmen.
After working with Spooner on the early
episodes of Department S, he returned to
another ITC series, The Saint, as a writer,
and when that concluded production
he moved over to become script editor
on the last episodes of The Avengers. His
association with ITC and The Saint star
1s DOCTOR WHO | THE COMPLETE HISTORY
Roger Moore led to him being associate
producer and story consultant
on ITC’s next big adventure series,
The Persuaders!.
It was while working on The Persuaders!
at Pinewood that Nation was approached
by Barry Letts and Terrance Dicks, then
the producer and script editor of Doctor
Who, who explained that they were in
pre-production of a Dalek storyline but
had neglected to seek Nation’s permission
to use his creations. A deal was struck
between Nation’s agent and the BBC
so that the writer received a fee anda
creator’s credit on Louis Marks’ Day of
the Daleks [1972 - see Volume 17], plus
an assurance that Nation would be given
first refusal on future Dalek stories and a
suggestion that the Daleks could feature
once a season. The last time that Nation
had been approached by the Doctor Who
team was in December 1967, with a view
VA AAR
to producing a storyline featuring both
his Daleks and the Kit Pedler/Gerry Davis
creations, the Cybermen.
The Persuaders! came to an end after
one series due to both poor US ratings
and reported problems with co-star
Tony Curtis (although in the UK it was a
top-rated show). Nation began working as
a freelancer again, pitching an idea for a
Victorian fantasy series about a scientific
investigator entitled The Incredible Robert
Baldick. The BBC made the pilot episode
entitled Never Come Night for transmission
in the Drama Playhouse season for autumn
1972. Since he was no longer busy on
a permanent series (unless the option
on Robert Baldick was taken up, which
~
Pre-production
ultimately it was not), Nation was available Rebec, the female Thal in the story, was Above:
to pen the Dalek serial required by Barry named after Nation’s daughter Rebecca. a
Letts for Doctor Who’s 1972/3 series. The name of another Thal, Petal, had to be tougher breed
of Thal...
Return ofthe Dalehs
he brief given to Nation by Letts and
Dicks was that he would pick up where
Malcolm Hulke’s Frontier in Space
[1973 - see Volume 19] left off, with the
Doctor and Jo heading off in the TARDIS
to find the Dalek army that was poised to
invade the galaxy. Nation’s story breakdown
was commissioned on Friday 21 April 1972
for delivery on Monday 1 May.
The storyline, titled Return of the Daleks,
anagrammed to Latep to avoid confusion
with the character of Patel in the preceding
serial Frontier in Space.
The title of the story was changed to
Planet of the Daleks, but this was soon
changed again when the six scripts were
commissioned, under the title Destination:
Daleks, on Thursday 11 May for delivery by
Tuesday 1 August.
Because Terry Nation had
not written for Doctor Who
since 1965, he assumed that
individual episode titles were
Connections:
Legendary figure
When the Doctor iz
encounters the Thals,
he recalls the last time
he met them as seen in
The Mutants (AKA The
owed a lot to some of Nation’s previous
Doctor Who stories. The idea of invisible
monsters had been used in The Daleks’
Master Plan with the Visians, as had the
still being used (a practice
which was dropped in 1966).
Consequently his six draft
scripts were entitled Destinus
concept of Dalek invasion armies poised to
take over the solar system, launched from a
planet of hostile jungle vegetation. Escape
from Dalek cities and the use of a Dalek
casing by one of the Doctor’s friends had
also featured in the very first Dalek serial
The Mutants (AKA The Daleks) [1963/4 - see
Volume 1].
(the original name for
Spiridon), Mission Survival,
Pursued, Escape or Die,
The Day Before Eternity
and Victory.
On Monday 24 July,
Terrance Dicks wrote to
Nation and thanked him
Daleks) [1963/4 - see
Volume 1]. He tells how
he and his companions,
Barbara, lan and Susan,
assisted the Thals in
the fight against
the Daleks.
DOCTOR WHO | THE COMPLETE HISTORY @@) EC
= ?
PLANET OF THE DALEKS » srv5:
Below:
“There was this
Spiridon.., but
I'm not seeing
him any more.”
for the script of Episode One which he
had received that day. Dicks also sent
his condolences since Nation’s leg was
in plaster, commenting that delivery
could be extended by a fortnight, to
Tuesday 15 August, because of Nation's
accident. While Nation wanted to deliver
all six scripts at the same time, Dicks
was concerned that the writer was not
taking on board some of the things which
they had discussed and so wanted each
script delivered as soon as it was done
so he could check on its content. As a
compromise, Dicks agreed to Nation
delivering his scripts in pairs. Dicks’ ‘only
area of anxiety about the script’ was that
a female Thal character which Nation
had been asked to develop had not yet
appeared. The script editor also reiterated
that Doctor Who now demanded more adult
stories with strong human interest, and at
present the Doctor and Jo were the only
real characters; when the Thals were fully
introduced they needed to have different
traits and reactions, with Dicks suggesting
an authoritative leader, a young rebel,
DOCTOR WHO | THE COMPLETE HISTORY
a neurotic, and a handsome youngster
for whom Jo could develop romantic
feelings, telling Nation, ‘I don’t think she
can build up much of a relationship with
a Spiridon!
Violence, massacre & gloom
ware that there were concerns in
A the upper echelons of the BBC that
Doctor Who had become too violent,
Dicks also suggested that not all the Thals
should be massacred by the Daleks at the
end of Episode Four as Nation intended.
Instead, he urged the writer to keep at
least some of them alive and allow them
to repair their spaceship and return home
to Skaro at the close of the serial. Dicks
knew that BBC head of serials, Ronnie
Marsh, would insist upon such an ending
for the good guys. ‘In the present climate
of opinion, Dicks told Nation, ‘we have to
be very careful about violence, massacres,
and gloom.
Dicks was also concerned that Nation
had forgotten the Thals’ pacifist origins
when they were first introduced in the
original Dalek story, and that they were
now excessively militaristic due to their
fear of the Daleks. Dicks asked Nation
to include a scene in which the Doctor
tells the Thals ‘that it’s too high a price to
pay to defeat your enemy if it means you
become like him, and that some Thals are
in danger of becoming as ruthless as the
Daleks’. Although Nation agreed to this,
he rejected Dicks’ suggestion of how this
conversation might arise. Dicks proposed
that Taron should confront a situation in
which his mission can only succeed if he is
prepared to sacrifice the lives of the other
Thals. About to make this choice, Taron
is stopped when the Doctor intercedes
and persuades him to be more humane.
However, Nation was unhappy with this
suggestion, feeling that it would be out of
character for Taron. Instead, Taron just
talks about the dilemma in hypothetical
terms rather than actually experiencing it.
The script editor also agreed that the
Spiridons usual appearance would be
blurred and fuzzy, telling Nation ‘we have
found a way to do this’. Ultimately though,
it was decided that full invisibility would
be problematic in the studio and the idea
was abandoned. Dicks also asked Nation
to ensure that Jon Pertwee was given a
“moment of charm” in the story.
As agreed with Dicks, Nation delivered
the scripts as they were completed, with
Episode Two arriving on Monday 31 July.
Dicks wrote to Nation on Tuesday 1
August, thanking him for Episode Two
and saying that the new script had put
his mind at rest, particularly with regards
to the Thal characters. The script editor
Above:
The Doctor and
the Thals enter
a paint-a-Dalek
competition.
was keen to develop Codal, but concerned
about the female Thal still: “What about
Rebec? What has she got to offer us, apart,
of course, from the big boobs?” asked
Dicks, suggesting that Nation could make
her Taron’s superior and maybe have her
in conflict with him as a former lover while
she also scorns Codal’s advances. Pertwee
was pleased with his “moment of charm”
as the Doctor talked to Codal. Dicks
asked Nation to have the Doctor point
out the morals of war and conflict, maybe
indicating that Taron is so determined that
he is little better than a Dalek himself.
The scripts for Episodes Three and
Four were delivered on Friday 4 August,
and Episode Five on Tuesday 8 August.
Dicks - deputising for Barry Letts who was
on leave - wrote to Nation on 8 August
to thank him for his last three scripts
and telling him to press on with Episode
DOCTOR WHO | THECOMPLETE HISTORY ¢ 49
PLANET OF THE DALEKS » sr 5:
Above:
Holy Maloney!
Jon Pertwee
gets some
pointers from
the veteran
director.
Six which was delivered on Thursday 17
August. Dicks wrote again to Nation on
Friday 18 August to thank him for the
final script and confirmed that only minor
rewrites on it would be performed.
The final drafts were prepared by Dicks.
It was Dicks who restructured the early
scenes in Episode One to
Connections: B have the Doctor injured in
Til health
the TARDIS, thus matching
» When giving details of the end of the cliffhanger
the Doctor'scomaonher | for Hulke’s serial and giving
TARDIS log recording, Jo a more plausible reason for
mentions that she has splitting Jo and the Doctor
seen the Doctor in this up at the start of the serial.
condition once before At Letts’ request, Dicks also
and that he recovered added the Doctor’s speech
from it after a sudden about war to the Thals in
rise in temperature. This Episode Six.
refers to The Daemons Dicks sent the ‘mutated’
[1971 - see Volume scripts to Nation on Tuesday
17] when the 5 December, explaining that
Doctor was frozen. some minor special effects
had been simplified and
DOCTOR WHO | THE COMPLETE HISTORY
eS Sa,
continuity elements added. Nation replied
on Monday
11 December, thanking Dicks and saying he
hoped to visit one of the studio recordings.
David Maloney was chosen as the
director on the serial, having worked on
the show in a variety of roles since 1964,
graduating to directing The Mind Robber
[1968 - see Volume 13], The Krotons
[1968/9 - see Volume 13] and The War
Games [1969 - see Volume 14]. Since 1969,
he had continued to work as a BBC staff
director on acclaimed period drama serials
such as Ivanhoe and The Last of the Mohicans,
soaps like Owen MD and crime dramas like
Paul Temple and Softly, Softly: Task Force. In
late 1972, he was working as a producer/
director on British-based episodes of Kim
e@& Co, an international children’s film series
in which the BBC had become involved
and which was experiencing problems.
Barry Letts contacted Maloney, offering
him the chance to direct a Doctor Who serial
instead. Although he had been reluctant
to return to the series after the Second
Doctor’s era, Maloney liked the scripts
and was lured back to the fold by the
challenge of directing a Dalek story and the
opportunity to handle more sophisticated
effects sequences, including the colour
separation overlay (CSO) technique, which
he had never worked with before. It was
also the first time he had worked with
Jon Pertwee.
A new Rind of Thal
ernard Horsfall had been cast in
Doctor Who by David Maloney on two
previous occasions: as Gulliver in The
Mind Robber and as a Time Lord in The War
Games and since then had worked with him
on the BBC1 serial Ivanhoe.
Horsfall took on the role of Taron.
Looking at photographs of the Thals
So, —
CHARM” IN THE STORY
Some ‘Dolly’
Daleks...
from the original Dalek serial, Maloney
felt that the blonde-haired and blue-
robed pacifists looked far too soft for
the desperate spacemen now engaged on
a suicide mission. The Thals remained
blonde, although their clothes were now
bulky spacesuits. The Thals’ hand-blasters
were connected to powerpacks on their
belts by a coiled flex. A couple of these
were working props, the barrels of which
illuminated red when fired.
DaleR camp
he Daleks were played by John Scott
Martin, Murphy Grumbar and Cy
Town: the same trio of Daleks from
Frontier in Space Episode Six. Martin and
Grumbar were experienced operators from
the 1960s. Because the make-up supervisor
Jean McMillan was new to the programme,
John Scott Martin recalled that she insisted
the three Dalek operators also underwent
make-up in case their faces were visible
through mesh around the Daleks’ ‘necks’.
This joke was carried to extremes in later
rehearsals when Martin, Grumbar and
Town were made up in drag like a trio of
Dolly Partons, and trundled into rehearsals
DOCTOR WHO | THE COMPLETE HISTORY
in the lower halves of their Dalek casings,
with voice artistes Michael Wisher and Roy
Skelton delivering suitably camp voices.
For the first time since 1964, some new
Dalek casings were constructed especially
for use on television. Consideration was
given to creating between 12 and 20 new
Daleks using vacuum forming techniques,
but ultimately this idea was abandoned.
Instead, four new grey Daleks were made
by Scenic Craft Limited of Southall,
incorporating simplified gun arms,
plywood skirts (as opposed to fibreglass
of the originals) and wooden shoulder
sections. One of the new Daleks was also
fitted with a pair of red lights on its dome
as opposed to the standard white ones.
Since these four new casings were cruder
in construction, they were generally
kept in the background. The three older
casings from the 60s featured prominently,
including the golden Dalek from Day of the
Daleks and Frontier in Space which had been
painted grey to match the others (although
it was a slightly lighter shade); two of these
had recently taken part in the Lord Mayor’s
Show on Saturday 11 November 1972.
Special effects for the serial were
provided by freelancer Chris Culley of
VA ARR RN
Westbury Design and Optical Limited,
a firm based at Pinewood Studios.
In the camera script, the jungle of
Spiridon was extensively described: ‘The
plant life that surrounds the TARDIS
is dense. The ‘trees’ and ‘bushes’ are of
weird shapes. They are living, almost
animal like creations. The ‘leaves’ and
‘branches’ seem always to be in slight
movement. The colour of the night is
green... the plants as they move seem to
give off a whispering sound that is quite
sinister... large areas of the TARDIS are
covered with sponge like fungus spores.
This fungus is growing in profusion
around the area. Rather nasty yellow
with a sponge like surface. They are
four or five feet high, irregular in shape
but generally ball-like with a depressed
top and bottom. They pulsate slightly
as though they were breathing and we
get the feeling that they are capable of
movement. The Thal spacecraft found
by Jo was ‘not large, and of the type that
would be used for landing a small group
from a mothership... the door to the
interior hangs on broken hinges. Already
some of the jungle vines have started to
crawl over it. It is shaped rather more
like a guided missile than anything we
have seen in US space missions. Indeed,
it was launched from a mothership and
made a power assisted glide onto the
surface of this planet. Of the Thals, Taron
was ‘tall, good looking with fair hair.
His clothing is a sensible workmanlike
uniform. Insignia of rank on his shoulder.
Around his waist a utility belt. This
contains various weapons and tools,
each of which are powered from a small
energy pack on the belt and are linked to
it in turn by a coiled telephone like cable.
Vaber was ‘uniformed in the same way
and of the same physical type... he seems
more tense and nervous’; in the second
?
Pre-production
episode, Nation noted, ‘He is aggressive Above:
and apparently cold-blooded. Courageous ae
Ppa y ; 8 Jo pick their
to the point of foolhardiness. However, way through
much of this is a facade to conceal his own some vicious
vegetation.
terrors and fear of the planet Spiridon,
Originally, Nation believed that there
would be more Daleks available, specifying
a patrol of four capturing the Doctor
rather than the two that appear on screen;
likewise, both Rebec and Codal would
have been in Dalek casings in Episodes
Five and Six. In Episode Three, it was
originally ‘Doctor Who’ rather than
Taron who comforted Rebec after Marat’s
death. Nation observed that ‘wrapped in
shaggy furs [the Spiridons] look like great
lumbering animals’ and also that ‘Wester’s
furs should be marked differently from the
other Spiridons’. For the introduction of
the Dalek Supreme in Episode Six, Nation
described it as having ‘a gleaming black
shell with golden domes. Quite the most
impressive Dalek we have seen’
The serial’s title reverted back to Planet
of the Daleks shortly before filming began.
As late as Friday 8 December it was still “ye:
Destination: Daleks which was the title given ae
on the Drama Early Warning Synopsis, we
Barry Letts felt it to be lacklustre. ay
DOCTOR WHO | THE COMPLETE HISTORY @)
PLANET OF THE DALEKS
STORY 68
Production _...
ocation filming on 16mm
stock took place at Laporte
Industries’ Beachfields Quatry
in Redhill (previously used on
Frontier in Space) on Tuesday
2 and Wednesday 3 January
1973.from around 9am, with the unit
based. at the’Sky Lane Manor Hotel
in Horley. This involved Jon Pertwee,
Katy Manning, Jane How, Tim Preece
(whom David Maloney had directed
in the BBC1 version of Ivanhoe), Alan
- =a
—_"
—we
|; VISUAL E
Fe oe el
FFECTS PROVIDE
SMOKE GUNS WHICH MADE
Tucker and Bernard Horsfall, with John
Scott Martin operating the two Daleks =
whichappearedimturn Ssince-the two »
were not required to appear inaction»
simultaneously. A third\Dalek casing was
also taken_on location but not used, and
appears onlin publicity shots. taken by
the BBC photographic team. The-main
casing used in the action sequences was
one of the existing Daleks made in.the
1960s by:Shawcraft (which,had since,
been repainted from gold to grey) along
A
a
- ree -
5 MIST WITH
Wouee’| ‘DYNA FOG’
wid SPIRIDON’S SURFAC
= SEEM COLDER.’
- A
th DOCTOR WHO | THE COMPLETE HISTORY
_
with two néweeruder ‘goon’ Daleks (which
lacked full interior workings)«madeout of
wood, of which atotal of seven had been”
made, mainly for use in thebacksround of
massed Dalek scenes.
-
os
Alien world ;
ooden boards were laid,
down out’of camera
shot to give John Scott
Martin a reasonable surface to
trundle along in the midst of the
ough terrain, steering his Daleks down
> “ies .
—
into a cold and murky pool. The boards
were kept out of shot in the finished The Dawa
the freezing
programme, but clearly featured in a conditions of
variety of BBC photographs. The'pool the planet of
itself.was made to bubble with, blocks of the Daleks!
dry ice an@had fuller’s earth deposited
in it to colour it green. Visual effects
provided mist with "Dyna Fog’ =
@ smoke guns whichsnot only made»
‘Spyions surface seem cal
PLANET OF THE DALEKS » srv5s
Connections:
Dalek travel
» To pursue the Doctor
and the Thals up
the chimney,
mounts an anti-
gravitaty disc. This
was the first time that
such a device
seen in the TV series,
although similar devices
were regularly used
of the two goon Daleks were fitted with
standard door hinges so that they could be
opened, allowing the Doctor and the Thals
to get at the unseen creatures inside and
dispose of them in the ice pool.
Like all the Thal actors, Jane How, who
played Rebec, had to wear a bulky yellow
spacesuit, which she found unflattering,
and an unwieldy blonde wig. She gave
herself the nickname of ‘Miss Michelin’ after
the Michelin Man advertising character who
was made of nothing but car tyres.
David Maloney had expected Pertwee’s
approach to the series to be far more
comedic and was surprised to find that his
lead man was keen to emphasise the drama
in the storyline.
Filming continued from 8am to 5.30pm
on Thursday 4, Friday 5, Monday 8, and
Tuesday 9 January on Stage 3B of BBC’s
Television Film Studios at Ealing, involving
Jon Pertwee, Hilary Minster (with whom
Maloney had also worked on The Last of
the Mohicans and more recently directed
in Woodstock), Jane How, Tim Preece and
Bernard Horsfall. All the
scenes in Episode Four of
the Doctor, Taron, Codal
and Rebec escaping up
the vertical shaft on the
makeshift parachute were
filmed on the Thursday and
Friday. Wind machines were
used to show a draught of
warm air from below wafting
against the Thals and the
Doctor. Most of this sequence
was restricted to close-ups.
a Dalek
had been
with Taron, Rebec and Marat, the trio’s
escape via the ducting with help from the
Doctor and Codal (just prior to molten ice
gushing over two Daleks). In the tunnels,
the wallpaper paste Polycell and gelatine
were mixed together to form the pale green
‘molten ice’, the mixture being so deep that
Minster, How and Horsfall had to crawl
through troughs of it at Ealing.
Cast as Vaber was Prentis Hancock,
whose first appearance on Doctor Who
had been as a reporter in Spearhead from
Space [1970 - see Volume 15]; Maloney
had previously worked with Hancock on
the BBC1 adaptation of The Last of the
Mohicans and the Glaswegian actor was
then a regular in the BBC espionage show
Spy Trap. Roy Skelton played a dual role
in the serial as both the invisible Spiridon
by the Daleks in their The flying gear used for Wester, and as a Dalek voice (which he
comic-strip adventures the escape was provided had previously done in The Evil of the
in TV Century 21 and by Eric Dunning. Daleks [1967 - see Volume 10]). Skelton’s
the three Dalek Filmed on the following association with the programme as an
books published by | Monday and Tuesday were actor and voice artiste stretched back to
Souvenir Press.
all the sequences in the ice
tunnels for Episode Three
The Ark [1966 - see Volume 7]. Joining
Skelton off-screen to provide further Dalek
26 DOCTOR WHO | THE COMPLETE HISTORY
Me
»
“
. ‘
45 » <>
. aa ...
a
voices was Michael Wisher, marking his
third story in the 1972/3 series - he had
provided the Dalek voices in Episode Six
of Frontier in Space as well as playing Kalik in
Carnival of Monsters [1973 - see Volume 19].
In between the pre-filming and the
studio recording, Katy Manning had
cut her hair which meant there was a
noticeable difference in later episodes
when scenes switched between videotape
and telecine material.
ehearsals for the first studio
aM recording took place at the BBC’s
Acton Rehearsal Rooms from
Wednesday 10 January through to
Sunday 21 January, although Jon Pertwee
was absent on the first day as he was in
Birmingham to promote the series on
the BBC’s new lunchtime magazine show,
Pebble Mill at One. Pertwee also did an
inferview with Pete Murray for Radio 2’s
Open House on Friday 12, the same day
that oo him a contract for the
aed
Producti on
Left:
Jane How
isl
next series of 26 Doctor Who episodes. On
Sunday 14 January, he started making a
new series of his Radio 2 sitcom The Navy
Lark which would be recorded on most
Sundays through to April.
Studio recording took place at Television
Centre in Studio 4 on Monday 22 and
Tuesday 23 January 1973 with recording
scheduled to take place between 8.00pm
and 10.00pm on the Monday and 7.30pm
and 10.00pm on the Tuesday. However, on
Monday 22 January, recording in studio
over-ran by 17 minutes because of the large
number of scenes and the small amount
of pre-filmed material. As a consequence,
it was decided to begin recording half an
hour earlier, from 7.30pm, on the second
day of each of the studio sessions.
Most of Episode One was recorded on
Monday 22 January, along with the final
TARDIS scene and the Doctor and Jo’s
return to the ship in Episode Six since
this saved having to erect the sets for brief
scenes on the last studio day when space in
the studio would be tight. For the opening
scenes, Katy Manning retained the black
prison clothes she had worn in Frontier
in Space, since the closing sequence of the
previous serial would be edited in at the
start of the recording. Jon Pertwee wore his
green velvet jacket for the early scenes in
the TARDIS, again maintaining continuity,
before changing into a purple jacket for the
remainder of the serial.
The new TARDIS set, constructed for
The Three Doctors [1972/3 - see Volume
19] (the previous story to be recorded)
was given an additional wall to the right
of the camera which would allow for the
bed unit on which the Doctor recovered
PLANET OF THE DALEKS |» st <«
Connections: ee ead, ‘THE JUN z LE
Catchoh on which was shown an :
Seep iese image of the jungle set with S A Ss We
To turn the TARDIS -. | SET WA 3
liquid squirted on to the
log recorder into an
camera lens. D Pe
anti-Dalek weapon, Dicks’ rewrites included Jo TH 1C K A N
the Doctor says he recording recent events on the
EY FSWeearhe TARDIS log, a portable tape AS REA Lis i rc_| |
polarity” - avariation
of what is commonly a small motor in a cassette | A Ss Cc 0 U L D B E
recorder constructed from
eGRieee Sais Take tape box, stored ina TARDIS —
Dacia ‘catchphrase’: locker above the bed. This | AGG OMPL ISHE D
REMEISE mie served as a résumé for the
& polarity of ae viewers and an explanation THE S 7 U D : O.
pe RSUaSo Rune for those who had not seen
the previous serial. The short 5 bs ;
sequence of the Doctor with ice forming on
his face was post-recorded at the end of the
evening so that the make-up only needed to
be applied once.
iN Eng
PA, \
Out Of air...
T he TARDIS’ warning systems were
shown to work in both audio and
visual modes. A bleeping sound
alerted the Doctor to the scanner, on which
was shown a message in magnetic lettering
typeface reading ‘Automatic Oxygen
Supply Exhausted’, with a later message
reading ‘Oxygen Atmosphere Unable To
Sustain Life’. The TARDIS’ emergency
oxygen supply was mounted in a
wheeled trolley, from which a central
box rose ‘automatically’ bearing three
oxygen cylinders (two of which the
Doctor found to be empty).
For the closing scene of the story, set
inside the TARDIS, two starscapes were
flashed up on the monochrome scanner
Right: screen, followed by a shot of the planet
Some off-duty Skaro. This was then replaced by the
ao" destination Jo wanted: Earth.
peneneen The jungle set was as thick and as
takes. realistic as could be accomplished in the
28 DOCTOR WHO | THE COMPLETE HISTORY
et
Production
hay
HISTORY a
PLANET OF THE DALEKS »® sw <s
Connections:
Freezing
3
her’, is the
lements to
PA different forms,
inthesame
physical sta
Below:
A ‘film star’
Dalek arrives
onset.
DOCTOR WHO | THE
® Rebec explains tha
olten ice is anallotrope.
Anallotrope, meaning
f some chemical
confines of the recording
studio, with careful lighting
adding to the atmosphere.
Some of the larger leaves
were specially constructed
props, made by the outside
contractor, Zircon. Night
on Spiridon was generally
represented by a green light,
with a pink glow being used
as the dawn broke in Episode
One. A few special ‘eye-plant’
props were made to be placed
around the set, these being tubes with an
interior mechanism which allowed two
small eye-stalks to turn back and forth
in a slot towards the top of the plant’s
trunk, operated out-of-vision by an effects
technician. Other parts of the foliage were
rigged with fine wires to move when an
invisible Spiridon was passing by. The
other notable plant props were those near
the TARDIS which spat a green wallpaper
paste slurry (the same mixture as used for
the liquid ice), ejaculated by a manually
operated stirrup pump. The shots of the
plants were recorded as cutaways. The set
was also decorated with latex cobwebs.
the
property
existin
COMPLETE HISTORY
For the studio scenes, the Daleks now
had a smooth and even floor to glide
over, although this meant that Maloney’s
camera angles had to disguise the fact that
Spiridon’s terrain was not as rough and
uneven as one would expect for an alien
jungle. Since the filming on the serial, the
three main Daleks had undergone minor
repairs and repainting, with new skirt
sections used in the studio.
Enter the Dalek Supreme
ith sequences recorded for
| Episode Six, the special Dalek
Supreme casing made its début.
The scheduling of the final scene outside
the TARDIS also meant that the Dalek
Supreme had to be ready for the first studio
day. This Dalek - operated by John Scott
Martin - was actually the golden prop built
for the 1966 film Daleks’ Invasion Earth:
2150 AD, and which had been given to
Nation by the film company which he used
for personal appearances at local functions.
Nation suggested the use of the casing to
Maloney, whereafter the BBC Visual Effects
team refurbished it. As well as its new gold
and black livery, the dome was fitted with
new lights and eye stalk. The lights, which
flashed randomly, had jam jars placed over
them to make them larger, while the white
eye was a torch that also illuminated. The
creation of the Dalek Supreme, one of a
Supreme Council of Super Daleks, came
from Nation since he disliked the Dalek
Emperor created by David Whitaker for
The Evil of the Daleks and its spherical-
headed counterpart from the comic strips
in TV Century 21 and Souvenir Press’
gift books.
The Thals’ crashed vessel was
constructed almost full-size, consisting
mainly of a rear hull and one side, with the
entrance hatch being a door set between
two thrusters. The far wall of the craft
was omitted, allowing the connected sets
inside the ship to be built. The corpse of
the Thal pilot discovered by Jo inside the
crashed spaceship was an actor clad in a
Thal spacesuit and wearing a spacesuit
helmet that had been used by the Doctor
for spacewalking in Frontier in Space, but
had originally been seen in Doctor Who in
Mission to the Unknown [1965 - see Volume
6]. To add to the eerie feeling of decay,
latex cobwebs were again sprayed onto
the pilot.
Yellow CSO was used for some of the
scenes requiring the invisible Spiridons
(including Wester) to pick up objects (such
as a prop phone originally made for the
ITC series The Prisoner) so they seemed
to float in thin air. An extra, cladina
yellow bodystocking and mask, moved
items about on a yellow backdrop, while a
second camera keyed in the Thal spaceship
set behind the action. The problem
in previous stories of having the CSO
background appearing to slide around
behind the subject on the main set was
now solved with a mechanism that linked
the zooms of both cameras being used,
so that the master camera’s zoom actions
would be echoed simultaneously by the
slave camera. Other objects moved by
the Spiridons were moved by wires, while
effects such as things being ransacked
from a locker were achieved by having
stagehands throw items through the
cupboard via its false back.
The climax of Episode One, with the
invisible Dalek being revealed by means
of CSO, proved unsuccessful and had to
be re-recorded on Monday 19 February
as part of the final studio session. For the
start of Episode Two (which had no reprise
from the end of Episode One at all), one
of the new goon Dalek props appeared,
sprayed completely black. Also in Episode
One, the shot of the pointed footprints of a
Spiridon appearing in the soil was achieved
by sprinkling earth over two sheets of card,
the upper sheet having footprint holes cut
into it. The lower sheet was then slid away,
causing the soil to fall down into footprint
shapes. A plan to show a Dalek’s ‘footstep’
in a similar way was abandoned at a
late stage.
For the attack on Vaber by a moving
tendril in Episode Two, although a
wire operated frond could be shown
inching towards him, the actual grabbing
of the Thal occurred offscreen, with
Prentis Hancock suddenly appearing to
be entangled with the vegetation. In
post-production, the plant was made
to screech as the Doctor cut the Thal free
from the tendrils.
Above:
Katy Manning
records a
frightening
scene.
Inset:
A yellow-suited
Roy Skelton
records scenes
as the invisible
Wester.
DOCTOR WHO | THE COMPLETE HISTORY
31
PLANET OF THE DALEKS »® sw <s
Right: Yellow CSO was again used for the
mela capture of Codal by a log-wielding
seconds =
before it gets Spiridon, and also to show the bowl of red
squashed by fungoid antidote ‘hovering’ in front of Jo
a big rock.
when held by Wester. In other shots of Jo,
no CSO was used and the bow! was held
just out of camera shot, but still seemingly
‘hovering’ in the picture. As with Episode
One, Jo’s fungal growth (which Wester
called Fungoid, a name Nation had used
in The Chase [1965 - see Volume 5]) was a
yellow mould applied to Katy Manning’s
left arm. Wester’s approach to the Thal
spaceship in Episode Two was seen from
his point of view.
The Daleks’ extermination ray turned
the image on the screen into a colour
negative, and a new sound effect was
used instead of the one used in both Day
of the Daleks and Frontier in Space. The
destruction of the Thal ship was largely
achieved off-screen by sound effects and
lighting, although smoke emerged from
the hull as it was fired upon.
To make it seem as if the lift in the Dalek
city had actually moved between floors,
different lighting was used on the corridor
outside it. Thus the Doctor and Codal
would enter the lift on a corridor lit with
a turquoise filter, ‘descend’ several levels
and emerge into the same set lit with a
green filter. When the lift was moving, the
camera trained on the set would tilt slightly
to imply movement and lights behind a
small row of windows would flash. In the
Dalek prison cell, the Doctor is seen to
be carrying the sonic screwdriver in his
pocket, although this had been confiscated
at the lunar penal colony in Frontier in
Space. Katy Manning’s voice, which had
been pre-recorded on Friday 19 January,
was played back for the scene in which the
Doctor listened to Jo’s log entries.
The second Thal ship, containing Rebec,
Marat and Latep landed off-screen, its
32 DOCTOR WHO | THE COMPLETE HISTORY
arrival being implied in the scene between
Vaber and Codal by harsh red lighting, the
use of a wind machine on the jungle set
and debris carried in the gusts - plus the
appropriate sound effects. The final
close-up of Taron from Episode Two did
not appear in the reprise of Episode Three.
Miniature Dalek
fter a day’s break, rehearsals for the
A second studio block commenced at
Acton from Thursday 25 January
and concluded on Sunday 4 February.
Concurrent with this was further model
work on 16mm film. Shooting on Saturday
27 January included material with a model
of the chimney from the refrigeration
plant to the surface of Spiridon seen in
Episode Four, with the camera looking
down as a miniature Dalek rose on an
anti-gravitation disc and then suffered
from having a boulder dropped on it. A
miniature of the ice tunnels was built for
Episode Three allowing more controlled
use of the molten ice surging along the
tunnels; these shots were undertaken on
Monday 29 January.
The Dalek Supreme’s shuttle craft
appeared as a model in film sequences for
Episode Six. Four gas burners were fitted
into the vessel as rocket jets for its landing
and take-off, parts of which were shot
in slow motion. A model of the TARDIS
covered in the fungus growth in Episode
One was also filmed. The model shot of
the TARDIS spinning through space at the
start of Episode One was taken from the
model footage shot with Frontier in Space.
The second studio block took place on
Monday 5 and Tuesday 6 February in TC6,
predominantly devoted to Episode Three
and Four. Episode Two had a 30-second
insert with the three Daleks recorded in
their control room on Monday 5, since
this was the only insert used from this
set in the first two instalments. Five inert
Daleks appeared in these scenes, four of
these being the newly made casings which
were referred to in studio as ‘goons’ and
not generally occupied. The far wall of the
control room had a simple dial mounted
on it marked into quarters which indicated
the intensity of the ice eruptions.
For the attack on the Dalek by Codal and
the Doctor in Episode Three, the Dalek’s
point of view was seen as a masked-off
circle at the centre of the screen. The door
lock on the refrigeration room was a box
which the Doctor blew up with his sonic
screwdriver, sealing himself and the Thals
in the plant. The door itself, constructed
;
-
by the contractor Art Ideals, was a
polystyrene prop, through which a Dalek
with a specially modified arm (a heated
blade) could slice, with a red spotlight
trained on the cutting area.
Episode Four had no reprise from
Episode Three at all, and began with
the escape from the refrigeration plant.
Recording on this episode was slightly out
of order, with the sequences of Jo and the
Dalek patrol being recorded after the escape
up the chimney had been completed. For
the escape sequence, a lifting mechanism
hidden inside the chimney set was used to
show the legs of Pertwee, How, Preece and
Horsfall just disappearing upwards. As the
Daleks congregated in the refrigeration
plant, three of the unoccupied dummies
were used. As the anti-gravity disc lifted off,
one of the goon Dalek casings was raised
by threading a wire through its dome. It
was recorded using careful camera angles to
hide its method of propulsion.
The Doctor
gives Codal
a quick pep
talk before
they head off
to attack an
unsuspecting
Dalek.
= DALEKS $9» storvcs
a
arrow that indicated the time remaining to
detonation. In Episode Four, where Jo was
knocked out by a falling rock, lightweight
prop boulders were dropped from above
the set on to Katy Manning. Some smashed
dummy Dalek casings were used for the
aftermath of an exploded Thal bomb. The
animals which congregated around the
Plain of Stones were generally realised
by sound effects. A flying creature was
implied off screen by a swooping shadow
across the set, and the smaller animals
were represented by their glowing eyes
which were realised by individual lights
being shone through pairs of small holes
in a black cyclorama. The ‘eyes’ could all
be switched on individually to suggest the
arrival or awaking of each of the creatures.
After the recording of Episode Four on
6 February, the new material recorded by
David Maloney was edited on to the tape
of Frontier in Space Episode Six, replacing
the original ending as overseen by director
Paul Bernard.
Following a day off, rehearsals for the
final studio recordings commenced at
Acton Rehearsal Rooms from Thursday
8 February to Sunday 18 February.
Meanwhile, visual effects shot various
model sequences on silent 16mm film for
the serial using their new model stage. This
was how the distant shots of the massive
Dalek invasion force were achieved, using
around a hundred commercially available
Louis Marx 4¥%-inch Dalek toys that had
been painted grey to match their life-
size cousins, as well as some moulded
plaster replicas. Groups of the miniature
Daleks were mounted on pieces of card,
so that when the card was pulled from
off-camera the Daleks appeared to glide.
For the climax of Episode Six, the molten
ice that swamps the Dalek invasion force
mechanisms which operated an external
DOCTOR WHO | THE COMPLETE HISTORY
was made of water thickened with the
silica resin Cab-o-sil. Clifford Culley
matched the Cab-o-sil mix to the colour
of the green water in the pool filmed on
location. Two other Marx Daleks, this time
of the 6-inch scale, were used for a model
shot in Episode Six where the Thal bomb
explodes in the ice fissure, destroying
them and unleashing the molten ice. This
material was initially filmed on Thursday
8 February, but then re-shot on Friday 9
when it was realised that effects assistant
Charlie Morgan had his hand in shot. Letts
was still unhappy with this footage when
he viewed it back.
Recording on the serial was completed
on Monday 19 and Tuesday 20 February
1973 in TC1. A photocall was held on the
last day, principally to take photographs
of the Doctor and Jo looking down at the
Dalek army - a scene that never appeared
in the programme itself.
All the city entrance scenes for Episode
Three were recorded on Monday 19
February, along with the final shot of
Episode One where an invisible goon
Dalek appeared, courtesy of yellow CSO.
For this, Pertwee’s arm was seen spraying
one of the dummy Daleks against a yellow
backdrop. The Dalek prop was painted
VL ALAA RR
yellow to appear invisible against the
CSO backdrop and then spray painted
as an insert shot. Another set which was
only erected for the final recording block
was the chimney parapet, so the scenes
from Episode Four of the Doctor’s party
escaping from the Dalek base were also
taped with Episodes Five and Six. Episode
Five began with a new version of the
cliffhanger from the end of Episode Four.
The illusion of an invisible Spiridon
inside its purple cape having no face was
achieved without CSO by having a huge
cowled hood over the face of the wearer,
and the artiste inside having their own
features hidden by a black covering as the
camera showed Codal mistaking a real
native for Taron in a stolen fur during
Episode Five.
Daleh control
uch action in the Dalek control
Hii room now took place in the
laboratory set which was linked
to the main control room, but separated
by a door and glass partition. The culture
the Daleks were growing was a green mass
in a glass tank, the antidote to which was
an operating theatre lamp fitted with
red filter lowered from the studio gantry.
The release of the bacteria at the end of
Episode Five involved a red video effect
being superimposed on the screen, and
smoke being generated in the tank.
Wester’s death was the only time that
Roy Skelton appeared on screen in the
serial; in previous scenes a Spiridon extra
had mimed to Skelton’s breathless voice
relayed from the gallery. As the Spiridon
died he became visible inside his purple
furs, in a roll-back-and-mix shot. Skelton
underwent a long make-up session to
give him the pallid complexion and heavy
eyebrows of a native of Spiridon.
Jane How, who played Rebec, was not
required to inhabit a Dalek casing for
Episode Five or Six. She delivered her lines
from just off-camera towards the end of
Episode Five as the Doctor’s party made
their plans in the jungle. The Dalek was
operated by one of the usual trio. Nation’s
original storyline had both Codal and
Rebec hidden in Dalek casings (hence
two Daleks being ambushed in the film
sequences), but the lack of fully operating
Dalek casings for the studio scenes in the
control room meant that there would
have been two ‘fake’ Daleks and only
one moving real Dalek. The script was
adjusted so that Codal donned a Spiridon’s
fur instead. The purple furs worn by the
Spiridons enslaved by the Daleks were
provided by freelance monster maker
Alister Bowtell.
All the scenes at the city entrance for
Episode Five were taped together towards
the end of the studio recording.
The recording order for the final studio
day, which generally centred around
Episode Six, began with the Dalek control
Below:
Wrap up warm!
The Doctor and
Taron sport
some Spiridon
fashion!
oo
bs - ds
‘DOCTOR WHO | THE COMPLETE HISTORY as
STORY 68
PLANET OF THE DALEKS
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room, followed by the scenes in the
corridor block, the sequences in the jungle
and finally all the material set on Level
Zero. To avoid having to damage any of the
Dalek props, the scenes in which Rebec’s
Dalek and, later, the Spiridon task force
leader, were exterminated merely had
smoke canisters let off inside the casings
and the negative picture effect overlaid with
the appropriate sounds. A fourth Dalek
operator was required for various scenes
involving the Dalek Supreme, and this job
fell to Tony Starr, who went uncredited.
Recycling of the Daleks
T he lift set from Episodes Two and
Three was used again, this time
assembled in reverse so that the
sliding entrance door was now on the left.
The refrigeration plant set was also used,
and the Daleks destroyed at the barricade
by Latep’s bomb were merely the same
shattered prop casings which had appeared
in Episode Four.
The arrival of the Dalek Supreme’s craft
in the studio was indicated by the use of
a wind machine and rocking the camera,
intercut with the model shots. The Dalek
Supreme and two other Daleks were then
seen to leave a doorway in the craft and
PRODUCTION
Tue 2-Wed 3 Jan 73 Beachfields Quarry,
Redhill, Surrey (Lakeside)
Stage 3B (Chimney)
Mon 22 Jan 73 Television Centre:
Studio 4 (Episode One)
Tue 23 Jan 73 Television Centre: Episode Six)
Studio 4 (Episode Two; TARDIS and Jungle
Thu 4-Fri5 Jan 73 Ealing Film Studios for Episode Six)
Sat 27 Jan 73 Unknown: Model shots
Tue 6 Feb 73 Television Centre: Studio 6
exit down a ramp. This was achieved by
CSO, overlaying a doorway and ramp on to
the model spaceship. The same effect was
used later on for Latep entering the Dalek
ship after his sad farewell to Jo.
Apart from the model shots, the Dalek
army was also represented in close-up as it
came to life by the three main Daleks and
two dormant ‘goons’ (which were not out
of place since the Daleks moved very slowly
as they came to life). The Dalek army was
placed on a two-level set, with a balcony to
the rear from which the Doctor and Taron
could look down upon the massed force.
Recording on the final studio day
overran by 24 minutes. However, only 13
of these minutes were used for recording in
the studio, with the remainder of the time
used for transferring film sequences to
videotape, including the closing credits for
Frontier in Space. &
One and Six)
(Episode Four; Rocky Section
Thu 8-Fri 9 Feb 73 Unknown:
odel shots (Dalek arsenal)
Mon 19 Feb 73 Television Centre: Studio
Production
Left:
The Dalek
Supreme
makes a grand
entrance,
£
or
Mon 8 Jan 73 Ealing Film Studios Shaft) 1 (Episode Five; City Entrance for Episode
Stage 3B (Ice Tunnels) Mon 29 Jan 73 Unknown: Model shots Three; Sprayed Dalek for Episode One;
Tue 9 Jan 73 Ealing Film Studios Ice Tunnel) Spaceship Explodes for Episode Two;
Stage 3B (Ice Tunnels; Corridor) Mon5 Feb 73 Television Centre: Filmed inserts for Episode Three and Four)
Tue 16 Jan 73 Unknown: Studio 6 (Episode Three; Dalek Control Tue 20 Feb 73 Television Centre: Studio
Model shots (TARDIS) Room for Episode Two) 1 (Episode Six; Model film for Episodes
DOCTOR WHO | THE COMPLETE HISTORY
37
PLANET OF THE DALEKS » srv5:
Post-production
Below:
Jo has a sneaky
peek through
the folliage.
Episode One lost two filmed
model shots of the TARDIS
covered in fungus, the end of
the scene where Jo finds the
dead Thal pilot (she finds a
pool of liquid on the floor with footprints
in it and then hears something outside the
craft), and two consecutive scenes of the
Thals seeing the foliage being disturbed
as they move through the jungle and Jo
looking into the jungle from the spaceship
before returning inside. Two of the later
scenes with Jo alone in the Thal ship were
also cut slightly. In Episode Two, a short
scene with Jo in the spacecraft recording
on the TARDIS log was removed, along
with part of a later scene where she
collapses in the ship. Episode Three was
to have ended with the Dalek pushing the
DOCTOR WHO | THE COMPLETE HISTORY
few cuts were made in editing.
door in, but this was re-sequenced into
Episode Four. Episode Four lost part of
a film sequence in the chimney as the
Doctor told Taron there would probably
be a Dalek patrol waiting for them, and a
scene of Jo lying unconscious near the
Thal bombs.
The incidental music composed by
Dudley Simpson, who was engaged for
the serial on Thursday 7 December 1972,
was realised by Simpson in collaboration
with Dick Mills at the BBC Radiophonic
Workshop, and was a mixture of
conventional music and radiophonics.
For the live music, five musicians were
used, playing reed instruments, keyboards,
percussion and horns, with recording
at Lime Grove on the afternoons of
Thursday 1, Saturday 10, Tuesday 20 and
Thursday 29 March 1973. The electronic
elements of the score were recorded at
the Radiophonic Workshop on Friday
2, Monday 5, Monday 12, Tuesday 13,
Wednesday 21, and Thursday 29 March.
Just under 43 minutes of material was
created for the six-episode serial.
Mills worked on the sound effects for the
serial from January 1973 under the title
Destination Daleks. The Spiridon jungle was
given background noises that came from
the Radiophonic Workshop’s stock tapes,
and had been heard previously in Doctor
Who serials, including The Daleks’ Master
Plan. The Daleks’ control room used some
other stock sound effects of computers
dating back to the 1960s, and which had
been used as the background for WOTAN
in The War Machines [1966 - see Volume 8].
The final dub for the serial took place on
Sunday 1 April 1973.
VC AARRARREN
Public
—
in Radio Times, —
» Each of the six programme listings Left:
in Radio Times was accompanied by a _— SS paige
~~ . ’
trailed with
scenes from aa
the end of
the preceding
story, Frontier
in Space.
small line drawing by Frank Bellamy.
» The trailers for Planet of the Daleks
shown on the morning of its
transmission did not feature any
material from the new serial. Instead
these acted as a reprise showing the
appearance of the Daleks on the Ogron Se e:
planet alongside the Master from the =)
previous story, Episode Six of Frontier
in Space. Planet of the Daleks was shown
over six consecutive Saturday evenings
from 7 April 1973.
=.
age ma
rte XR
DOCTOR WHO | THE COMPLETE HISTORY -
PLANET OF THE DALEKS |» sw <s
Broadca
Right:
ae ® The first instalment of Planet of the
Daleks was transmitted later than
usual at 6.10pm because it followed
coverage of the Boat Race, while the
Eurovision Song Contest followed
later that evening. The following five
episodes were all shown at 5.50pm.
Perhaps because of the time slot,
Episode One was the highest-placed
Third Doctor episode in the television
charts, coming ninth for the week.
Although the ratings tailed off towards
the summer, the serial did very well
against a variety of competition from
ITV. In many regions, Doctor Who
was up against repeats of ITV’s (and
Terry Nation's) The Persuaders! or the
Western Bonanza, while in London
LWT were running variety specials
such as The Julie Andrews Hour or Mike
and Bernie Winter's Show.
® The first episode was reviewed in
The Times on Monday 9 April where
Stanley Reynolds nostalgically recalled
earlier encounters between the Doctor
and the Daleks, noting that ‘Dr Who is
just a bit more classy when you know
the dustbins on wheels are tootling
around the next time warp’.
® A complaint was lodged against Episode
One by Colin Pierce, the chairman of
the British Safety Council, on Sunday
8 April, because of the scenes where
the Thals rescued the Doctor from the
TARDIS and appeared to put plastic
bags over their heads, which it was
feared children might imitate. ‘By
40 DOCTOR WHO | THE COMPLETE HISTORY
showing this headgear; Pierce wrote,
‘the BBC is inviting children to kill
themselves by putting their heads in
plastic bags and suffocating to death.’
Pierce went on to demand that ‘severe
warnings to children and parents’ should
be given both before and after future
episodes of the series. He also suggested
that the Council should be allowed to
inspect episodes prior to broadcast, ‘so
that such dangers can be eliminated
before the damage is done and a tragedy
occurs. Barry Letts replied on Monday
9 April saying, ‘The actors did not
put plastic bags over their heads, and
that the helmets and capes had been
specifically designed not to look like
bags, in order to avoid this comparison.
The BBC Programme Review Board
discussed Episode One on Wednesday
11 April and gave an enthusiastic
reaction to the return of the Daleks. At
the following week’s board, managing
director of Television Huw Wheldon
and head of drama serials Ronnie Marsh
agreed that the serial was going well.
On Wednesday 25 April, the review
board felt Episode Three was ‘another
fine edition’ and on Wednesday 2 May
was delighted with its viewing figures.
Director of television programmes
Alasdair Milne said Episode Four was
‘another successful episode’. The review
board on Wednesday 16 May generally
acclaimed Episode Six as excellent (with
Wheldon admiring the ‘tidal wave’ effect)
although Milne had found it to be rather
low-key.
» The same evening that Planet of the
Daleks Episode Five was shown, Jimmy
Savile began a new family early evening
show entitled Clunk Click, with one
of the guest stars on this first edition
being a “diplomatic” Dalek who had
come to witness Earth entertainment
and which was offended by a rendition
of Any Old Iron.
® A few weeks after broadcast, on
Thursday 24 May 1973, the BBC1
Midweek documentary Hells Angels
depicted a chapter of the sub-culture
sitting down aboard a houseboat
to catch Episode Three of Planet of
the Daleks on a black-and-white
portable set.
iW i
® Planet of the Daleks was purchased Above: —
for foreign broadcast by Australia, i
Singapore, Hong Kong, United Arab
Emirates, Gibraltar, Saudi Arabia, Below:
the United States, New Zealand and Se ue
ag Episode Three,
Canada. In Australia, it was passed Maichfora
with a ‘G’ rating once Vaber’s line ‘T’ll long time only
kill you if I have to’ had been removed = ole
and white.
from the end of Episode Two.
® Around 1976, Episode Three of Planet
of the Daleks was wiped by the BBC
Film and Television Archives, although
a 16mm monochrome telerecording
of the instalment was still held for
overseas sale by BBC Enterprises and
it was this black-and-white version that
was shown in America, New Zealand
and Canada.
® The serial was selected to represent
Doctor Who for its 30th anniversary,
scheduled to run on BBC1 on Fridays
at 7.30pm; each episode was prefaced
with a five-minute documentary
under the title Doctor Who and the
Daleks. Broadcast against Coronation
Street, viewing figures were modest,
DOCTOR WHO | THE COMPLETE HISTORY
41
PLANET OF THE DALEKS » sr 5:
Right: a
Planet of | and no episode was broadcast on 26
eer | November due to Children in Need. .
of the 30th Still only available in black and white,
anniversary the monochrome version of Episode
celebrations.
Three was broadcast as part of the
repeat. The episode’s accompanying
documentary, Missing in Action,
explained why some episodes of Doctor
Who were no longer in the BBC’s
archives, and why some that were
originally in colour now only existed in
black and white.
® Episode Three of Planet of the Daleks
was eventually re-coloured for its 2009
DVD release.
® UK Gold aired the serial in episodic
and compilation form from November
1993, it appeared on BBC Prime in
September 1996, and Horror Channel
screened it from May 2014.
ORIGINAL TRANSMISSION
EPISODE DATE TIME CHANNEL DURATION RATING(CHART POS) APPINDEX
Episode One Saturday 7 April 1973 6.10pm-6.35pm BBC1 24'51" 11.0M (Sth)
Episode Two Saturday 14 April 1973 5.50pm-6.15pm BBC1 24'08" 10.7M (18th
Episode Three Saturday 21 April 1973 5.50pm-6.15pm BBC1 22'34" 10.1M (26th)
Episode Four Saturday 28 April 1973 5.50pm-6.15pm BBC1 23'36" 8,3M (29th)
Episode Five Saturday 5 May 1973 5.50pm-6.15pm BBC1 2231" 9,7M (21st
Episode Six Saturday 12 May 1973 5.50pm-6,.15pm BBC1 23'06" 8.5M (24th
REPEAT TRANSMISSION
EPISODE DATE TIME CHANNEL DURATION RAT APP INDEX
Episode One Friday 5 November 1993? 7.30pm-8,00pm BBC1 24'50" 3,6M (-
Episode Two Friday 12 November 1993? 7.30pm-8,.00pm BBC1 24'08" 4.0M (-
Episode Three Friday 19 November 1993 12 7.30pm-8,00pm BBC1 22'32" 3,9M (-
Episode Four iday 3 December 1993! 7,30pm-8.00pm BBC1 23'36" 3.3M (-
Episode Five iday 10 December 1993? 7.30pm-8.00pm BBC1 223) 3,3M (-
Episode Six iday 17 December 1993! 7,30pm-8.00pm BBC1 23'07" 35M (-
1Shown as part of Doctor Who and the Daleks with each episode preceded by a5’ documentary. Not Scotland or Northern Ireland; BBC2
Scotland aired each episode the same day at 5.30pm while BBC1 Northern Ireland scheduled these at 10.35pm.
? Broadcast in black and white
42 DOCTOR WHO | THE COMPLETE HISTORY
VARA RR
Merchandise
errance Dicks novelised the
serial as Doctor Who and the
Planet of the Daleks, published
by Allan Wingate in hardback
in September 1976, with
Target’s paperback edition the
following month. The cover of the Doctor
and Taron grappling with a Dalek was by
Chris Achilleos and, after a reissue with
a green logo in July 1978, the book was
to latterly become No 46 in the Target
library. It was published again as Doctor
Who: Planet of the Daleks with a new cover
painting from Alister Pearson in July 1992.
Doctor Who and the Daleks Omnibus from
Artus Books was released in September
1976 especially for Marks and Spencer. It
was also one of three stories contained in
Doctor Who: The Dalek Omnibus, a hardback
published by WH Allen in June 1983. The
novel is also one of the few to have been
adapted for the German market where it
was published as Doctor Who: Der Planet
Der Daleks, firstly in the early 1980s by
Schneider-Buck with a cover painting
showing a jungle landscape, and then again
in December 1989, this time published by
Goldman using Chris Achilleos’ artwork,
and translated by Bettina Zeller. In 1995,
this story was released as a single cassette
audio book read by Jon Pertwee. AudioGO
released this story in
June 2013 as a three-CD
set read by Mark Gatiss.
BBC Records released Moonbase 3/The
Worlds of Doctor Who in October 1973. This
7” single featured music composed by
Dudley Simpson. The Worlds of Doctor Who
was a suite of music which included jungle
music from Planet of the Daleks. The Worlds
of Doctor Who was later released on CD
by Silva Screen in May 1994. Available as
MP3s and on CD, Doctor Who Tales from the
Tardis: Volume Two from BBC Worldwide in
July 2004 featured seven stories, including
Jon Pertwee’s reading of Planet of the
Daleks, originally released in 1995. The
CDs also contained music from the
original TV stories as well as content for
PC and Mac users.
A metal Dalek tin containing VHS tapes
of Revelation of the Daleks and Planet of the
Daleks was released by BBC Worldwide in
November 1999. The initial production
run of tins was 20,000 units and these sold
out almost immediately.
Planet of the Daleks was released on DVD
with Frontier in Space in the Dalek War box
set, from BBC Worldwide in
October 2009. Episode Three
was recoloured forthe DVD 1
release, allowing the whole
© I
DOCTOR
LIMITED EDITION
PLANET OF THE DALEKS
REVELATION OF THE DaLexe
Mark Gatiss
reads the
novelisation
for its audio
release.
Below:
The different
covers to
the Planet of
the Daleks
novelisation
and a special
video release.
PLANET OF THE DALEKS
The Dalek War
DVD release.
Planet Earth's
replica Dalek.
The Doctor
Who Figurine
Collection's
Dalek Supreme.
Areturn to
Spiridon in the
Doctor Who
Magazine
comic strip.
STORY 68
story to be watched in colour
for the first time in many years.
The DVD also included the
following extras:
Commentary with actors Katy
Manning, Prentice Hancock and Tim
Preece, producer Barry Letts and
script editor Terrance Dicks
Subtitle Production Notes
Perfect Scenario: The End of
Dreams - mockumentary
The Rumble in the Jungle
- the making of Planet of the Daleks
Multi-colourisation - a look at the colour
restoration of Planet of the Daleks
Stripped for Action: The Daleks - comic
book adventures
Blue Peter extract from the Thursday 7 June
1973 edition in which Peter Purves, John
Noakes and Lesley Judd appeal for help finding
two Daleks that were stolen from outside
Television Centre
Photo Gallery
Radio Times Listings in Adobe PDF format
Planet of the Daleks was also released as part
of GE Fabbri’s Doctor Who — DVD Files #81
in February 2012.
A large A1 black-and-white poster from
Planet of the Daleks, produced by the British
Film Institute, was released in 1988. It
was a blow-up of one of the publicity
photographs showing the
Doctor and Jo looking down
at the Dalek army on the set of
Episode Six. The Stamp Centre
issued a stamp cover for
Planet of the Daleks in May
2009. It was signed by
_ Bernard Horsfall.
In July 2008, a Classic
Dalek set from Character
) Options contained models
of Daleks from The Mutants
(AKA The Daleks) (1963),
Planet of the Daleks
DOCTOR WHO | THE COMPLETE HISTORY
(1973) and Genesis of the Daleks (1975). Also
from Character Options came a Sound FX
and Speech Dalek from Planet of the Daleks
in July 2012.
In 2011, full-size replicas of a Dalek from
Planet of the Daleks were produced by This
Planet Earth. Each Dalek cost £2,995. June
2013 saw the introduction of the Third
Doctor with Anti-Reflecting Light Wave
Dalek from Underground Toys. This
two-figure set was exclusive to Toys R Us. In
September 2015, a figurine of the Supreme
Dalek from Planet of the Daleks was part of
Eaglemoss’ Doctor Who Figurine Collection.
The Supreme Dalek was also part of
Character Options 3.75” range in 2015.
The planet Spiridon would be revisited
by the Seventh Doctor and the Daleks in
the 1993 comic strip story, Emperor of the
Daleks!, published in Doctor Who Magazine;
and also in the Big Finish’s 2006 audio
drama, Return of the Daleks.
|
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JANE HOW és sisocnsucmassincumesaciinencen Rebec [2-6]
Prentis HANCOCK vcs Vaber [1-5]
RINNPREECE cosa sanariinvcoenttiuennacrtins Coda
Hilary MINSteP nics Marat [3]
Alan Tuk ers: cicitdicsiictsncsevsiinnsin Latep [3-6]
ROY/SKEIEON i icsssisssecssscsseerinisris sateen Wester [2-3,5
Michael Wisher, Roy SkeltonDalek Voices [2-6]
John Scott Martin, Murphy Grumbar,
CY MOWIN ccasscutecenrnetesaine Dalek Operators [2-6]
MONYIS CAM rsstsccrresiscseiseces Dalek Operator [6]*
1 Not credited on-screen.
Pa AINA SOV oer rsccaccivccssesssisnnvesineisesenian Thal Pilot
David Billa, Ronald Gough... Invisible Spiridons
David Billa, Ronald Gough, Kevin Moran,
Terence Denville, Geoff Witherick,
Kelly Varney, Gary Dean............:6cue Spiridons
Michael Wisher, Roy Skelton......Spiridon Voices
Cast and credits
Left:
If you can't
find the Dalek
Supreme, he
might be in
the sauna.
Written by Terry Nation
Title Music by Ron Grainer
and BBC Radiophonic Workshop
Incidental Music by Dudley Simpson
Special Sound: Dick Mills
Costumes: Hazel Pethig *
Make-up: Jean McMillan ¢
Visual Effects: Clifford Culley
Studio Lighting: Derek Slee
Studio Sound: Tony Millier ¢
Script Editor: Terrance Dicks
Designer: John Hurst
Producer: Barry Letts
Directed by David Maloney
BBC © 1973
Credited on Episodes One and Six only.
DOCTOR WHO | THE COMPLETE HISTORY
45
46
PLANET OF THE DALEKS »® sw <s
Below:
Bernard
Horsfall's first
appearance in
Doctor Who -
in 1968's The
Mind Robber...
Profile
Taron
orn Bernard Arthur Gordon
Horsfall on 20 November
1930, in Bishop’s Stortford,
Hertfordshire, his mother
was the mezzo-soprano opera
singer Margaret Horsfall
(née Norton) while father Charles was
an RAF squadron leader. He grew up in
Hindhead, Surrey and Wisborough Green,
West Sussex. Educated at Rugby public
school, on leaving, Horsfall worked as a
lumberjack with his uncle Jack in Canada.
Returning to London, Horsfall trained
at the Webber Douglas Academy. He
progressed to Dundee Rep in 1952/3,
then to the prestigious London Old Vic in
1953/4, alongside leading player Richard
Burton. Productions included Coriolanus,
Hamlet, Twelfth Night, and King John. A stint
at Nottingham Playhouse rep followed.
DOCTOR WHO | THE COMPLETE HISTORY
His film career began with bit parts in
The Admirable Crichton (1957) and war
movies like The Steel Bayonet (1957) and The
One That Got Away (1957). A larger movie
role came in Man in the Moon (1960).
A career playing authority figures on
television began when he was cast as a
police detective in Lucky Silver (1956)
and The Critical Point (1957). Other early
TV included Armchair Theatre: The Last
Flight (1957), The Riddle of the Red Wolf
(1958), The Shadow of Doubt (1958), Victory
(1958), Cinderella (1958) and ITV SF serial
Pathfinders to Mars (1960/1).
At an imposing 64”, Horsfall seemed
cut-out to play heroic leading men. He
was soon cast as Margery Allingham’s
gentlemen sleuth Campion in serials
Dancers in Mourning (1959) and Death of a
Ghost (1960) and as the superhero Captain
Moonlight — Man of Mystery (1960). Regular
roles in two ITV series followed; Family
Solicitor, as Francis Naylor (1961) and soap
Harpers West One (1962) as Philip Nash.
Among countless TV appearances in the
decade were Out of This World (1962) and
Z Cars (1963). His first appearance in The
Avengers was in The Cybernauts (1965) with
two further parts in The Fear Merchants
(1967) and They Keep Killing Steed (1968).
Further appearances followed, including
parts in Dixon of Dock Green (1966), The
Saint (1967), the Out of the Unknown episode
1+1=1.5 (1969), Department S (1969),
Take Three Girls (1970), Ivanhoe (1970) and
the title role in a Thirty-Minute Theatre -
Fidel Castro (1970).
Leading radio roles included Peter
Maunder in soap The Dales (1965-7) and
film roles included James Bond movie
On Her Majesty's Secret Service (1969) and
Children’s Film Foundation effort Mr
Horatio Knibbles (1971).
The 1970s brought parts in Elizabeth R
(1971), Doomwatch (1972), The Persuaders!
(1972), Freewheelers (1973), The Changes
(1975), and John Macnab (1976).
He starred in an episode of Nigel
Kneale’s anthology Beasts, The Dummy
(1976), and guested in General Hospital
(1976), Within These Walls (1976) and Crown
Court (1976 and 1981/2). A rare regular
comedy role came in Leslie Crowther
sitcom Big Boy Now! (1977). Horsfall’s most
prominent TV role was Dr Philip Martel in
WWII saga Enemy at the Door (1978-80).
In the mid-80s, Horsfall and his wife,
actress Jane Jordan Rogers, moved to the
Isle of Skye. Crofting while ‘commuting’
for acting work, in 1983 he joined the
Royal Shakespeare Company, appearing
in both Stratford and London in Henry V
(1984/5), Hamlet (1984), Camille (1985),
Richard II (1986/7), The Winter’s Tale (1987)
and Romeo and Juliet (1989/90).
Alongside RSC commitments, 1980s
TV appearances included Ladykillers
(1980), When the Boat Comes In (1981),
Minder (1982), The Jewel in the Crown
(1984), Hammer House of Mystery and
Suspense (1986), The Hound of the
Baskervilles (1988), and The Bill (1989).
He worked into his early 60s with Poirot
(1991), Thatcher — The Final Days (1991),
Nice Town (1992), Virtual Murder (1992),
Seekers (1993) and Heroes and Villains
(1995). In his latter career, he appeared in
Murder Rooms (2000) and Doctors (2005).
Later film roles included John Balliol
in Braveheart (1995) and his final film was
Stone of Destiny (2008).
Besides Planet of the Daleks, Horsfall
featured in three other Doctor Who serials,
all directed by David Maloney: he was
Gulliver in The Mind Robber; a Time Lord
in The War Games; and Chancellor Goth
in The Deadly Assassin [1976 - see Volume
26]. He guested in Doctor Who audio drama
Davros (2003).
uae
Horsfall died 28 January 2013, on Skye, “a
aged 82.
Profile.
Above:
«and as
troubled Thal
leader, Taron.
DOCTOR WHO | THE COMPLETE HISTORY a
THE GREEN
DEATH
» STORY 69
When a miner is found dead and glowing
bright green in a disused Welsh mine, UNIT
and the Doctor are called in to investigate. The
culprit appears to be Global Chemicals and its
mysterious boss, whose sinister plans extend
far beyond the small Welsh mining town.
© DOCTOR WHO | THE COMPLETE HISTORY
>
DOCTOR WHO | THE COMPLETE HISTORY =
THE GREEN DEATH ® swes
Introduction
Below:
The perils
of capitalism!
il? An emergency?” scoffs the
Doctor when the Brigadier
summons him back to Earth to
investigate the destruction of
some North Sea rigs in Terror of
the Zygons [1975 - see Volume
23]. He may have been remembering the
events of The Green Death, when chemical
waste, created by refining fossil fuel,
almost led to the end of the human race.
For its first 10 years, Doctor Who had a
patchy record when it came to presenting
environmental concerns. Its best attempt
came quite early on. Planet of Giants
[1964 - see Volume 3] was inspired by
contemporary journalism that had exposed
the dangers of pesticides. At the other end
of the scale, there’s The Ice Warriors [1967
- see Volume 11] which misunderstands
photosynthesis, claiming that plants
give out carbon dioxide, when in fact the
reverse is true. The upshot: a story that
predicted a future where the global climate
would cool dramatically, rather than get
warmer as has been observed since.
DOCTOR WHO | THE COMPLETE HISTORY
\NNAS
Elsewhere, the Second Doctor’s travels
generally presented an optimistic view of
things to come. On the rare occasions the
Third Doctor ventured into the future,
however, we were presented with the grim
possibility of an over-populated Earth and
runaway industrialisation.
The Green Death puts ecological issues
at the heart of the story. It ties the
pollution - that results in the gestation
of poisonous giant maggots - with the
unchecked commercialism of big business.
It also presents us with an alternative,
the Wholeweal community - a group of
scientists trying to find solutions for a
greener planet. Driving its message home,
it’s unsurprising that the hazardous
behaviour of Global Chemicals is presided
over by a heartless machine - the artifical
intelligence BOSS - whereas chief
environmentalist, Professor Jones, sweeps
the Doctor’s companion off her feet. One
approach is certainly meant to come across
as more human than the other.
In the years following The Green Death,
there has been no shortage of stories that
consider our impact on the environment.
The Curse of Fenric [1989 - see Volume 46]
describes a future where the surface of
the Earth is “a chemical slime”, Bad Wolf
[2005 - see Volume 50] mentions “the
great Atlantic smog storm” that raged
for 20 years. More recently, however, the
fantastical In the Forest of the Night [2014 -
see Volume 79] suggested that despite our
destructive behaviour, nature will rally to
save us from disaster.
It’s clear, all these years later, that the
fragile nature of the world around us will
always be a topic that inspires debate. @
Introduction
HEART OF THE STORY.’
) | THE C HISTORY
- Re
Lesa a A ye,
THE GREEN DEATH ® swes
EPISODE ONE
miner scrambles through an
A abandoned mine. On the surface,
a group of former miners gathers
at the gates of Global Chemicals. Its
director, Stevens, informs the crowd that
the company will bring more jobs. [1]
He is heckled by the Nobel Prize winner
Professor Jones, who says that Global
Chemicals is only interested in profit.
A siren sounds at the pit. The miner
has reached the surface. He’s dead and
glowing bright green.
At UNIT HQ, the Brigadier asks
the Doctor to investigate the death,
but he refuses. Jo, however, wants to
help Professor Jones and accepts the
Brigadier’s offer of a lift to Llanfairfach.
While the Brigadier drops Jo off at
the Wholeweal community, the Doctor
takes a trip in the TARDIS to Metebelis
II, which turns out to be a violently
inhospitable world! [2]
DOCTOR WHO | THE COMPLETE HISTORY
At the Wholeweal house, Jo nearly ruins
one of Jones’ experiments. [3]
The Brigadier visits Stevens, who is
determined that the miner’s death must
not interfere with Global Chemicals’ new
project - a process that produces more
fuel from crude oil. [4]
Jones tells Jo that the process must
result in gallons of waste - which they
could be pumping into the mine.
The Doctor collects a crystal [5] and
returns to UNIT in time to answer a call
from the Brigadier.
Stevens instructs his chauffeur, Hinks,
that nobody should go down the mine.
Jo arrives at the colliery and asks two
miners, Bert and Dave, if she could take a
look. A call comes through from Evans at
the bottom of the mine. He is in trouble!
Jo volunteers to go down the mine
with Bert. After they begin their descent,
the Doctor and the Brigadier arrive. The
Doctor orders for the lift to be stopped,
but Hinks has sabotaged the mechanism
and it plummets out of control! [6]
To
EPISODE TWO
he Doctor orders Dave to reverse
T the motor, which brings the lift to a
halt. Jo and Bert climb down a rope
to the bottom of the shaft.
Dave explains that if one lift is
jammed, the other lift will also not work.
The Doctor suggests rigging a separate
system but to do that they’ll need
cutting equipment.
Jo and Bert discover Evans, who is
glowing bright green. [1]
One of Stevens’ employees, Mr Fell,
becomes non-cooperative and the deep
voice of Stevens’ boss tells Stevens to
process him. When the Brigadier arrives
asking for cutting equipment, Fell tells
him they have none. [2]
At the colliery, the Doctor discovers
that the lift workings were sabotaged.
Bert tells Jo that there is an emergency
shaft in the west seam. They leave a note
and head off.
Professor Jones arranges for a protest
to take place outside Global Chemicals,
while the Doctor uses a cherry-picker to
cross the fence. [3] However, his arrival is
detected and he is caught. [4] The Doctor
tells Stevens he has come looking for
cutting equipment; Stevens shows him
the empty storage shed.
The Brigadier acquires some cutting
equipment and the Doctor is able to get
the lift working.
Jo and Bert rest and switch off their
lamps - and see a green light. Bert
touches a trickling fluid and is burnt. [5]
The Doctor, Dave and two other miners
descend to the bottom of the lift shaft.
Evans is now dead.
Bert grows weak and tells Jo to go on
without him.
The Doctor and Dave find Bert, and
Dave takes him to the surface.
Jo comes to a cave full of maggots. The
Doctor catches up with her but the tunnel
collapses behind them and three giant
maggots emerge from the rubble! [6]
DOCTOR WHO | THE COMPLETE HISTORY
54
THE GREEN DEATH ® sowes
EPISODE THREE
he Doctor and Jo use a coal wagon
T to pass through the flooded cave. [1}
At Global Chemicals, Fell’s
colleague Elgin accuses him of lying
about the company having no cutting
equipment on the premises.
The Brigadier visits Stevens; he intends
to request an international investigation.
Stevens calls the Minister of Ecology
who gets the Prime Minister to give the
Brigadier a “swift kick up the backside”. [2]
The Doctor and Jo discover some
maggot eggs and the Doctor takes one
with him. They start to climb up the
inside of a pipe.
Elgin follows Fell into the pumping
room, where he sees the Doctor and Jo on
a monitor - and realises that Fell intends
to empty the waste tank into the pipe.
Elgin opens a hatch and the Doctor and
Jo escape in the nick of time. [3] Elgin
helps them get away.
DOCTOR WHO | THE COMPLETE HISTORY
Fell goes to Stevens complaining of a
headache. Stevens places a headset on
Fell’s head and the deep voice of Stevens’
boss tells him that the processing was a
failure. In a trance, Fell walks outside and
leaps to his death. [4]
That evening, the Doctor, Jo and the
Brigadier enjoy the hospitality of the
Wholeweal community. Jones tells Jo
that he is planning an expedition up the
Amazon in search of a toadstool rich in
protein. The Doctor is called away and
returns with the news that Bert has died.
Hinks informs Stevens that the Doctor
laid his hands on an egg. Stevens orders
him to go and get it.
Later that night, Jones comforts Jo by
the fireside. [5] The romantic moment
is interrupted when the Doctor and the
Brigadier walk in. The Doctor shows
Jo the crystal he acquired on Metebelis
II and then leads Jones away... leaving
Jo alone with the egg. It hatches and a
maggot crawls across the carpet towards
the unsuspecting Jo! [6]
EPISODE FOUR
inks sneaks into the room. The
iW maggot attacks him instead of Jo
and slithers outside.
The next day, Sergeant Benton and
other UNIT personnel arrive at the mine.
Learning that the Brigadier intends to
blow up the mine, the Doctor persuades
him to delay for half an hour. He goes
to see Stevens, who introduces a “man
from the Ministry” - Mike Yates, working
undercover. [1]
The Brigadier blows up the mine. He’s
convinced that’s an end to the maggots.
But he’s wrong; the maggots slither up a
pipe into Global Chemicals. [2]
Soon there are maggots are all over the
mine’s slag heaps. The Brigadier attempts
to shoot one, to no effect.
The Brigadier calls Yates asking for a
sample of the oil waste. Yates replies that
he will be unable to comply, as there is a
guard watching him.
The Doctor turns up at Global
Chemicals driving a milk float, wearing a
disguise and pretending to be the usual
milkman’s father. [3]
In his laboratory, Jo knocks some dried
fungus on to the Professor’s slides of
maggot slime, ruining them. “You clumsy
young goat!” [4] Jo decides to go and
fetch Professor Jones a maggot.
Yates is amused to find that Global
Chemicals’ cleaning lady is the Doctor
in disguise. [5] Yates explains that
everything important is isolated on the
top floor.
Jones notices something serendipitous
about the ruined slides - and then realises
that Jo has gone.
The Brigadier tells Benton he has
requested that the RAF bomb the mine
with high explosives.
The Doctor takes the lift to the top
floor of Global Chemicals and emerges
into a room full of whirring tape
machines. The deep voice welcomes him.
“T am the boss. I am the computer!” [6]
DOCTOR WHO | THECOMPLETE HISTORY 55
THE GREEN DEATH ® soves
ones arrives at the mine looking for
Jo and spots her up on one of the
slag heaps.
The computer introduces itself to
the Doctor as the first Biomorphic
Organisational Systems Supervisor - the
BOSS. Its prime directives are efficiency,
productivity and profit!
Jones catches up with Jo and they
shelter in a cave as the RAF commences
its bombing run. [1]
The Doctor attempts to confound
BOSS with a paradoxical statement - but
then Stevens arrives with two guards.
Jones spots a maggot and pushes Jo out
of its way - but is knocked unconscious.
The Doctor resists an attempt to
brainwash him. [2] BOSS orders Stevens
to destroy him until the Doctor points
out that he would make a good hostage.
The Doctor is locked in a storeroom,
but not for long as Yates comes to release
DOCTOR WHO | THE COMPLETE HISTORY
him. During their escape attempt Yates
is captured, but the Doctor leaves as he
arrived, in a milk float. [3]
Jo radios Benton, informing him of her
whereabouts. The Doctor and Benton
ride to her rescue in Bessie. The Doctor
uses his sonic screwdriver to deter the
maggots while Benton helps Jo and the
Professor to the car. [4]
They return the Professor to Wholeweal
for treatment. He briefly comes around to
say one word to Jo - “serendipity” - before
passing out. His neck starts to glow green;
he was infected by the maggot!
The Doctor is surprised by the arrival
of Yates who states that he has come
to kill him! [5] The Doctor uses the
Metebelis crystal to release Yates from
the mental conditioning.
Yates recovers and, at the Doctor’s
instruction, returns to Global Chemicals
where he dehypnotises another employee,
Mr James. He learns that BOSS intends
to take over at four o'clock. Then James
collapses and Stevens walks in. [6]
enton arrives at the Wholeweal
B community carrying a maggot
chrysalis. The Doctor fears that the
maggots are beginning to change into
creatures that can fly. Nancy, a member
of the Community, discovers a dead
maggot in the larder. [1] It seems to have
died after eating some of their fungus.
BOSS instructs Stevens to make Yates
the first of the new slave elite.
The Doctor and Benton return to the
mine and throw fungus to the maggots.
The Brigadier sights a giant fly. [2] The
Doctor uses his cape to snare the fly.
Yates overpowers his guards at Global
Chemicals and makes a daring escape. [3]
The Doctor returns to Jones’ bedside,
where Jo asks him what “serendipity”
means. When he explains that it is “a
happy accdient”, Jo mentions the accident
she caused in Jones’ laboratory, which
the Doctor realises is what Jones was
Glue a
- ALS
cHEMICE nTRe
aye
referring to. The fungus is lethal to
maggots is also the cure to the infection!
Yates reaches the mine, desperate to
warn the Brigadier that something big is
going to happen at four o'clock.
At Global Chemicals, BOSS orders
Stevens to activate the slave elite. [4]
The guard at the main gate freezes,
allowing the Doctor to run in.
At Wholeweal, Professor Jones recovers,
much to Jo’s delight.
The Doctor dashes into the computer
room. Stevens has now been linked to
BOSS. [5] The Doctor uses his crystal to
release Stevens from BOSS’s influence
and Stevens sets BOSS to overload. The
Doctor makes a swift getaway...
... and Global Chemicals explodes.
Later, Jo tells the Doctor that she wants
to go with Jones on his expedition and is
delighted when the Professor proposes.
The Doctor gives Jo the Metebelis crystal
as a wedding present. While everybody
else celebrates, the Doctor drives off
alone into the night. [6]
DOCTOR WHO | THE COMPLETE HISTORY
57
THE GREEN DEATH | ® stows
Pre-pro
n 1969, scientist Edward
Goldsmith launched the
periodical The Ecologist,
concerning pollution and the
environment. One subscriber
was Doctor Who producer
Barry Letts, who was very affected by
the mid-January 1972 issue devoted to
Goldsmith’s article A Blueprint for Survival,
which predicted a dangerous future if
mankind continued its exploitation of
fossil fuels for its ‘disposable’ lifestyle. Letts
was shocked, wishing that he worked on
a series that could convey these notions
through drama. Script editor Terrance
Dicks suggested they used Doctor Who to
convey Letts’ feelings on pollution.
A memo from Barry Letts dated
Thursday 13 April 1972, which outlined
the plans for the stories
BY AN ISSUE OF
© DOCTOR WHO | THE COMPLETE HISTORY
duction
in the 1972/3 series, reveals the early
ideas for the proposed ‘eco’ story. Titled
The Amoeboids, the story would be a
‘present-day’ UNIT adventure, and would
feature ‘strange creatures, giant flying
macrophages’. When the creatures arrive
on Earth, they ‘start swallowing up people
and things. These are space scavengers,
come to clean up poor old polluted Earth.
As they are flying monsters (presumably
models on film, plus full-sized giant
jellyfish creatures), we hope to co-operate
with the RAF and use gyrocopters and
a balloon in addition. I expect that we
shall need model shots of the creatures
devouring chunks of London etc.
Explosions are no doubt to be
expected. There will probably
be a strange extra-galactic
THE ECOLOGIST
-
Pre-production
Connections:
I have in
my hand...
» Foreshadowing disaster,
Stevens misquoted
former Prime Minister
Neville Chamberlain's
| speech about Hitler
wanting peace in Europe
_
y from September 1938:
» y) ‘| have inmy hand a
D>. ~ piece of paper.. peace
‘
\ ee in our time!’
\ 3
d ‘
" Pe Zz
i ’ . j
™ - , - ,
yD0cTOR: SE a 4
: ~ _— d : , . ¥
Z
7 es al “~ = - i
THE GREEN DEATH ® sowes
Above right:
Elgin: 40.
Worried.
Below:
His superior,
Stevens.
super-being who has sent the creatures
in the first place. However, by September
1972, Letts’ idea had evolved, with giant
maggots down a coal mine now forming
the basis of the story.
The concept of freedom
he writer selected by Letts for the
T ecological six-parter was Robert
Sloman. A part-time writer and
distribution manager for The Sunday Times,
Sloman was an old friend of Letts; indeed,
the two had co-written The Demons [1971
- see Volume 17], with Letts also having
input into Sloman’s The Time Monster [1972
- see Volume 18]. Letts decided that the
ecological story would not be an attack on
big business or new technology, but would
show how development must be balanced
against humanity’s well-being. The
concept of ‘freedom’ was also important
in the sense of people recognising lifestyle
obstacles and not feeling constrained
by them; Letts did not advocate a
responsibility-free ‘hippy’ existence. The
DOCTOR WHO | THE COMPLETE HISTORY
dehumanisation process - losing ‘freedom’
- was to be represented by a computer, an
object of greed, which maximised profits
by enslaving humanity.
Letts and Dicks realised the script might
stray into politics, potentially opposing
the Conservative government. Although
Letts sanctioned the political notions,
he and Sloman carefully kept these in
the background, ensuring the serial also
functioned as a traditional ‘monster’ serial
for the wider audience.
Sloman was working on the serial by
October 1972, inspired in part by a book
that he had read as a child in which people
were killed by a sprayed substance that
entered the body via the skin’s pores. The
ecology angle addressed the topical ideas
of Greenpeace, an organisation whose aims
Letts supported. Their ideas prompted
Sloman’s inclusion of a self-sufficiency
commune experimenting with alternative
technology - similar to those that some of
his friends had joined. Sloman felt that this
was his best Doctor Who story, and saw the
message as being that big business ruined
Earth and human lives; he was passionate
about protecting the environment and
jokingly named the threat ‘the Boss’.
After various discussions, Sloman was
commissioned on Thursday 30 November
to deliver The Green Death Episode One by
Monday 11 December; Dicks suggested
that the running joke of the Doctor
attempting to reach Metebelis III should
be concluded in this final story of the
1972/3 series. Sloman developed the idea
of the green death being transmitted by
skin contact from the 1926 novel The Final
Count, which he had read in his youth.
Sloman delivered Episode One on Friday
8 December, hinting that the opening
Welsh scenes could be backed by ‘a lyrical,
if radiophonic, rendering of Sosban Fach’.
The big company was called Universal
Chemicals, run by ‘Stevens, tall and
distinguished - the Director of Projects
for UC and Managing Director for the
Llanfairfach complex’; Stevens was named
after Jocelyn Stevens, Sloman’s former
boss who was now managing director of
the Daily Express. Other members of the
Universal staff were Mark Elgin ‘the PRO,
a worried looking forty-year-old’ and
Stevens’ driver, ‘a massive, beetle-browed
thug called Hinks’
With Episode One accepted, the
remaining episodes were commissioned
on Monday 11 December for delivery
by Monday 15 January 1973. On Friday
12 January, Jon Pertwee was contracted
for the following series. However, it was
known that his co-star, Katy Manning,
would not be continuing in the show.
Her character, Jo Grant, had been in the
series for three years. In September 1972,
Manning had suggested to Letts that
she might be leaving. By January 1973,
Letts agreed, suspecting that Pertwee
would depart the following year - and not
wanting this to overshadow publicity of
Manning’s departure. It was also generally
decided that it was time for Manning to
move on with her career. This decision
was particularly upsetting for Pertwee,
who had formed a close bond with
Manning. The Green Death was structured
to have Jo leaving to marry Professor Jones
- who reminds her of a younger version of
the Doctor.
Sloman delivered
Episode Two on Monday
15 January. The UC
technical manager was
named Charles Bell - and
when the BOSS was heard,
it was ‘a booming voice’.
There was more dialogue
from Dave Davies about
how the west seam was
closed in a bad fall where
he lost 14 mates. When the
Doctor congratulates Jones
on his DNA paper, he adds:
“Haven't seen anything like
it since a fellow I met in
Vladivostock in 2179.” The
Nuthutch protesters carry
banners reading ‘Save the
Valley from UCK’ and ‘UC
= Ultimate Corruption’.
After the Doctor swings
on a tree branch to get
over the UC fences, he
encounters some security
guards and ‘a balletic
Connections:
Oh, superman
® In Episode Four, the
BOSS calls Stevens a
“good little Nietzschean”
- referring to the work
of nineteenth-century
German philosopher
Friedrich Nietzsche,
which suggested
that only the strong
should survive.
Gone missing
» When BOSS tells
Stevens “to lose
one prisoner may be
accounted a misfortune,
to lose two smacks of
carelessness”, he is
deliberately misquoting
Lady Bracknell from
Oscar Wilde's The
Importance of
Being Earnest.
exhibition of aikido ensues’. In the mine
scenes, Dave was given dialogue written
for an unnamed miner, and the main
ecological threat was revealed to be ‘giant
maggots, some two feet long’.
By the time that the scripts for the
remaining episodes had been delivered
on Tuesday 16, the company had become
United Chemicals. For the evening meal
at Wholeweal, the script noted that ‘Jo
is dressed in a flowing caftan |sic] like
garment with several strings of large
wooden beads round her neck. She looks
quite smashing’; one community member
called ‘Face’ was dropped, however, and
their dialogue given to another community
member, Nancy.
The BOSS is revealed in ‘an area full
of electronic gadgetry. Dominating the
DOCTOR WHO | THECOMPLETE HISTORY 61
THE GREEN DEATH ® soves
Above:
Yuck! Maggots!
Opposite:
The happy
couple!
Connections:
Best for Global
Chemicals
» Stevens’ com
what's best for Global
Chemicals is best for
the world echoed the
famous 1953
of General Motors
President Charles E
Wilson: ‘What's good
for Genera
GM
country’
62 DOCTOR WHO | THE
is good for the
room at one end is a massive computer.
Originally, in Episode Six, Yates escapes
from UC by unrolling a fire hose to
allow him to climb down from a window
while being fired upon by a guard. The
Wholeweal community celebrated with
‘homemade gooseberry champagne’.
As the scripts were being finalised,
further inspiration for the Wholeweal
community came from the article
Alternative technology — politics and yogurt?
that appeared in New Scientist on Thursday
11 January 1973. This looked at the BRAD
- Biotechnic Research and Development -
community established in Wales by Robin
Clarke, a former science journalist who
opposed industrial and military science. At
the farm, four families lived using energy
from their surroundings - developing a
new social system that was non-polluting
and did not deplete natural resources.
Much of the article was paraphrased for
Jones’ description of the Nuthutch to Jo
in Episode One. The script described the
Nuthutch as ‘an old rambling farmhouse.
A notice outside, somewhat psychedelic
and painted with love and skill, reads
“Welcome to Wholeweal”’ Professor
Clifford Jones was ‘a young man with
an untamed thatch of hair.
He is part of a group in the
crowd who stand out from
the others by eccentricity
of dress and appearance.
They are the community of
“Wholeweal” a somewhat
cranky organisation living
locally and dedicated to the
simple life. Jones is their
leader, a brilliant, if wayward,
bio-chemist.’
To avoid any accusations
of being ‘left-wing’ and
opposing Edward Heath’s
Conservative administration,
ments that
misquote
| Motors,
COMPLETE HISTORY
Barry Letts included a scene in Episode
Three where an unseen Prime Minister was
referred to as ‘Jeremy’. This was a reference
to the Rt Hon Jeremy Thorpe MP, then
leader of the Liberals, whom Letts hoped
would win the next General Election.
By Wednesday 31 January, only Episodes
One and Two were available as final scripts,
and it was possible that Captain Yates
might be substituted for Sergeant Benton
in the closing episodes. However, by early
February, all six scripts were completed;
Sloman then started work on The Final
Game which was intended to conclude the
following series and write out the Master.
Numerous maggots
he serial’s director was Michael
T Briant, who had previously directed
Colony in Space {1971 - see Volume 17]
and The Sea Devils [1972 - see Volume 18],
since when he had been working on Z Cars.
This was the only Doctor Who serial to be
worked on by set designer John Burrowes;
Ann Rayment had supervised make-up on
The Three Doctors [1972/3 - see Volume 19];
Barbara Kidd had been costume designer
on Frontier in Space [1973 - see Volume
19]; The Green Death was the fifth and final
Doctor Who serial for visual effects designer
Ron Oates, and the sheer number of
effects required meant that assistants Colin
Mapson and Richard Conway were also
assigned to the production.
Michael Briant wanted numerous
methods of creating the giant maggots,
undertaken by Ron Oates and visual effects
sculptor John Friedlander. Some maggots
were glove puppets operated by a visual
effects assistant. This main solution was
augmented by rod puppets for use under
raised sets or on CSO sequences, and also
a number of miniature sets, which could
be filled with normal-size maggots. Made
from canvas ducting with spring steel wire
wrapped with foam rubber, cling film and
elastic bands, some of the maggots had
working plastic jaw mechanisms, and were
so revolting that members of the cast and
crew tended to avoid walking anywhere
near them.
Sloman’s scripts were altered during
ss)
February to change the company name to birthday party when her agent had
Global Chemicals, when it was discovered brought Bevan along.
that there was a real firm called United Briant and his team
Chemicals. Other name checks were made scouted suitable locations Connections:
on Monday 26 February, but Charles in South Wales, contacting Nepotism
Bell caused problems; one Douglas Bell the National Coal Board ® Joconfesses that
was a scientist and chief executive of the for permission to shoot at a it was a phone call to
petroleum company ICI, forcing the name coal mine. The NCB agreed her uncle that resulted
change to Ralph Fell. to shooting the operating in the Nuthutch being
One major casting problem was finding lifts, but it was not possible awarded official status
a suitable Professor Jones; a guitar-playing to shoot in the mines as a United Nations
Welshman. Manning’s then-boyfriend, themselves; although Briant Priority One Research
Stewart Bevan, was suggested to Briant, explored these, they had been Complex, and that this
but the director was wary of having a sealed because of gas pockets, was only the second
‘couple’ working together, particularly meaning severe restrictions favour she had ever
with the regular cast being upset about on underground equipment. asked of him. The
Manning’s departure. However, after On Tuesday 6 March, implication is that it was
auditions, Briant found that Bevan Richard Franklin was o's uncle who secured
was the only suitable actor. Bevan and contracted as Mike Yates, her job at UNIT in the
Manning attracted press attention prior with John Levene booked as first place, although this
to location filming when they announced Benton two days later. By is not mentioned in Jo's
their forthcoming marriage in Wales. This now, Franklin was hoping to first adventure, Terror
appeared on Monday 5 March in the South move into directing and had of the Autons [1971 -
Wales Echo, which revealed the couple been appearing in Romeo and see Volume 16].
had met in October 1972 at Manning’s Juliet in Ipswich. &
DOCTOR WHO | THECOMPLETE HISTORY 63
64
THE GREEN DEATH » srs
Production
Below:
The cast arrive
on location.
he crew travelled to their
Cardiff base on Sunday 11
March. Pertwee arrived late,
having re-started weekly
recordings of his radio sitcom
The Navy Lark earlier that
day. Due to the amount of filming, Briant
used two camera units: the main unit
consisted of himself and cameraman Bill
Matthews, while inserts and long shots
were directed by production assistant John
Harris alongside cameraman Ken Lowe.
Shooting on 16mm film was scheduled
from 11am to 1pm on Monday 12 March
at Troed-y-Rhiw Jestyn near Deri in Mid
Glamorgan, north-east of the closed mine.
The main unit filmed the Brigadier and
Jo driving a white 1964 Mercedes 230 SL
sports car, hired along with most of the
other vehicles in the serial from Cardiff
based U-Haul, and meeting the Ford
Transit Co-Op milkfloat on the farm road;
Ray Handy appeared as ‘Jones the Milk’
on film only and was not required for the
studio. Meanwhile, the second unit filmed
the Doctor driving in Bessie. The vehicle
DOCTOR WHO | THE COMPLETE HISTORY
had been modified after its Ford Popular
engine broke down during filming on The
Three Doctors in November; a new, larger
engine (to overcome Pertwee’s complaints
of lack of speed), gearbox and radiator
cooling system were installed by Glentura
Plastics, resulting in an extension of the
engine housing. For the scenes featuring
Bessie, an undercranked camera was used
to show the car travelling at speed; Pertwee
was, in fact, overtaking a car moving
extremely slowly. Bessie was also equipped
with a fake speedometer which would read
100mph when driven at 30mph.
In the afternoon, filming continued
from 2pm to 3.15pm with the main unit
moved to a nearby farm building, which
appeared as Wholeweal, to film various
scenes including the Doctor’s departure
in Episode Six. Shots of Bessie driving
along and Jo approaching the mine were
then shot on the farm road, before the
crew moved to the closed Ogilvie Colliery
and slag area in Deri for the remainder
of the day until 4.30pm. The main unit
recorded Dai Evans (played by Mostyn
Evans, who had an uncredited speaking
role in Doctor Who and the Silurians [1970
- see Volume 15]) entering the mine, the
Leyland EA ambulance departing, and
Lethbridge-Stewart’s arrival; the second
unit, meanwhile, shot the Doctor and the
Brigadier arriving, and the lift descending.
Also filming at the colliery were Ben
Howard as Hinks and Talfryn Thomas
as Dave; Howard was later a regular in
Dixon of Dock Green, while Welsh actor
Thomas had been in Spearhead from Space
[1970 - see Volume 15] and later featured
in Survivors. The second unit’s final shot,
at around 6.30pm, was the silhouette of
the Doctor leaving at the end of the serial;
Lowe spent four hours setting the shot
up for sunset and used a star filter on the
camera. The result was not exactly what
Briant wanted, but close enough.
UNIT photography
photocall for the UNIT team, the
A engaged co-star and the maggots
was held at the colliery on Tuesday
13; the South Wales Echo ran the story Beasts
in Bargoed Pit? Who knows...’ covering the
filming. After a briefing from the safety
officer, work on the Llanfairfach Colliery
scenes were schedule from 9.05am to
1pm with the UNIT troops preparing to
explode the mine; meanwhile, the second
unit shot the welders at work and the lift
operating, plus the milkfloat scenes. From
2pm to 4pm, the second unit worked at
the lift area and on UNIT’s setting up;
Levene ad-libbed one UNIT soldier’s name
as ‘Dicks’ while another was later referred
to as ‘Betts. From 4pm to 9pm the main
unit were based at the small quarry of Deri
Mine, which was dressed with tinsel and
Production
foil, to film the Metebelis III sequences. Above:
Vari ff filmed tee Jones the
arious effects sequences were filmed here: milkman'save
the tentacle that grabbed the Doctor being they're going
shot in reverse, a fake snowstorm created to blow up
the mine.
as the Doctor traversed a rockface, and
massive bird talons sliding along wires.
To save money, the talons were reused
from the existing stock of the visual effects
department. Filmed last was a section on
the ‘Wood Area’ of the Doctor crossing
a stream bubbling with dry ice smoke.
Although not in the script, consideration
was given to including ‘any ex-Who
monsters’ in long shot. Pertwee disliked
the Metebelis III sequence, and was
irritated further by a group of watching
schoolchildren.
Nicholas Courtney, playing the Brigadier,
was formally contracted on Wednesday
14 - on which day shooting continued at
the mine from 9am to 5.30pm, with work
on the slag heaps north-west of the pit
head. At Slag Area A, parts of the scenes
of the Brigadier watching the maggots,
the Doctor’s arrival, Cliff’s search for Jo,
and the fungus being spread were filmed;
the Brigadier continued to use a silver
TM45 radio as he had since The Invasion
DOCTOR WHO | THECOMPLETE HISTORY 65
Connections:
Windmills
» The Brigadier's
THE GREEN DEATH >» sts
[1968 - see Volume 13]. Having decided
that several dialogue sequences would
be recorded in studio, Briant arranged
for Mike Isaacs of Hilton Warner & Co
in Cardiff to take landscape photographs
that could be used as backgrounds for the
colour separation overlay (CSO) process.
Slag Area D was used to film the maggots
being sprayed, the helicopter bomb run
and the UNIT patrol firing at the maggots.
Briant arranged for a two-seater Hughes
300 helicopter (previously used on Fury
from the Deep [1968 - see Volume 12}) to
fly out from Twyford Moors Helicopters of
Weston-super-Mare and shoot for around
an hour on the bomb run - for which
an RAF strike from stock film had been
briefly considered after plans to have RAF
Phantoms overfly the area were stalled
by budget cuts. Aerial shots were filmed
using a special camera mount purchased
in September 1972 for Z Cars; close-ups
of a UNIT soldier dropping the bombs
were also shot. The bombs were lavatory
ballcocks, of which Oates had a large
quantity left over from another show; these
were dropped in long shot by assistant
floor manager Karilyn Collier.
Right: Better weather on Thursday 15 saw
Stunt casting: filming continuing from 9am to 5.30pm.
Lael The main unit began work at Area A for
@hemicas Yates’ arrival; then the crew moved to
security guard. Area E for shots of Cliff and Jo amidst
the bombing. Next, Area B
was used for Bessie being
attacked by the giant
insect (made by Conway
and Mapson); plans to do
shots of the prop creature
in flight on a wire between
two pylons were abandoned
when the winds kept making
the fly spin out of control.
The rescue of Cliff and Jo
was shot in Area E, while the
comment about
Professor Jones’
“noble fight against
the windmills” referred
to Miguel de Cervantes
seventeenth-century
work Don Quixote.
DOCTOR WHO | THE COMPLETE HISTORY
second unit shot Yates running towards the
heap and the maggots dying. Extra inserts
of prop maggots moving on wires were
also filmed. In attendance for the day was
a film crew from the local BBC magazine
programme Wales Today (whose report
aired the next evening), and by now a local
coach firm was bussing people in to see the
filming, again to Pertwee’s annoyance.
On Friday 16, shooting ran from 8.45am
to 5.30pm, taking place at the former RCA
International factory at Bryn-Mawr in
Breconshire; the magnetic tape plant was
chosen as the Global Chemicals Research
Centre because it had been empty for 16
months. The BBC set up the security office
at the gate, which contained a February
1972 calendar. In the morning, Pertwee
visited children at a nearby primary
school in Bessie while the main unit shot
Stevens’ speech and the Brigadier asking
for reinforcements before starting work on
the Episode Six gate scenes. Jerome Willis,
later prominent in The Sandbaggers, starred
as Stevens, with Tony Adams, then best
known for General Hospital, as Elgin (Adams
and Briant had known each other at the
Italia Conti Stage School); Roy Evans,
playing Bert, had been in The Daleks’ Master
Plan [1965/6 - see Volume 6].
The scenes with the Doctor in the
milkfloat were shot next, with the vehicle
smashing through the prop barrier (which
reappeared intact in Episode Six); Pertwee
adopted one of his radio comedy voices for
his milkman guise. The second unit shot
inserts of the Doctor’s arrival in Bessie and
entering the complex. Playing the main
speaking security guard was stuntman Terry
Walsh, Pertwee’s regular stunt double and
an action expert on the show since 1966.
Mini maggots
ack in London, model sequences
were shot at Ealing on Saturday
17, including the explosions of the
pit head and Global Chemicals, as well as
the collapsing mine tunnel with dummy
maggots. Close-up cutaway shots of the
maggot puppets were filmed for the slag
heap scenes and slow motion shots of real
maggots supplied by London Zoo ona
model set. The slag heap models were
seen with a model of Bessie, along with
close-ups of the fly’s squirter - a bicycle
pump filled with green mushy-pea soup!
Shooting at the factory from 8.45am to
5.30pm on Monday 19 was disrupted by
rain. The Doctor’s entrance to Global’s
compound now involved the use of a
Hy-Mac hoist in a South Wales Electricity
Land Rover, allowing the Doctor (Walsh
doubling for Pertwee) to clear the
electrified fence. Filming moved to the
Gas Area for the Doctor’s encounter with
Pertwee spots
some pesky
kids dancing
around in
his eyeline.
the security guards. Shots for the security
cameras were done from the factory roof
by the second unit, with some dialogue
sequences shot by both cameras. The
fight was done last, with Walsh doubling
for Pertwee. The Gas Area scenes not
completed on Monday were picked up
on Tuesday 20 from 8.45am to 1.30pm,
along with the Doctor’s escape from the
loading bay, the shot of Fell’s body, and
Yates’ escape from Global; Walsh doubled
for Franklin in the jump from the roof, but
when Franklin bent over for the landing
shot he ripped his trousers!
Shooting having been completed, the
unit returned to London. The readthrough
for the first studio recording session took
place at the Acton Rehearsal Rooms on
Wednesday 21 March, followed by four
days of rehearsal; the atmosphere was
tense because of Manning’s impending
departure. For BOSS, Briant
wanted a voice with character
rather than something
purely mechanical and cast
John Dearth, an actor who
had coached him in voice
work when he was a young
performer. As Nancy, Briant
cast Mitzi McKenzie who
- under the name Mitzi
Webster - had appeared in
the Briant-directed Colony
Connections:
A girl’s gotta do...
When Jo declares
her intentions
to help Jones,
she misquotes
Tom Ransome
(Fred McMurray) in the
1955 drama movie The
Rains of Ranchipur.
DOCTOR WHO | THECOMPLETE HISTORY 67
THE GREEN DEATH » sors
Right: in Space; John Rolfe, who had been in
pee The War Machines [1966 - see Volume 8]
action! The
Doctor and The Moonbase [1967 - see Volume 9],
attempts to played Fell; for the small role of Hughes,
jam the mine's
Briant cast John Scott Martin, who had
played many monsters on the series since
1965. On Friday 23, during rehearsals,
the Gwent Gazette covered the RCA filming
with Wot! No tardis or Daleks with Dr Who;
another paper, The Gazette, featured similar
material on Friday 30.
The first two-day recording block began
in Television Centre Studio 3 on Monday
2 April; recording ran from 8pm to
10pm, with Episode One taped largely in
sequence. For the mine scenes, star filters
accentuated the atmosphere, with dry
ice smoke and green lighting also used;
a yellow CSO flat was erected at the end
of one set, and was also used to inlay a
moving roller caption behind the lift cage
giving it the appearance of descending.
The green death itself was achieved
using Scotchlite powder on latex make-
up; the powder reflected a green front
axial projection light fitted to one of the
cameras, causing the glow. The Doctor’s
lab set was reused from The Three Doctors,
and Manning had a costume change mid-
recording. The usual roll-back-and-mix
effect was used for the TARDIS’ departure
and arrival, and Pertwee had a costume
change from his torn green jacket into his
black and red outfit for the
Connections: rest of the serial.
Nancy with the The Metebelis III sequences
laughing face were enhanced with a blue
» Cliff's quip about his hue added by a colour
colleague derives from synthesiser and stock film
the 1942 song Nancy of a snake. After this, the
(with the Laughing pithead office scenes were
Face) written by Phil recorded. Due to the non-
Silvers and Jimmy availability at short notice
van Heusen, of Mitzi Mackenzie, the
scene in which Jo learnt of
lift mechanism.
68 DOCTOR WHO | THE COMPLETE HISTORY
Cliff’s identity was re-written. Originally,
after Jo asking whose idea Wholeweal was,
Cliff says that he can’t stand the sight of
the Professor: “He can be pretty repulsive
at times, you know. Spouts a lot of ‘love
thy neighbour’ guff and then doesn’t even
notice the people under his feet... bites
his fingernails - he’s apt to make a sort
of slurping noise when he’s eating -
and sometimes he just forgets to have a
bath...” Jo defends Jones, arguing that
he is dedicated to saving the world; Cliff
tells her not to make him a saint.
Jo says “Clifford Jones is just about the
most human human being alive today!
I think you’re quite horrible.” Nancy enters
and meets Jo, referring to Cliff by name.
Realising she has been tricked, a furious
Jo storms out to the mine.
Cue Dai Evans
T he scenes of Dai descending into the
mine were taped out of sequence,
and a production member’s arm
appears in vision, clearly giving Evans his
cue to use the mine phone. Before the
7.30pm to 10pm recording of Episode
Two on Tuesday 3, a photocall was held
on the Wholeweal and Global sets; unlike
a
|
|
Episode One, the remaining sessions
were recorded in set order. Brief scenes
in Elgin’s small office and the Wholeweal
Corridor were done first, followed by
scenes in the Director’s office; for this, a
yellow CSO screen was used to show the
BOSS’ voice - an oscilloscope modulated
by Dearth’s voice, an idea of Briant’s -
and a blue CSO multifeed was used to
blend this with the film of the Doctor in
the compound. Dearth also performed
the electronic security voice. The engine
room and pithead office scenes were shot
next, with pauses to set up explosions as
the Doctor jammed the flywheel; four feet
of silent 16mm film showing a mine lift
in operation had been provided by the
NCB. To save erecting the set again and
re-hiring Thomas, the pithead office scene
for Episode Three was taped, after which
the cameras moved to the coalmine and
cave. Again, CSO was used extensively to
combine the shot of Jo with the model
maggot tunnel; the maggots advancing on
her were rod puppets on a raised set.
Rehearsals recommenced on Thursday 5
April. Joining the cast were Richard Beale
and Brian Justice as the minister of ecology
and Yates’ guard respectively; Beale had
worked on the show on The Ark [1966 - see
Volume 7], The Gunfighters
[1966 - see Volume 7] (on
which he had become good
friends with Briant) and
The Macra Terror {1967 - see
Volume 10], while Justice
- an extra since Spearhead
from Space - had been cast by } ang sai Gs Hae.
Briant as Wilson in The Sea | alias sits alas
Devils. Episode Three lost anf (sal vee Ue would
exchange in which the Doctor a nEUEVE Hey Tne =
tells Jo that he always knows a classical philosophical 5
Connections:
Solve this!
The Doctor poses
BOSS an impossible
conundrum: “If | were
to tell you that the next
which way is north: “Like a
homing pigeon”.
Episode Three was
recorded from 8pm on
Monday 16 April in TC3;
the coal mine scenes were
done first, with CSO used
for the coal truck moving
through the model maggot
set (a scene which Letts
concept know as the
‘Liar Paradox’
As easy aS...
Tohelp him R ;
resist BOSS’ ns
mind control, the
Doctor recites pi, the
mathematical constant
which denotes the ratio
of the circumference of
a circle to its diameter.
found disappointing). Scenes
in the Global Chemicals
corridor and pump room were recorded
next, with CSO for the screen showing the
pipe interior and the inspection hatch,
before Fell’s death fall was done. Sequences
in the Director’s office were intercut with
those in the Cabinet Room at No 10;
Fell’s point-of-view shots were reversed
reflections off a rippled sheet of mirrorlon.
Pertwee, Manning and Courtney changed
costumes for the later Wholeweal scenes;
Courtney was allowed to smoke one of
his own cheroots and ad-lib about once
being stationed in Aldgate. For the maggot
that advanced on Jo, a rod puppet was
inlaid with CSO, and point-of-view shots
of Manning’s back were taped. The final
planned shots were the fibreglass egg
hatching with a glove puppet inside, and
the maggot moving across the lab floor.
Most of the non-speaking supporting
artistes employed to play the members of
DOCTOR WHO | THECOMPLETE HISTORY 69
THE GREEN DEATH » srs
the Wholeweal community
were hired from the APP
Agency. The only exception
was Jessica Stanley-Clark
(now known as Jekka
McVicar) who played Jessie
the flautist. A real flautist,
Stanley-Clark had played
with the prog-rock band,
Marsupilami. She was
spotted by Barry Letts
who invited her to appear
in The Green Death in
which she played one of
her own compositions.
On Tuesday 17 from 7.30pm, Episode
Four was recorded - starting with the
living room scenes; without her spectacles,
Manning was unable to see the rug where
the maggot was being placed by inlay,
and so found it difficult to react. CSO was
used for the shot of the maggot attacking
Hinks, after which Howard grappled with
a puppet. With these scenes complete,
Manning changed costumes, while
recording of the first part of the episode
in sequence took place through to the
Connections:
Ooops!
» Episode Five introduces
the concept of
‘serendipity’ - a happy
discovery caused by
accident, coined by
English novelist Horace
Walpole from the
Indian story The
Three Princes
of Serendip.
pad and explosion of the mine, after which other
Bastarer : scenes in the Director’s office were done.
disguise! Having picked up the scenes in Cliff’s lab,
DOCTOR WHO | THE COMPLETE HISTORY
LA NANNNS
the rest of the episode was recorded, apart
from the corridor/pump room scenes
and those in the computer room; the wall
calendar in Yates’ office gave the date as
Monday 28 April. Later scenes saw Pertwee
in his disguise as the milkman and the
cleaning lady; Franklin ad-libbed the line
“T like your handbag”. Finally, a CSO shot
of Jo on the slag heap was recorded.
Goodbye Jo, hello Sarah
he last two episodes entered
T rehearsals on Wednesday 18;
Elisabeth Sladen, who had been
selected as Manning’s replacement, met
Pertwee during rehearsals. Letts and
Dicks were also kept busy with the start
of production on their adult drama series,
Moonbase 3, made during the summer break
on Doctor Who. The final recordings for
The Green Death were advanced by one day.
The day before recording, however, Adams
was taken ill with peritonitis and rushed
to Middlesex Hospital for an emergency
operation. Fortunately, he only appeared
in two scenes of Episode Five, and so Elgin
was rewritten as another Global employee,
Mr James, played at short notice by Roy
Skelton; Skelton had worked on the series
since The Ark and had been in Briant’s
Colony in Space and the script was hurriedly
couriered over to him.
Originally, the final recording session for
The Green Death had been booked for TC1
on Monday 30 April and Tuesday 1 May,
but this was changed by the BBC’s planning
department at a late stage, substituting the
studio and bringing forward the session
by a day. The change of date meant that
the cast and crew no longer had a day off
between rehearsals and recording. Episode
Five was recorded in TC3 on Sunday 29
April from 7.30pm, starting with all the
lift area and computer room scenes for
Episode Four. This set incorporated a large
circular CSO ‘BOSS voice’ screen, and was
largely made from set elements made by
Century 21 Props for the series UFO. For
the Doctor’s interrogation scene, a halo
effect was superimposed around Pertwee’s
head. The remaining Global scenes were
taped in the empty office, corridor and
director’s office; here, the effect of the
crystal on James used a superimposed blue
light and then colour distortion using the
colour synthesiser. The Wholeweal scenes
were done next, with the scenes in Cliff’s
bedroom seeing a different method of
achieving the infection used on Bevan - a
thin application of glycine and Scotchlite
paste was used on the actor’s neck. The FAP
make-up was then removed while scenes in
the Wholeweal corridor and Cliff’s lab were
taped. Next came the cave area - a raised
set, partly constructed from a rock wall
originally made for the preceding Planet of
the Daleks, beneath which the visual effects
team could manipulate the maggots, and
were trampled on by Levene’s feet. Finally,
the CSO sequences for insertion into the
location filming were done, using colour
slide backgrounds and a wind machine; for
the scene of Bessie driving through the slag
heaps, a model turntable of live maggots
was inlaid behind the vehicle. At the end of
the evening, the shot of the maggot crossing
the lab in Episode Three was re-recorded.
Production concluded with the recording
of Episode Six on Monday 30 April from
7.30pm. The Wholeweal scenes were
recorded first, including the party scene at
the end; the guests included all the extras
out of costume and also some studio
visitors, with Manning having changed
outfits for her emotional goodbye scene.
For the party music, 55 seconds of It'll
Never Be Me was played in from the 1969
De Wolfe LP Even More Electric Banana
(DW/LP 3123); it was composed by Dick
OMPLETE HisToRY
Connections:
Mad music
»® BOSS likes his classical
music! At various points
in the story he either
hums, sings or makes
reference to work by
Richard Wagner (whose
work was influenced by
Nietzsche's ‘Superman’
concept); the 1812
Overture by Tchaikovsky;
Beethoven's Symphony
No 9 and Symphony
No 5; Chopin's Funeral
March; and the opening
allegro from Bach's
Brandenburg Concerto
No 3 in G major
(to which BOSS
sings the word
“connect’).
THE GREEN DEATH 9» storvss
‘= :-
Taylor, John Povey, Phil May
and Wally Walter who formed
Electric Banana (also known
as The Pretty Things). After
this, the Global Chemicals
scenes were taped in the
computer room, with Dearth
humming the Funeral March
composed by Edward Purcell
in 1695 and singing ‘connect’
> +. ~~
to the tune of Johann Sebastian Bach’s
Brandenburg Concerto No 3 in G. Willis
mimed to some of Dearth’s lines, and the
colour synthesiser was used for BOSS’
Above:
The maggots
strike back for
a Radio Times
photoshoot.
PRODUCTION
Mon 12 Mar 73 Troed-y-Rhiw Jestyn,
Deri, Mid-Glam (Farm Road; Road;
Wholeweal); Ogilvie Colliery, Deri,
id-Glam (Mine)
Tue 13 Mar 73 Ogilvie Colliery, Deri,
id-Glam (Mine); Colliery Quarry, Deri,
id-Glam (Metebelis)
Wed 14-Thu 15 Mar 73 Ogilvie Colliery
Slag Areas)
Fri 16 Mar 73 RCA Factory, Bryn-Mawr,
72 DOCTOR WHO | THE COMPLETE HISTORY
demise. The final sequences recorded were
on the maggot area, again using CSO for
the fly attacking Bessie. It seems that the
closing credits for all six episodes were
Powys (Factory)
Sat 17 Mar 73 Ealing Studios
(model sequences)
Mon 19 Mar 73 RCA Factory
(Garage Area; Gas Area;
Open Area)
Tue 20 Mar 73 RCA Factory
(Loading Bay; Roof)
Mon 2 Apr 73 Television Centre:
Studio 3 (Episode One)
Tue 3 Apr 73 Television Centre:
. -
recorded together, very rapidly since the
film was run in reverse for Episodes Two,
Five and Six, appearing upside down.
McKenzie was still billed on Episode One,
and Justice’s credit on Episode Four read
‘Yate’s [sic] Guard’.
This final recording was a very emotional
one for a team that had been together
for three years, but the tearful Manning
had thoroughly enjoyed her swansong.
Pertwee, too, enjoyed the story, but was sad
to be losing his co-star. After a few weeks
break, Manning started filming the comedy
film Don’t Just Lie There, Say Something! in
late May. She then appeared in Union Jack
(and Bonzo) in Edinburgh where she and
Bevan posed with a maggot for Radio Times
publicity shots on Arthur’s Seat.
Studio 3 (Episode Two;
Pithead Office for Episode Three)
Mon 16 Apr 73 Television Centre:
Studio 3 (Episode Three)
Tue 17 Apr 73 Television Centre:
Studio 3 (Episode Four)
Sun 29 Apr 73 Television Centre:
Studio 3 (Episode Five; Computer Room
for Episode Four)
Mon 30 Apr 73 Television Centre:
Studio 3 (Episode Six)
Production | Post-production
Post-production
pisode One of The Green
Death was heavily edited when
assembled on Thursday 3 May.
The first cut was the end of the
engine room scene where Cliff
examines Hughes; originally
Elgin entered to say that he has called the
police who will go and inform Hughes’
old auntie. Dai protests that he should go,
but Elgin says that the company do not
want it known how Hughes died, and two
Global guards advance on Dai. “You see,”
says Cliff to Dai, “Do you think they’ll
ever let you live the way you want to?” A
scene in the Director’s office was removed;
Stevens tells the Brigadier that security is
the main consideration, and introduces
Public Relations Officer Mark Elgin who
says that the minister has imposed a
D-notice on the death. The Brigadier does
not understand why the mine accident
affects Global, and Stevens says the whole
valley is now their concern. A scene in
Cliff’s lab was removed after Cliff had
broken the ice; Jo chats to him explaining
how she felt she ought to come and help
fight Global, but fears that she might be
a crank. Cliff tells her that she isn’t; “The
world’s going wrong. Every night millions
of people go to sleep hungry. And those of
us who do have enough food are starved
of everything else a man needs to live like
aman. We're trying to find out how to
live an alternative that’s a real one - an
alternative technology if you like. We
want to be human beings again - not
robot slaves of the machine or ‘balance of
payments’ or whatever. We don’t know it
all, not yet, but what we do know is that
Global Chemicals’ way is wrong, wrong,
wrong. And because we try to stop them,
we’re called cranks! Cranks!” The start of
the next scene in Stevens’ office was also
cut; Elgin explains to the Brigadier that
Hughes was down the closed mine making
a monthly inspection.
E pisode Two’s reprise did not retain
Fell to the cutting room floor
the Doctor’s close-up from Episode
One. The start of a scene in Stevens’
office was cut: Stevens summons Fell on
the intercom, explaining to the Brigadier
that Ralph Fell is their chief scientific and
technical officer. A short pit head office
scene of the Doctor and Cliff planning
how to get the lift operating again was
removed. Some short inserts of Bert and
Jo in the mine tunnels were also cut.
Episode Three was edited on Monday 7 eonae
May, and Episode Four again lacked the cut short.
DOCTOR WHO | THECOMPLETE HISTORY 73
THE GREEN DEATH =» st0or5s
Above:
“| hope you're
not cutting any
of my scenes,
Barry.”
last shot of the reprise. The end of the lab
scene in which the Doctor heard the mine
was to be blown up was cut. Other trims
included Stevens introducing Yates to “our
troublesome friend the Doctor” and CSO
shots of Jo on the maggot heap at the end
of the episode. Episode Five was edited on
Sunday 13; the reprise was shortened and
had extra sound effects and music added,
while the end of a scene of the Doctor in
the empty office lost the Doctor’s attempt
to use his sonic screwdriver on the lock.
Episode Six, edited on Friday 18, had
the closing credits slowly fade in over the
silhouette shot, with a quieter dub of the
closing theme.
DOCTOR WHO | THE COMPLETE HISTORY
The incidental music was composed
by Dudley Simpson, commissioned on
Wednesday 7 February. Briant asked
particularly for guitar music - like John
Denver’s - for the Wholeweal scenes
during Episodes One, Three and Four.
Five musicians were used to record the
41-minute score. The music for the first
two episodes was recorded at Lime Grove
on Wednesday 9 May, the next two on
Friday 18, and the final two on Wednesday
30; each 2.30pm to 5.30pm session was
followed by two days at the Radiophonic
Workshop. The special sound effects for the
serial had been assembled by Dick Mills at
the Workshop since February.
Publicity
® The serial’s Drama Early Warning
Synopsis indicated that Llanfairfach
was near the South Wales coast
and that Global Chemicals’ main
research project was field trials of a
new method of ‘cracking’ crude oil,
although the site also houses a giant
computer dealing with world-wide
company operations; with the trials
a success, the government allocates
money for a full-scale refinery to GC.
Jones was a ‘wild-eyed, wild-haired
boffin of about 30’ who advocated a
new way of life ‘superior in quality to
the usual twentieth-century gruntch
yek and oetch’; he had campaigned
for two years against GC and now his
community was directly threatened.
The company computer develops a will
of its own, and takes over the minds of
the employees.
® Frank Bellamy artwork accompanied
the listing in Radio Times.
¥ Jon Pertwee made a public appearance
at Beaulieu on Sunday 27 May and was
filmed by a BBC news team taking part
in a traction engine rally; the following
day he hosted BBC1’s Disney Time
programme which he had filmed in
Stockholm a couple of weeks earlier.
» Katy Manning appeared on Nationwide
on Friday 22 June, discussing her
departure from the series while
plugging her new 10-part series on
alternative lifestyles, Serendipity, which
was to début in September; she also
featured on A View from Richard Baker
the following morning on Radio 4.
On Saturday 23 June, Jon Pertwee
joined a BBC ‘goon’ Dalek at the
Trinity United Reform Church fete
in Heigham in Norfolk.
Above:
Frank Bellamy’s
Radio Times
listings
illustrations.
DOCTOR WHO | THECOMPLETE HISTORY 75
THE GREEN DEATH =» srs
Broadcast
» In most regions, The Green Death » On Wednesday 6 June at the BBC
76
ran against The Julie Andrews Hour
for Episode One, against The Mike
and Bernie Show for Episodes Two
and Three, with The Rolf Harris Show
generally networked opposite the
last three episodes; ATV broadcast
Bonanza, while Yorkshire opted for
The Persuaders! or The Man from
UNCLE films. The Green Death was
the lowest rated serial of the 1972/3
series. Letts expected to receive angry
letters from the public about the
serial’s politics, but none arrived. The
only complaints were about Pertwee’s
mispronunciation of ‘chitinous’ in
Programme Review Board Meeting,
head of music John Culshaw felt
Episode Three was “another excellent
episode”; the following week the
maggot effects were “warmly
commended” and also generally
praised in Episode Five. For the final
episode, head of further education
John Cain noted that Jo’s departure
had moved his family to tears,
» The edition of Radio Times for 23-29
June carried a letter of complaint
from 10-year-old Christian Carter
of Cumberland who felt it was
Below: ; ara ; :
Se auiawers Episode Four - ‘Dear Barry Letts, The criminal’ to shatter the illusion of
were moved reason I’m writin’, is how to say “kitin”’ Pertwee as the Doctor by having him
to tears by the Letts had incorrectly advised Pertwee present Disney Time.
departure of ‘
fhe muchclaved to pronounce the word with the softer
Jo Grant. ‘ch’ sound. ® On Monday 25 June though, the
Me™
4
>
—~—
>
»
|
oh
se reed EMA
DOCTOR WHO | THE COMPLETE HISTORY
BBC did receive a more formal
complaint when it was contacted
by the sales manager of Gamlen
Chemical Company in Uxbridge,
the UK subsidiary of a Californian
multi-national, alleging that there
were ‘amusing comparisons’ between
Gamlen and Global Chemicals. In
particular, they felt that their own ‘G’
company logo was almost identical
to the one used for Global Chemicals
which, they claimed, had caused
them ‘some slight embarrassment’.
They asked the BBC to make it
clear that Gamlen was a reputable
worldwide company and was in no
way connected with the fictitious
Global Chemicals. An official response
was issued by the BBC two days
later saying, ‘As you are no doubt
aware, the Dr Who series does not
attempt to portray reality. It is a
science-fiction series which owes its
existence to the fantastic situations
created involving time travel, visits
to other worlds, battles with Daleks
and other monsters etc. Anyone
watching the programme would
realise that any organisation depicted
was part of this fantasy and did not
relate in any way to reality” The BBC
refused to acknowledge that Gamlen’s
reputation could have been damaged
by any perceived connection with the
fictional Global Chemicals. They also
disagreed that there was any similarity
between the two company logos.
» The loss of Katy Manning was
mourned by Miss BA Lovett of
Hornchurch in Radio Times for 14-20
July 1973, with Letts replying that he
too was saddened by her departure.
Left:
Global
Chemicals:
not tobe
confused with
any reputable
business
ventures,
» Acompilation of The Green Death was
very successful the following Christmas;
over 10 million tuned in. However,
Briant was unhappy with the editing of
the serial and asked for his name to be
removed. The Radio Times billing used
one of the publicity shots of Manning
and Bevan with an inset of Pertwee.
John Stirling reviewed the omnibus
edition in Television Today on Thursday
3 January 1974, but seemed unaware
that this was an edited compilation.
» The Green Death was purchased for
broadcast in Australia in November
1973, but the serial was rated ‘A’ and
not broadcast; after being resubmitted
in May 1978, it was passed as ‘G’ after
the shot of the dead Fell had been
removed from Episode Three. Canada
purchased the serial in 1977, while
New Zealand screened it early in 1979.
Sold to the USA in the early 1980s, The
Green Death was also syndicated as a
144-minute TV movie.
DOCTOR WHO | THE COMPLETE HISTORY
THE GREEN DEATH
wh
STORY
.
Above:
“Jo! Jo? Come ® UK Gold broadcast the serial Brigadier which viewers could hear if
a cea episodically in July 1993, and then it they phoned a special number given at
some repeat subsequently ran as one or two part the end of the UNIT Recruitment Film
screenings.” compilations as well as airing on BBC shown on Friday 17 December 1993.
Prime from 1996, while the Horror
Channel screened it from May 2014. In
1993, it was selected to be repeated on
BBC2, heralded by a specially recorded
message from Nicholas Courtney as the
» BBC Four repeated the serial in three
double-bills as part of 1973 Week at
7.10pm on Monday 3, Tuesday 4 and
Wednesday 5 April 2006.
78
ORIGINAL TRANSMISSION
EPISODE
Episode One
Episode Two
Episode Three
Episode Four
Episode Five
Episode Six
DATE
Saturday 19 May 1973
Saturday 26 May 1973
Saturday 2 June 1973
Saturday 9 June 1973
Saturday 16 June 1973
Saturday 23 June 1973
REPEAT TRANSMISSION
EPISODE
Compilation
Episode One
Episode Two
Episode Three
Episode Four
Episode Five
Episode Six
DATE
7
S
S
S
S
S
S
rsday 27 December 1973 4.00pm - 5.30pn
day 2 January 1994
day 9 January 1994
day 16 January 1994
day 23 January 1994
day 30 January 1994
day 6 February 1994
DOCTOR WHO | THE COMPLETE HISTORY
TIME
5.50pm - 6.15pm
5.50pm - 6.15pm
5.50pm - 6.15pm
5.50pm - 6.15pm
5.50pm - 6.15pm
5.50pm - 6.15pm
IME
2.00pm - 12.25
2.00pm -12.25
12,.00pm - 12.25
2.00pm - 12.25
2.00pm - 12.25
2.00pm - 12.25
a
WDWwWwnon www W
DURATION
2509"
2555"
cole
2547"
2520"
26'06"
DURATION
89'58"
25'57"
2556"
2512"
2549"
Pas ally
26'04"
RATING (CHART
9.2M (18th
7.2M (38th
78M (29th
6.8M (32nd)
8.3M (15th
(30th
POS) APP INDEX
)
)
)
)
)
G(CHAR
POS) APP INDEX
AM (44th)
Merchandise
orking from Sloman’s
scripts, Malcolm Hulke
wrote Doctor Who and the
Green Death - published
in paperback by Target
and hardback by Allan
Wingate in August 1975, with cover art
by Peter Brookes and illustrations by
Alan Willow. A new cover by Alun Hood
was used on the April
1981 reprint - latterly
numbered Book 29 in the
Target Library.
In September 2008 an
unabridged version of
this story, read by Katy
Manning, was released on
CD by BBC Audio.
The Green Death was first
released on a double-tape
VHS by BBC Worldwide
in October 1996. Some of
the covers for this release
omitted the foil-stamped
Doctor Who logo. The serial
was then released as a
single DVD in May 2004, and was later
included as part of the The Third Doctor
Box Set, exclusive to Amazon in 2006.
The Green Death Special
Edition was later released
by BBC Worldwide in
August 2013. This
two-disc set contained
a variety of special
features, including
all those that were
featured on
the original
DVD release:
Broadcast | Merchandise
Y Commentary with actress Katy Manning
(Jo Grant), producer Barry Letts and script
editor Terrance Dicks
» Bonus commentary with actors
Richard Franklin (Captain Yates) and Mitzi
McKenzie (Nancy), moderated by Toby
Hadoke (Episodes Three-Five); and with
actress Katy Manning and writer Russell T
Davies (Episode Six)
») The One with the Maggots - cast and
crew look back at the making of this story
» Global Conspiracy? - a spoof
investigative report looks at the strange
happenings in the village of Llanfairfach
} Visual Effects - an interview with the
story's visual effects designer, Colin Mapson
} Interviews with Robert Sloman and
Stewart Bevan
) wales Today - two pieces from the BBC Wales
news programme: a mute 1973 film insert from
the filming of The Green Death, and a 1994
item with Jon Pertwee opening the new country
park that was built on the site of the colliery
used in the story
» What Katy Did Next - a look at Serendipity,
the TV series that Katy Manning presented
after leaving Doctor Who
) The Sarah Jane Adventures - Death of
the Doctor - this two-part story from 2010
sees Katy Manning reprising her role as Jo Grant
and a guest appearance by Matt Smith as the
Eleventh Doctor. Optional commentary with
actress Katy Manning and series creator Russell
T Davies.
} Radio Times listings in Adobe PDF format
») Programme subtitles
) Production information subtitles
») Photo gallery
» Easter Eggs
} Coming soon trailer
The JOW PERTWEE Years 1970-74
Above:
The UK
DVD covers
for The Green
Death.
Left:
Target book
covers.
Below left:
The 1996
VHS release
of the story.
DOCTOR WHO | THE COMPLETE HISTORY
739
THE GREEN DEATH = ® stows
Ale Ze
THE GREEN OEATH
Above:
A Green Death
stamp cover
signed by
the cast.
Above right:
One of the
jigsaws to
feature an
image from
the story.
Right:
The Figurine
Collection's
beautifully
crafted
Third Doctor.
so} =DOCTOR WHO | THE COMPLETE HISTORY
15” x M8” (38 cm. x 28-
HLT teauoc
Y INTERL
JIGSAW PuzziE NS
The Green Death was also released as
Doctor Who — DVD Files #48,
published by GE Fabbri in
November 2010.
‘The Brigadier’ stamp cover
was issued by The Stamp Centre
in November 2001. This ¢
cover, featuring the
Dalek stamp, showed a
collage of images from
The Green Death. They
were signed by Nicholas
Courtney and limited to
500 covers. Later, The Green
Death Reunion stamp cover
was issued in July 2005. Copies signed by
Nicholas Courtney, Stewart Bevan and
Richard Franklin were available for £29.95.
A set of four Whitman Dr Who Jigsaws
went on sale in 1973. Two of the 125 piece
puzzles displayed images of the Third
; Doctor at a desk, and the Third Doctor
holding a mushroom - both from
The Green Death). The jigsaws cost
35p each.
A figurine of the Third Doctor
from the The Green Death was
part of Eaglemoss’ Doctor Who
Figurine Collection #47 in
June 2015. &
Merchandise | Cast and credits
Cast and credits
CAST
JOM POTWOG iccieccssiescctsecnnassiontssiicasenn ton Dr Who
with
Katy Manning..........ccsssssssssssscsnen Jo Grant
Nicholas Courtney..... Brigadier Lethbridge-Stewart
JCROMEWILNIS Benrncrn nen timer sn sisters Stevens
Stewart BeVAN Lise Clifford Jones
TONY AGAMS, Setrcniincunoncsnas Elgin [1-4]
JOHNIRON Te hrc. tecnuntnninadonniensantnneitie Fell [2-3]
Ben HOW ANG iiiccicnsnnnrananidninannconn Hinks [1-4]
ROY SKEILON a; cchoxcmicmmmnmananmnctind James [5]
Richard Franklim.......0.00.0.....008 Captain Yates [4-6]
John Levene...............c0 Sergeant Benton [4-6]
MostyniEvanSianncmncamanne mara Dai Evans [1-2]
Talfryn THOMAS .axccccman ees Dave [1-3]
ROY EVANS i scccccnssimmasucnmmenmnmenin cn Bert [1-2]
JON Dearth... cen Boss’ voice [2-6]
MitZi MCKENZIE 1... cece Nancy [1,3-6]?
Richard Beale...........cc000008 Minister of Ecology [3]
Ray Handy: iiicisiiccticcncnnudanmine Milkman [1,4]
J@an BUIGeSS Miiiinntusncmniaanmas: Cleaner [4]
JOHN SCOtt Martin... csc Hughes [1]
Brian Justice. .. Yate’s Guard [sic] [4]
Terry WallSD........ceni Security Guard [4] ¢
1 Credited on Episode One but does not appear
Also featured in Episode One, Two and Six; credited
as Guard in Radio Times for Episode Two with Billie
Horrigan and Alan Chuntz
UNCREDITED
Roger Mundy, Laurie Boyton, Mansel Wilks,
Geoffrey Morgan, Michael Cunningham..............
David Braddick, John Jeffries, Wayne Warlow,
Roger Mundy, Laurie Boyton, Frank Darroch,
Mansel Wilks, Rendle Morris, Gordon Cecil,
Michael Cunningham.............0000008 Male Villagers
Vincent Gardener, Geoffrey Morgan............0.....
Be iar sisias uaa auiniccaniinee te ae Male Wholewealers
Jill Alexandra, Tricia Selby. Female Wholewealers
Dennis Plenty, Leslie Bates , Steve Ismay, Pat
GOTMAN bc... )(00socnir cnc one Security Guards
Sonny Willis, Reg Cranfield... Villagers
Frank Seton, David Waterman...................08 Miners
JOAN Dearth... cscs UNIT Radio Voice
Terry WalSH. cc Stunt Double for Dr Who
JORN De@artTy ncn Mechanical Voice
Billie Horrigan, Alan CHUNEZ..... ese
annie nea vierresisiten tomer Stuntmen/Security Guards
EvaniROsSs')....ccccnccstnemnon nes Cabinet Minister
Brychan Powell.............. Prime Minister (Sir Jeremy)
Jean Channon... Lotus Position Girl (Hilda)
Ken Halliweelll...........cocseiononoenonnenenanne Sculptor
Keith Norrish. ..........cccccssssesen Long-Haired Boy
AliSON DaUMlf......... ccc Hippy Girl
Robert Birmingham ............cccccsssses Hippy Boy
Jessica Stanley-Clarke...............08 Flautist (Jessie)
Edward Wyman, Roger Knott, Roger Chapple,
John Cadwalader, Bill Baker, Peter McGowan,
David Braddick, John Jeffries, Leslie Bates,
David Billa ........000ccccescsnnannne nee
SENET UNIT Soldiers (inc Dicks, Stevens, Betts, Reed)
Terry Walsh................. Stunt Double for Captain Yates
Lyn Melley .....ccinnunnonmn ean Wholeweal Girl
Pat Gorman Wholeweal Man.
CREDITS
Written by Robert Sloman
Fight Arranger: Terry Walsh [2]
Title Music by Ron Grainer and BBC Radiophonic
Workshop
Incidental Music by Dudley Simpson
pecial Sound: Dick Mills
Im Cameramen: Bill Matthews ?, Ken Lowe 2
Im Sound: Simon Wilson 2
Im Editor: Alastair Mackay 2
isual Effects Designer: Ron Oates ? [with Colin
apson and Richard Conway, uncredited]
ostume Designer: Barbara Kidd ?
ake-up: Ann Rayment ?
Studio Lighting: Mike Jefferies ?
Studio Sound: Richard Chubb 2
Script Editor: Terrance Dicks
Designer: John Burrowes
Producer: Barry Letts
Directed by Michael Briant
BBC © 1973
a)
moe <<
3 Credited on Episodes One and Six
DOCTOR WHO | THE COMPLETE HISTORY
81
THE GREEN DEATH > ® stows
Promile
ROY SKELTON
James
he definitive Dalek voice
throughout the 1970s and
1980s, Roy William Skelton
was born 20 July 1931 in
Nottingham. When the family
sweet shop folded, his mother
became a housekeeper and his father
worked at the local Raleigh bike factory.
Roy left school at 14 and, via a theatre
company run by Meadows Boys’ Club,
he joined the Association of Boys’ Clubs
Travelling Theatre.
At his parents’ insistence he find a trade,
he studied textiles, but when called up
for National Service in the RAF he ran a
theatre club there. RAF fencing lessons
helped win him a scholarship to Bristol’s
Below: ;
Roy Skelton: Old Vic Theatre School.
a last-minute On graduating, he became assistant stage
replacement : :
in heGreen manager at Oldham Coliseum rep for six
Death, months, before returning to act at Bristol
DOCTOR WHO | THE COMPLETE HISTORY
Old Vic rep 1951-4 in Macbeth, Crime and
Punishment, Christmas in King Street and The
Merry Gentleman.
A capable singer who could play piano,
clarinet and saxophone, he appeared in
West End stage shows including Wild
Thyme (1955), Oh! My Papa! (1956/7) and
Chrysanthemum (1958/9).
After doing funny voices while
rehearsing for a TV role as Lampwick in
Pinocchio, Skelton joined Gordon Murray’s
BBC Puppet Theatre. Added to the cast of
Toytown in September 1956, chiefly to voice
grumpy Mr Growser, he was soon also
voicing Sausage the sausage dog in Picture
Book (1956-63). He joined fairy tale saga
Rubovia (1958-63), returning for six new
episodes in 1976.
When the Children’s Department
temporarily closed in 1963, Puppet Theatre
senior member Peter Hawkins voiced
some robot-like aliens on a new Saturday
afternoon show called Doctor Who.
Meantime, Skelton found voice work in
commercials and industrial films and took
on-screen TV parts in Detective (1964),
Quick Before they Catch Us (1966), Softly,
Softly (1968), Fraud Squad (1969), Ivanhoe
(1970) and The Last of the Mohicans (1971).
Bit parts in British films would include
Night After Night After Night (1969), There’s a
Girl in My Soup (1970) and Frenzy (1972).
It was almost certainly old colleague Peter
Hawkins who introduced Skelton to the
Doctor Who team. Skelton’s first Doctor Who
voice credit came with The Ark [1966 - see
Volume 7] playing Monoid 1.
Hawkins and Skelton were reunited for
The Tenth Planet [1966 - see Volume 8},
with Skelton devising a singsong voice
for Cyberman leader Krail. He voiced
the Cybermen again in The Wheel in
Space [1968 - see Volume 12]. Skelton
also helped voice Skaro’s metal meanies,
assisting Hawkins in The Evil of the Daleks
[1967 - see Volume 10].
His skills gaining attention, Skelton
provided robot voices for an episode of Out
of the Unknown called The Prophet (1967).
After supplying a prosaic computer voice
for The Ice Warriors [1967 - see Volume
11], for The Krotons [1968/9 - see Volume
13] he subversively gave the monsters
Afrikaaner accents at a time when South
Africa’s apartheid system was becoming a
contentious issue.
On-screen Doctor Who appearances Left:
included Norton in Colony in Space [1971 - An earlier
on-screen
see Volume 17], while James in The Green
Death was a walk on, required after actor
appearance - in
Colony in Space
Tony Adams fell ill. He also played the “idkewGag
ee ce ‘ number of vocal
invisible Wester in Planet of the Daleks {1973 _ performances.
- see page 6].
Skelton also donned monster costumes
for two Tom Baker stories, as Kraal
Marshall Chedaki in The Android Invasion
[1975 - see Volume 24] and King Rokon in
The Hand of Fear [1976 - see Volume 25].
Planet of the Daleks marked Skelton’s
return to Dalek voices, providing more in
Genesis of the Daleks [1975 - see Volume 23],
Destiny of the Daleks [1979 - see Volume 30],
The Five Doctors {1983 - see Volume 37],
Revelation of the Daleks |1985 - see Volume
41] and Remembrance of the Daleks {1988
- see Volume 44] as well as Comic Relief
spoof The Curse of Fatal Death (1999).
Despite his Dalek voicework, Skelton’s
legacy was ITV’s pre-school programme
Rainbow (1972-92), where he developed
puppet characters Zippy and George.
Peter Hawkins had voiced Zippy in a pilot
programme and presumably introduced
his friend as a possible replacement. Badly
behaved Zippy, with his huge mouth that
could be zipped shut whenever he got too
unruly, became a TV icon. Skelton also
wrote over 100 episodes of Rainbow and
two episodes of offshoot sitcom Take a
Chance (1981).
After Rainbow’s cancellation, Skelton
reprised Zippy and George in nostalgic
adverts, pop records and TV appearances
including Ashes to Ashes (2008) and Harry
Hill’s TV Burp (2008).
Later parts for Skelton included the
Mock Turtle in Barry Letts’ Alice in
Wonderland (1986) and roles in The Bill
(1989, 1995, 1996 and 1998).
After a stroke, Skelton died of
pneumonia in Brighton, on 8 June 2011. ©
DOCTOR WHO | THE COMPLETE HISTORY
1973/4 SERIES
1973/4 series
Right: o ‘break bad’ is to raise hell,
WD to be belligerent and challenge
sows the seeds ; ;
Siew authority. The Third Doctor
fate in The does the latter two on a regular
Green Death. basis, and in his final series
the hell he eventually raises
is one of his own making. And in facing
his own greatest fear, he ultimately
finds redemption.
“The old man must die, and the new
man will discover to his inexpressible
joy that he has never existed,” says the
mercurial Cho-Je, helpfully synthesising
the themes of Buddhism and Time Lord
metamorphosis which characterise Planet
of the Spiders [1974 - see Volume 21], the
swansong of Jon Pertwee’s Doctor. For the
first time in the show’s 11-year history, the
departure of the leading man seems like
a culmination of a series of threads from
earlier in his era.
Return to Metebelis IIT
lanet of the Spiders opens with a
p letter from Jo Grant, a much-loved
companion returning (albeit in
name only) to lend a bit of history to
her mentor’s oncoming
departure. The adventure
also takes place partly on
Metebelis III, the much-
lauded blue planet which the
Doctor had briefly visited in
the previous year’s The Green
Death [1973 - see page 48].
Having been talked of in
glowing terms it had turned
out to be a violent habitat
of silent comedy jeopardy,
—
1973/4 Series
» The Time Warrior
® Invasion of the Dinosaurs
(see Volume 21
» Death to the Daleks
(see Volume 21
» The Monster of Peladon
(see Volume 21
» Planet of the Spiders
(see Volume 21
© DOCTOR WHO | THE COMPLETE HISTORY
replete with hurled spears, lethal tentacles
and swooping bird monsters. This time
around the Doctor gets a lengthier stay
and finds the peril has increased to a level
where it also includes a megalomaniac
spider. Jo’s departure had been a
memorably emotional kick: the fledgling
had flown the coop the previous year, but
this time around the Doctor’s chickens
were coming home to roost.
Patrick Troughton’s exit as the Second
Doctor may have heralded a seismic shift
in the programme’s mythos (the Doctor’s
origins were no longer a mystery thanks to
the introduction of the Time Lords), but
none of the revelations it unleashed had
been seeded in earlier stories: everything
that happened in the Second Doctor’s
final adventure, The War Games [1969 -
Volume 14], did so within the vacuum of
that particular adventure. In contrast, the
impact of the Third Doctor’s regeneration
is much more personal and rooted in the
themes and character development that h
been instigated by producer Barry Letts.
The Third Doctor - often rude, brusque
and prone to vanity - is obliged to
confront his own failings and purge his
MUST DIE, (mes
AND THE NEW MAN WILL DISCOVER
TO HIS INEXPRESSIBLE JOY THAT
mE HAS NEVER EXISTED.” +
DOCTOR.WHO | THECOMPLETE HISTORY <a
1973/4 SERIES
Above:
The Sontarans
make their
débutin
Doctor Who.
shortcomings via his regeneration. It is the
first time the process is used as much as
a dramatic metaphor as it is a method of
replacing the show’s leading man.
The Third Doctor’s journey can be seen
as an early example of what would now be
called a story arc. Far less prominent in
context of the individual stories than such
developments would be in the modern
era of television, there are nonetheless
thematic payoffs and references that
reward the regular viewer. It all comes
together in the final story of the series
in which the Doctor atones for his past
misdemeanours and sacrifices himself in
order to earn redemption.
Barry Letts was quiet about his personal
adherence to Buddhism in real life but he
was happy for its tenets to run through his
storytelling. Individual inner peace aside,
though, the producer’s political ideology
also threads itself through the series, with
each story containing several elements
that reflect contemporary concerns. The
Time Warrior |1973/4 - see page 90] was
partly inspired by the dubious morality of
© DOCTOR WHO | THE COMPLETE HISTORY
the Vietnam War. Linx, the Sontaran from
an advanced species, uses the strength
and technology at his disposal to arm a
local warlord in order to further his own
military objectives. It’s a caustic comment
on interfering with other civilisations and
introducing them to superior military might
in order to further your own interests.
It would be unfair to suggest that this era
is therefore a hotbed of liberal preaching
though. Indeed it is well meaning do-
gooders who prove to be the architects
of the Invasion of the Dinosaurs [1974 - see
Volume 21]. Though it is fair to say that
both Letts and the author of that story,
Malcolm Hulke, were of a liberal bent it
doesn’t mean that they weren’t prepared
to examine the potential flaws of their
own politics. Having had futuristic stories
in previous years such as Colony in Space
[1971 - see Volume 17] and The Mutants
[1972 - see Volume 18] hint at Earth
being an industrial wasteland thanks to
chemical pollution, it would have been
fair for the careful viewer to assume the
‘green’ politician Grover in Invasion of the
Dinosaurs would be the embodiment of the
series’ morals - a far cry from blinkered
politicians like Chinn in The Claws of Axos
[1971 - see Volume 16] or Walker in The
Sea Devils [1972 - see Volume 18]. Well,
his politics may indeed be those admired
by the show’s production team, but that
doesn’t prevent them presenting him as
morally dubious. It’s a commendably
complex and self-reflective approach which
prevents any of the political undertones
from being smug, one-sided polemic.
No-one could accuse author Terry
Nation of a desire to be complex and his
Death to the Daleks doesn’t really pretend
to be anything other than escapist
entertainment. That said, subtext can be
gleaned from Dan Galloway’s decision to
cosy up to his enemies in order to survive,
only to have a change of heart and redeem
himself by becoming a suicide bomber. It
may resonate with the modern viewer in a
way not necessarily intended by the author,
but it is a handy illustration that one man’s
freedom fighter is another man’s terrorist,
and that the programme strives to be more
complex than ‘goodies vs baddies’.
Industrial action
ne doesn’t have to stray quite so far
from the writer’s intention to find
political parallels in the next story
- the wrangling between the miners and
the political class in The Monster of Peladon
[1974 - see Volume 21] is a reflection of
the contemporaneous industrial action by
the National Union of Miners. The story
is keen not to take sides, with each faction
having a reasonable protagonist (Gebek
for the miners, Thalira for the rulers)
and a psychotic or stubborn counterpart
(respectively, zealous miner Ettis and
immovable chancellor Ortron). The Doctor
gives Thalira a lesson in diplomacy and
is amused to observe that both factions
forget their differences and stand together
when Martian warlord Azaxyr arrives
and starts throwing his weight around:
political differences disappear when
circumstances change.
Planet of the Spiders concerns itself
with a higher plane altogether, leaving
party politics behind for more existential
concerns, but it is clear that these stories
are intended to provide more than pure
and simple entertainment. It is also very
interesting that this self-consciously liberal
model is headed by the most establishment
and conservative Doctor to date. He
may be rude to stupid middle-ranking
politicians and pig-headed scientists but
he’s arrogant, clearly likes hob-nobbing
with royalty and can be very patronising to
his young charges: he sounds as if he needs
bringing down to earth a bit (after being
irradiated by a giant spider).
To contrast this, his companion for his
final adventures is deliberately cut from
a more progressive cloth. It’s interesting
to note just how often production
teams sought to break the mould of the
traditionally subservient companion
(enough to render the cliché meaningless to
anyone who gives the show more than the
scantest scrutiny), but Sarah Jane Smith,
introduced in this series, was to become
one of the show’s most loved characters.
In fact, unlike Zoe, Leela and Ace, she
screams a fair amount, but as Barry Letts
noted from her audition, Elisabeth Sladen
manages to combine fear and bravery at
the same time which makes her the perfect
identification figure for the audience. Most
viewers would hope to be brave enough to
travel with the Doctor but deep down they
would worry that they’d be too terrified.
Sarah starts off plucky and misguided
in The Time Warrior, taking her denial of
time travel to ludicrous proportions when
captured by Irongron. Like the Brigadier
before her in The Three Doctors [1972/3 - see
Volume 19], she accepts that she may have
been matter-transported geographically but
Left:
Sarah - plucky
and misguided
- seen here
venturing
out on to the
planet Exxilon.
DOCTOR WHO | THE COMPLETE HISTORY ©
1973/4 SERIES
Below:
There's nothing
‘only’ about
being agirl.
is totally closed off to the equally impossible
notion that she may be in another period
of history as well. It’s like happily accepting
that you’re suddenly on Mars but refusing
to believe that it’s teatime there because
you've just had breakfast.
Sarah soon hits her stride though,
galvanising the rather wet good-guys to
kidnap the Doctor and introducing a bit
of spunk and initiative to the castle of
Wessex. By the time she is back in her own
era, she is using her day job as a newspaper
journalist to dig up dirt on Sir Charles
Grover, in Invasion of the Dinosaurs, proving
herself to be a plucky and independent
investigator. In The Monster of Peladon, she
gamely gives Queen Thalira a lesson in
gender politics and utters the now famous
line in which she declares that “there’s
nothing ‘only’ about being a girl”.
Of the other regulars, the Brigadier is
quite far away from the tough military
commander he was originally conceived
as and often provides comic relief (as
demonstrated by his enthusiastic interest
in an exotic dancer in Planet of the Spiders).
His incorruptible toughness is there when
it needs to be though, notably in Invasion
of the Dinosaurs when he defies General
Finch. The ever-loyal Benton goes one
© DOCTOR WHO | THE COMPLETE HISTORY
step further by punching said duplicitous
senior officer, not long after one of his
finest ever moments in which he persuades
the Doctor to overpower him in order to
secure the Time Lord’s escape from unjust
imprisonment. The dynamic may be cosy,
but cosy is comfortable and both men
provide solid support for the Doctor and
welcome familiarity to the viewer.
Black sheep
espite this, and just in case the cosiness
is becoming cloying, the UNIT family
turns out to have a black sheep. It
is typical of the series that Mike Yates’
treachery is treated with understanding.
He, like so many of Malcolm Hulke’s
protagonists, does bad things for good
reasons. It’s a fascinating moral complexity
that offsets the low-key way the revelation
of his duplicity is dealt with. It just goes to
show how individual stories were more of a
priority than putting the central characters
front and centre: indeed, the twist that
Mike is a traitor comes relatively early in
the story - we find out that he is in league
with Professor Whitaker long before we
unearth the truth about one-off characters
Grover and General Finch. Their treachery
is given far more dramatic weight even if by
the time the latter’s treachery is revealed,
the story has run out of potential turncoats
(unless Corporal Bryson has secretly stashed
a second Time Scoop in his attic). Yates,
having been forced against his will to betray
the Doctor in The Green Death the series
before, has returned to active service with
the trauma still clearly unresolved. The
Doctor sympathises with his laudable desire
for a better world, and having a popular
regular character voice the argument of
the story’s villains prevents us from being
entirely dismissive, no matter how naive his
intended methodology proves to be.
If the Doctor’s human opposition is rarely
painted in purely black-and-white terms
(even Lupton in Planet of the Spiders gets a
speech about his unhappiness at work),
the monsters too provide rich pickings.
Three of Doctor Who’s most famous and
popular alien races serve as his nemeses
this series, with one, the Sontarans, making
its début. The lone Commander Linx makes
a memorable impact, his practical, military
disdain for us humans played dead straight
by actor Kevin Lindsay who establishes him
as plausible threat. It’s no surprise that he
returned as a creature from the same race
in the following series and cemented the
Sontarans as a recurring part of the
show’s mythos.
From an unfamiliar new monster
to a new take on an old one - ina
commendable attempt to do something
different with the Daleks this year, they
lose all the power that makes them so
deadly, but none of their accompanying
deviousness or callousness. As for the Ice
Warriors - having had the twist in The
Curse of Peladon which saw them on the side
of the good guys - it is perhaps no surprise
that the sequel found them once again
up to their old naughty tricks. With that
story being fastidious about continuity by
employing the same director, designer and
monster actors, the extra episodes and evil
Martians bring some necessary changes.
There’s a familiarity of a slightly different
kind in Planet of the Spiders in order to
give it a sense of occasion. Producer
Letts writes and directs the swansong,
surrounding Jon Pertwee with familiar
faces in the guest cast, many of whom had
cropped up on various occasions over the
previous five years. Touchingly, there’s even
space for the name Delgado to appear on
the credits one final time: the late Master
actor Roger’s widow, Kismet, lends her
voice to one of the Spiders.
And so, as our hero lies on the ground, his
life ebbing away as he considers his folly, he
is much like Breaking Bad’s Walter White,
the hero of a TV phenomenon that wouldn’t
occur for another 40 years. His downfall
came in the form of blue crystals, promising
him everything, luring him with the promise
of giving him what he desired but ultimately
leaving him with nothing - his own pride
becoming the architect of his demise. Over
the course of his journey of self-discovery,
he encountered plenty of death, destruction
and danger (and a certain amount of
humour), but his fate had been sealed the
minute he yielded to temptation. &
DOCTOR WHO | THE COMPLETE HISTORY
Left:
The Doctor is
betrayed by
one of his allies
in Invasion of
the Dinosaurs.
THE TIME
WARRIOR
» STORY 70
Investigating the disappearance of several
scientists, the Doctor and journalist Sarah
Jane Smith discover they are being abducted
through time by the Sontaran warrior Link,
who is stranded in medieval England.
© DOCTOR WHO | THE COMPLETE HISTORY
¢
DOCTOR WHO | THE COMPLETE HISTORY ©
THE TIME WARRIOR
Introduction
y the time The Time Warrior ' Doctor’s new companion broke the
®
f began its UK broadcast at the mould - presented with a more
end of 1973, Doctor Who already __ well-founded, capable adventurer who
had 10 series under its belt. would eventually be given her own series
beer There had been over 50 distinct (The Sarah Jane Adventuyés 2007-11). \\y {
5 oy villains or monsters pitted The Sontarans would rin to battle | ; ;
2 zr | = against our hero. In addition to the three the Fourth, Sixth, Tenth and Eleve s
ye Doctors, numerous actors had been cast as Doctors [see Volumes 22, 28, 41, 58 and 66).
ar: his many companions - playing a selection In Commander Linx, Holmes created an
a of orphaned children, young trendsetters _—extraordinary character. A military obsessive,
Gey and academics. like all his race, he is amusing by virtue of
~ It’s an impressive feat, then, that Robert the fact that he takes himself so seriously.
Holmes created a new alien threat which He’s a believable threat but, being so little,
was strong enough to recur in subsequent others don’t immediately realise this. The”
decades. It’s also interesting that the _ Doctor sums him up as “nasty, brutish and
© DOCTOR WHO | THE COMPLETE HISTORY
AMUSING BY V |
RTUE OF THE FACT THAT
HE TAKES HIMSELF SO SERIOUSLY.
Ww
Sit” Sontarans from other clone batches
win’ Venu develop Holmes’ creation further. In
\ \ he Sontaran Experiment [1975 - see Volume
\ © W) 22] we meet Styre - a far more sadistic
i ' . breed. Much later, writer Steven Moffat
* —_ would capitalise on the comical potential
of the Sontarans, inventing the dim-witted
Strax, who would become an ally of the
Eleventh and Twelfth Doctors.
Sarah Jane Smith, meanwhile, would
become one of the series’ most-loved
‘ characters. She is the first companion to
conspicuously have a life to which she
returns during her time with the Doctor.
Her career as a journalist means that she
_ to the Middle Ages to try to solve the
is as eager as the Doctor to investigate. In ip
School Reunion [2006 - see Volume 52] the
Doctor meets her again, many years after
they first parted, and she’s busy with her ,
own investigation. Her talents were evident :
from the outset, as she pursued the Doctor i
mystery of the missing scientists.
The Time Warrior isn’t a particularly
typical Third Doctor story. It’s one of only
three occasions where he heads back into
Earth’s history - and it bravely shows an
aspect of the series that could still deliver.
It’s a glowing example of how the series
always has vast, untapped potential. Ml
DOCTOR WHO | THE COMPLETE HISTORY © #
94
THE TIME WARRIOR ©:
PART ONE
T t’s the early years of the Middle
Ages and robber baron Irongron
is in a foul mood. His second-in-
command, Bloodaxe, spots a falling star.
The next morning Irongron leads his
men to the forest where they find a large
metal sphere. A squat figure emerges and
introduces himself as a Sontaran officer
called Linx. [1] Linx tells Irongron that
he will give him weapons in return for a
place to conceal and repair his ship.
In the twentieth century, the Brigadier
has arranged for the Doctor to visit
one of the country’s most top secret
establishments where a half a dozen
scientists have gone missing.
The missing scientists are now
ensconced in the castle where Linx has
established a makeshift laboratory to
repair his spaceship. [2]
The Doctor meets the myopic Professor
Rubeish who introduces him to Sarah
DOCTOR WHO | THE COMPLETE HISTORY
Jane Smith, a journalist who has sneaked
in pretending to be her Aunt Lavinia.
Sir Edward informs his wife Eleanor
that he has sent letters to all their
neighbours in the hope that together
they can crush Irongron. Unfortunately
one of his messengers is intercepted by
Bloodaxe. Linx makes the messenger tell
Irongron about Sir Edward’s plan. [3]
Hearing a crash, the Doctor and Sarah
enter Rubeish’s cubicle to find it empty.
The Doctor checks the landing where he
briefly sees a ghostly figure. [4] While the
Doctor talks to the Brigadier, Sarah stows
away in the TARDIS.
The TARDIS lands in a wood. After
the Doctor has gone, Sarah emerges. [5]
Sir Edward’s archer, Hal, is about to
shoot Irongron on the battlements
when he is disturbed by Sarah. He flees
while Sarah is dragged into Irongron’s
castle, watched by the Doctor. He
enters the courtyard and ducks out
of sight as Linx appears and removes
his helmet! [6]
PART TWO
al is captured and brought into the
castle. Sarah refuses to believe she
has travelled in time, thinking she
is at some sort of tourist attraction. [1]
Linx enters and presents Irongron with
a robot knight. While Linx and Irongron
are distracted, Sarah slips away.
Hal is dragged into the courtyard for
execution, but Irongron offers to let him
fight for his life against the robot knight.
He gives Hal his bow and arrows but they
are ineffective. [2] However, the Doctor
is watching from the battlements and
he fires an arrow at the remote control,
causing the robot to run amok and
enabling Sarah and Hal to escape.
Irongron disturbs Linx in his
laboratory and Linx goes with him to
deactivate the robot.
The Doctor sneaks into the laboratory
and finds Rubeish, who is the only
scientist not under Linx’s hypnotic
control due to his short-sightedness. Linx
returns and confronts the Doctor. [3]
Hal takes Sarah to Sir Edward’s castle
where she meets Sir Edward and Eleanor.
Hal tells them that Irongron is being
helped by a “mighty wizard”. Sarah
thinks that the culprit is the Doctor,
and suggests that they should mount a
commando raid to grab him. [4]
Linx tells the Doctor that he was on
a reconnaissance mission when he was
attacked by Rutan fighters and forced to
make an emergency landing. He places an
auto-control device on the Doctor’s head
to ensure his cooperation. [5]
Sarah and Hal are able to sneak into
Irongron’s castle and overhear Linx
talking to Irongron about attacking Sir
Edward's castle.
The Doctor gets Rubeish to deactivate
the headset, allowing him to remove it.
He leaves the laboratory - and walks into
Irongron and Bloodaxe. The Doctor races
out into the courtyard but is knocked to
the ground. Irongron raises his axe... [6]
DOCTOR WHO | THECOMPLETE HISTORY 35
THE TIME WARRIOR © s0R7
PART THREE
al shoots an arrow which knocks
the axe from Irongron’s hand. Sarah
and Hal capture the Doctor and
take him to Sir Edward’s castle, where
the Doctor convinces Sarah that he’s not
helping Linx. Sir Edward offers to spare
the Doctor’s life if he uses his magic
against Irongron. The Doctor agrees and
gets busy mixing a noxious compound
while Sarah brings him bags sewn by the
castle’s wenches. [1]
Approaching the castle, Irongron
and his men are surprised to find that
it appears to be heavily defended. [2]
Linx uses a rifle to shoot a figure on the
battlements and realises that the men
defending the castle walls are dummies.
Irongron’s men attempt to enter the
castle but the Doctor throws several
“superior stink bombs” at them. [3]
The Doctor is congratulated by Sir
Edward and Eleanor but the Doctor
DOCTOR WHO | THE COMPLETE HISTORY
warns them that the only sure way
they can stop Irongron from capturing
their castle is if they capture his. He
gives Eleanor a list of ingredients for a
sleeping draught. [4]
Irongron returns to his castle and tells
Bloodaxe that once Linx has given him
the weapons, he will kill Linx.
The Doctor and Sarah approach
Irongron’s castle disguised as friars
begging alms. [5] They sneak into Linx’s
laboratory where they meet Professor
Rubeish. Inspecting Linx’s spaceship, the
Doctor declares that it is nearly ready for
take-off, and when it does, everyone in
the castle will die!
Linx delivers the promised weapons
to Irongron.
The Doctor uses a flashing torch to try
to de-hypnotise one of the scientists. Linx
returns and Sarah and Rubeish hide. The
Doctor offers to help Linx if he is allowed
to return the scientists to the twentieth
century. [6] As his answer, Linx shoots at
the Doctor.
PART FOUR
ubeish sneaks up behind Linx and
knocks him out. After restraining
Linx, the Doctor tells Rubeish to
dehypnotise the scientists.
Irongron is surprised when Linx’s robot
knight marches into his main hall. After a
swordfight the robot is revealed to be the
Doctor in disguise. [1]
Sarah helps the castle cook prepare a
stew for Irongron and his men, secretly
adding the sleeping draught. [2]
After releasing Linx, Irongron returns
to his hall and tells the Doctor that he
will be used as target practice.
Sarah hears the shooting and runs up
the stairs. She reaches the gallery and
releases the candelabra, which the Doctor
uses to swing to freedom. [3] They escape
together, returning to Sir Edward’s castle
to wait for the sleeping draught to work.
Linx finishes repairing his spaceship
and leaves to speak to Irongron.
The guards outside Irongron’s castle
fall asleep and the Doctor, Sarah and
Hal sneak in. They reach the laboratory
where the Doctor returns the scientists to
the future. [4]
Linx tells Irongron he should leave but
Irongron refuses. After Linx has gone,
the sleeping draught takes effect and
Irongron and his men fall asleep.
Linx returns to his laboratory and
attacks the Doctor. [5]
Hal tries to disarm Irongron but
Irongron wakes up and throws him to the
floor. As the Doctor and Linx trade blows,
Irongron bursts in. Linx shoots Irongron
and enters his spaceship.
Hal rushes to the laboratory where
he sees the spaceship door closing. He
fires an arrow at Linx, hitting him in his
probic vent. [6] Linx slumps forward,
pressing the take-off button.
The Doctor, Sarah and Hal race outside
as the castle explodes. Then the Doctor
and Sarah return to the TARDIS and say
their farewells to Hal.
DOCTOR WHO | THE COMPLETE HISTORY
97
STORY 70
THE TIME WARRIOR
Pre-pro
n Tuesday 16 January 1973
regular Doctor Who scriptwriter
Robert Holmes submitted
a story idea entitled The
Automata. The story proposal
was rejected by producer Barry
Letts and script editor Terrance Dicks on
Friday 26 January. However, still keen
to have a story from Holmes, Letts and
Dicks invited him for lunch where they
commented that there had not been a
story with a historical setting for several
years. Dicks proposed a serial set in
medieval England. Recalling Marco Polo
[1964 - see Volume 2] and The Romans
[1965 - see Volume 4], Holmes was very
much against historical Doctor Who stories,
feeling that the series had moved on from
its semi-educational stance;
however, he reluctantly
agreed to develop such
a storyline with the
Robert Holmes’
new creation,
Jingo Linx.
a :
TORWHO | THE COMPLETE HISTOR.
‘a \eé
auction
proviso that the Doctor would not have to
meet any famous historical figures.
Holmes decided to create a new alien race
for his storyline and devised the Sontarans
after reading the 10-volume work On War,
by Prussian general Carl von Clausewitz,
published in 1832. Holmes’ idea was that
the Sontarans had genetically re-engineered
themselves into a clone species in order
to sustain immense armies in an ongoing
conflict with an opposing superpower, the
Rutans. In part, Holmes also drew upon the
Vietnam War which had waged since 1955,
conceiving the Sontarans like American
forces deploying into the conflict between
North and South Vietnam.
Holmes had also been made aware that
the Doctor’s current companion, Jo Grant,
would be leaving the programme when
actress Katy Manning departed at
the end of the 1972/3 series.
Finding the whole storylining
process boring, Holmes submitted his
idea to Dicks in the form of a military
communique from a Sontaran officer called
Hol Mes, marked ‘for the attention of
Terran Cedicks’.. The document, supposedly
prepared from entries in Captain Linx’s
log and images recorded in his cursitor’s
ship’s memory banks, greatly expanded
on the background of the Sontarans and
the start of the serial; in one of the last
actions of Galactic War 9, a V-class cursitor
commanded by Captain Jingo Linx is
attacked by Rutan space-fighters. The
cursitor is hit by a D A missile and Linx
orders his crew of seven to abandon the
craft (four eventually returned to Sontara,
an event overshadowed by the start of
Galactic War 10). Linx lands on the third
planet of a fringe solar system to be met by
a ‘bunch of gooks’ led by Irongron (whose
name came from that of an ancient Danish
warrior), who have a recorded history of
1,200 years.
Pow-zap the creeps!
he citation continued to note
T elements such as Irongron’s allegiance
to the territorial leader King John,
to whom Linx provides weaponry to
‘pow-zap the stinking little creeps’. To
conceal his alien form, Linx wears armour
of the sort worn by Irongron’s men, but
when attacked during a raid almost 1,000
years in the future to kidnap scientists, he
is forced to leave his ‘head-shield’ behind.
The time that the helmet was made is
identified by ‘a Doctor belonging to the Left:
Galfrey species (the self-styled Time Lords; sm
see Glim’s Notes of an Antiquary; also
the War Manual, Vol. VII, Feasibility of
Further Galactic Conquest). The Galfrey
Doctor pursues Linx in a time machine
called TARDIS, accompanied by Smith, a
‘secondary terrestrial’ (ie female). Hal, a
local soldier, attempts to shoot Irongron
with a longbow, only to be captured along
with Smith by Irongron’s guards, using
hounds. After the Doctor rescues Hal from
a demonstration of Linx’s robot knight,
they escape with Smith.
The report notes that from this point,
Linx becomes unstable and places the
destruction of the Doctor above repairing
the cursitor; he was ‘going bush’.
Linx and Irongron track the fugitives
to the castle of Edward of Wessex, and
there is an inconclusive battle; Linx uses
gunpowder to knock down the walls, but
the inhabitants escape down a tunnel.
The Doctor and Smith enter Irongron’s
castle as ‘mendicant
friars (unexplained term;
presumably some form
of sanitary service)’, but
when the Doctor stops
lrongron get
acquainted.
Connections:
Homeworld
» The Doctor's
home planet was finally
Linx punishing one of his
slaves, he is ‘de-activated’
with a hand-impactor. The
Doctor is placed in a cell,
just as Edward and other
anti-King John barons unite
in an attack on Irongron’s
castle. Irongron discovers
the Doctor and decides
to suspend him from the
ramparts on a gibbet, but an
arrow shot by Hal severs the
rope to let the Doctor fall
into the moat.
Smith introduces narcotics
into Irongron’s food and then
DOCTOR WHO | THE COMPLETE HISTORY
named as Gallifrey
originally scripted as
Galfrey’) when the
Doctor reveals his origins
to Linx. However, this
fact was actually first
revealed to the public in
issue 126 of TV Action
comic, dated 14 July
1973 (some five months
before transmission of
The Time Warrior), when
Barry Letts revealed the
name in response toa
reader's query.
100
THE TIME WARRIOR ©:
Connections:
Nasty, brutis
and short
» The Doctor's descripton
of Linx derive
English philos
Thomas Hobbes’
description of a man's
life as ‘solitary, poor,
nasty, brutish and
Short’ in his 1651
book, L
Below:
Linx has
the Doctor
at a tactical
disadvantage.
DOCTOR WHO | THE
lets down the drawbridge to
allow Edward’s forces into
the castle where they are met
by more of Linx’s robots.
The Doctor and Smith send
the scientists back to their
own time, but then Irongron
demands the right to kill the
Time Lord in a duel with
‘blades’; Irongron loses. Linx,
back in the officer uniform
of the Army Space Service,
is about to depart in the
repaired cursitor when the
Doctor takes Hal’s crossbow and fires an
arrow into the vital spot of his probic vent.
Mortally wounded, Linx falls across the
controls as the cursitor takes off, atomizing
the castle moments after the humans and
Doctor escape. The report concluded that
the cursitor was detected on 149-54 1/3 by
a Sontaran space patrol crossing Nebulae
Blue I. Captain Linx was devitrified with
full military honours on 149-55 2/3: ‘It is
therefore recommended that he [Linx] be
posthumously awarded the Galactic Hero’s
Cross, 2nd Class’
h
d from
opher
eviathan.
COMPLETE HISTORY
The Time Survivor
T he formal commission for the serial
outline, entitled The Time Fugitive,
was given to Holmes on Monday 26
February with a delivery date of Monday
5 March. On this same date, Holmes was
commissioned to write the scripts, now
under the title The Time Survivor. Part One
was scheduled for delivery on Monday 12
March, Part Two on Monday 19 March, Part
Three on Monday 26 March, and Part Four
on Monday 2 April. In the event, Holmes
delivered Part One on Monday 12 March,
Parts Two and Four on Monday 19 March,
and Part Three on Monday 26 March.
As with the previous series, Letts
planned to make the first serial of the
1973/4 series at the end of the 1972/3
series, and so production would begin
in early May. Integrated into Holmes’
scripts were changes to the originally
envisaged character of Smith, the new
companion. Letts and Dicks had created
the new character and had actually cast
29-year-old actress April Walker to play
the part. Walker was well-established in the
profession with several TV credits to her
name, including roles in The Onedin Line,
Dad’s Army, Counterstrike and Crossroads.
She was contracted to appear in all five
stories of the 1973/4 series as Sarah Jane
Smith on Wednesday 14 March 1973.
However, when Jon Pertwee returned to
London from location filming in Wales
for The Green Death [1973 - see page 48]
and discovered his new co-star had been
chosen in his absence, he was far from
happy. Pertwee and Walker had previously
worked together in 1968 in the West End
play, Oh, Clarence!, but Pertwee did not
feel Walker was right for the part of his
new companion, considering her to be
too tall and too buxom. Walker’s contract
was cancelled on Thursday 29 March,
but she still received full payment for all
26 episodes that she had been originally
contracted for; in return she was on first
call to the BBC for the agreed period and
featured in editions of The Two Ronnies.
It was then decided that Smith would be
Sarah Jane Smith, a freelance journalist;
the choice of career signalled another
break with the UNIT format and made
it plausible for the character to get into a
variety of new situations. Letts was keen
that Sarah Jane should act independently,
impulsively and initiate action (unlike Jo) in
an effort to overturn the traditional sexist
stereotypes of companions. Dicks felt that
she should be ignorant of science, which
still allowed the Doctor to explain matters
to both her and the audience. In Holmes’
scripts, Sarah Jane was introduced as ‘an
attractive and vital girl in her twenties’.
Of the other characters, Sir Edward
(‘the local squire’) and his wife Eleanor
(also spelt Eleanour) were described as
‘an attractive couple. Still fairly young,
but Edward is wasted and frail, obviously
the aftermath of sickness. Eleanor is a
spirited woman.’ Meg, Irongron’s serving
wench, was ‘a plump, not unattractive
serving girl who has seen better days’,
while Mary, Lady Eleanor’s servant, was
‘a buxom young serving wench’. Mary’s
first scene introduced Hal the archer,
‘a handsome, sturdy fellow.” Holmes
indicated that as the scene begins there
follows ‘a bit of mild medieval slap and
tickle which is broken up in confusion
by the entrance of Eleanor’. The sole
Sontaran in the script was Commander
Linx of the Sth Sontaran Army Space
Fleet; his initial appearance indicated he
wore ‘Sontaran space armour, not unlike
a gleaming, sophisticated version of the
knights’ armour of the period’. Later at
the castle, Linx was described as ‘a squat
broad figure encased in black armour’
while his unmasked appearance at the end Above:
of Part One was described as ‘a close-up Saal
wae ' Pisa convinces
of his hideous toad-like alien face’. Linx’s Eleangeame
principal device and weapon was a ‘slim Edward that
tube-like pencil torch’ also referred to asa the Reco
the enemy.
‘ray tube’ which caused the Doctor to glow
an ‘incandescent orange’ when he was fired
upon in Part Two. No firm date was given
in the scripts, but references were made to
the King being away at the wars (possibly
the Crusades) and the Doctor describes the
period as “the early Middle Ages”.
The only significant change made by
Dicks to Holmes’ scripts was for the
sequence where Irongron’s men attack
Sir Edward’s castle. Holmes had specified
a pitched battle which would have been
time consuming to film and would have
required a great many supporting artists.
Dicks cut this down and introduced
the idea of the Doctor throwing smoke
bombs. Dicks added Bloodaxe’s suggestion
that Irongron waited until morning to
investigate the fallen star... thus avoiding
an expensive night shoot. He also deleted
a scene with the two monks, from whom
the Doctor and Sarah acquired their robes,
being left tied up with one saying to the
DOCTOR WHO | THE COMPLETE HISTORY
101
THE TIME WARRIOR ©:
Right:
Script editor
Terrance Dicks
(centre) with
Barry Letts
(left) and Jon
Pertwee.
other: “Truly brother, every man’s hand is
against us this day...”
At the same time as work was
progressing on The Time Warrior (as
Holmes’ scripts had now been renamed),
Letts and Dicks were preparing for
another project: Moonbase 3, an adult
science-fiction drama about a lunar
community in the year 2003 which they
had created in an attempt to leave Doctor
Who; the two men had written a pilot
script, Departure and Arrival, to sell the
format to Shaun Sutton, the head of
drama. Ideally, Letts would have directed
The Time Warrior as the final story of the
recording block (as he had done with
Carnival of Monsters [1973 - see Volume 19]
the previous year), but his commitments
to Moonbase 3, which was to be produced
over the summer break, prevented this.
The serial would demand an experienced
director and Alan Bromly was suggested
to Letts. A former actor, Bromly had been
with the BBC for many years as a producer
on shows such as Compact, Francis
Durbridge Presents..., thriller serials such
as Take a Pair of Private Eyes and This Way
for Murder, the science-fiction anthology
series Out of the Unknown and Paul Temple;
The Time Warrior would be his first Doctor
Who serial and a return to the BBC after a
DOCTOR WHO | THE COMPLETE HISTORY
few years working freelance, directing for
commercial television.
The set designer on the serial was Keith
Cheetham on his first and only Doctor Who
serial. Costumes were designed by James
Acheson who had worked on The Mutants
[1972 - see Volume 18], Carnival of Monsters
and The Three Doctors [1972/3 - see Volume
19] the previous year. Make-up designer
Sandra Exelby had been an assistant on
several earlier serials, including The Tenth
Planet [1966 - see Volume 8] and this
was her only serial as a designer before
she left the BBC. Visual effects work
was supervised by James Ward who had
previously handled Doctor Who and the
Silurians [1970 - see Volume 15], The Mind
of Evil [1971 - see Volume 16] and Day of
the Daleks [1972 - see Volume 17]. He was
assisted on location by Peter Pegrum, who
had previously been responsible for the
visual effects on The Time Monster [1972 -
see Volume 18].
Ideal Holmes
t was around this time that Dicks also
I decided to leave Doctor Who and set
about finding a replacement. Louis
Marks, a former Doctor Who writer and
now a BBC script editor, suggested his
old colleague Robert Holmes as a possible
candidate. Dicks put Holmes forward and,
after a rather awkward meeting with Ronnie
Marsh, head of serials (in which Marsh
unknowingly criticized Holmes’ Terror of
the Autons [1971 - see Volume 16] as an
example of unacceptable Doctor Who), he
was given the post. He began trailing Dicks
from the autumn on the 1973/4 series.
The main new addition to the crew
would be the actress playing Sarah Jane
Smith. Elisabeth Sladen was selected at a
very late stage, having been recommended
to Letts by Z Cars producer Ron Craddock,
who had been impressed with her
performance in two episodes of the police
series. At the time Sladen was appearing
in The Philanthropist at the Mayfair
Theatre and had just made a Cointreau
advertisement on which she had had to
work late. Arriving home at 2am, she
found a phone message saying that Letts
wanted to see her at the BBC’s Threshold
House office in Shepherd’s Bush the next
morning; as there had been no publicity
at this point about Katy Manning leaving,
Sladen assumed that this was for a guest
role. Sladen was the final interviewee
and remembered Letts from his days as a
television actor. Impressed with Sladen,
Letts asked her to accompany him to the
North Acton rehearsal rooms on Friday
13 April. There, actor Stephen Thorne
performed in a scene where Sarah climbed
through a window and then reacted to
aman sitting behind a desk who turned
out to have an alien snake-like tongue.
Sladen displayed fear yet courageousness,
exactly the qualities Letts sought. She was
then introduced to Jon Pertwee who was
rehearsing for The Green Death in another
room; Pertwee was very impressed by
Sladen and he and Letts made thumbs-
up signs to each other behind her back.
Connections:
Well done Sarah
} Escaping by means of
the candelabra, the
Doctor thanks Sarah
with reference to the
1867 song The Daring
Young Man on the Flying
Trapeze, written by
George Leybourne and
Gaston Lyle about
French acrobat
Jules Léotard.
Sladen accepted the offer of the regular
role without consulting her agent, who
reprimanded her for not striking a better
deal; her initial plan was to do a single
year as Sarah. Sladen had her first costume
fitting on Wednesday 25 April and was
issued with her contract for 26 episodes on
Thursday 3 May.
The guest cast involved in filming for
the serial included David Daker, Kevin
Lindsay and Jeremy Bulloch. Much of the
casting was left to Bromly’s production
assistant, Marcia Wheeler. Daker, playing
Captain Irongron, had been a regular in Z
Cars and later appeared in The Adventures of
Dick Turpin and Boon; he was suggested by
Bob Hoskins to whom the role of Irongron
had initially been offered. Australian actor
Lindsay, cast as Linx, was best known at
the time for playing a milkman in a series
of commercials. Jeremy Bulloch, who had
featured in Billy Bunter of Greyfriars School
and The Newcomers , had been in Doctor Who
before as Tor in The Space Museum [1965 -
see Volume 5]. He was trained in the use of
a bow and arrow by BBC armourer Doug
Needham. At one point, Letts considered
retaining Hal as another new companion
and asked Bulloch what his working
schedule for the autumn would be like. ©
Above:
The new team
of Pertwee
and Sladen,
DOCTOR WHO | THE COMPLETE HISTORY
104
THE TIME WARRIOR ©:
Product
he main venue for filming
on the production was
Peckforton Castle at Tarporley
in Cheshire, a Victorian gothic
folly constructed for Lord
Tollemarche at the turn of the
century and which was then occupied by
an American family. The BBC team was
reminded not to wander about the castle
(parts of which were uninhabited and
unsafe) or disturb the family in residence,
particularly as a recent feature film unit
working there had proved to be over-
intrusive. The venue had been located by
production assistant Marcia Wheeler in
A nervous Sladen travelled up by train
with Lindsay with whom her husband,
Brian Miller, had worked with at Watford
— a book of follies, and was a rare occasion in the 1960s. On arriving at The Crown
lS . : es .
pitches in, on which both Holmes and Dicks went Hotel, Sladen joined the team in the bar;
helping the on location with Letts and Bromly’s crew. when Pertwee greeted her as “Katy” and
crew tomake Recording on The Green Death had been suddenly burst into tears, the new actress
the location : ‘ mes
Reaiclike the completed on the last day of April. realised how much the series’ star was
Middle Ages. The BBC unit travelled up from London missing his old friend.
on Sunday 6 May to its
base in Nantwich, with The
Connections: tc Jj
Who are you? Crown Hotel being the main Women's lib
® The Doctor introduces base, but with some crew hooting on 16mm film began on
himself to Professor members staying at The & Monday 7 May from 9am with
Rubeish as “Doctor John Lamb Hotel and The Olde scenes set around the castle gateway:
Smith’, a pseudonym
that he had originally
been given by his
companion, Jamie, in The
Wheel in Space [1968
- see Volume 12]. The
Doctor uses the name
again in Spearhead
from Space [1970 - see
» Volume 15] and
Inferno [1970 -
y see Volume 16].
Vaults. Although Donald
Pelmear, who had been
cast as Professor Rubeish,
was due to appear on film,
the actor was not present
on location; it seems that
Rubeish originally travelled
back to the present-day in the
TARDIS, a story point altered
due to the requirements of
the following serial, Invasion
of the Dinosaurs [1973 - see
Volume 21].
DOCTOR WHO | THE COMPLETE HISTORY
these included Sarah being dragged
inside in Part One, the sentries collapsing
and Irongron’s men fleeing the castle
in Part Four. Sladen had been slightly
disappointed that Sarah was written in
the tougher style of a ‘Women’s Libber’
(heavily emphasised in publicity material)
as she had looked forward to wearing
the same sort of fashions as Manning.
Sarah’s role was written very strongly, and
Sladen adopted some of the over-reactive
mannerisms of her eight-year-old cousin
in her performance. Pertwee made a point
a
a - ~
; y - ~~ s —_
ASR 2aesuu
& on
~ . > as we ™ =
AO ay, ; a?
7
DOCTOR WHO | THE COMPLETE HISTORY 105
THE TIME WARRIOR ©:
of coming to watch Sladen’s first scene
as an act of encouragement; he sat on a
shooting stick directly in her eyeline which
made her nervous. During the take, Sladen
was a bit ashamed when her Liverpudlian
accent found its way into her protests
with Irongron’s men. When members of
the public came to watch filming, Pertwee
also insisted that they should meet Sladen,
even though the actress protested that they
wouldn’t know who she was.
Who forgot the TARDIS?
ne problem on the first day arose
0 when it was discovered that the
TARDIS was missing; the prop had
been erroneously left in London, so some
shots were deferred and the unit filmed
what they could without it. The crew
moved to a clearing in the surrounding
woods to film Irongron’s band meeting
Linx in Part One. This scene required
Ward’s full-size expanded polystyrene
shell of Linx’s cursitor spacecraft (inspired
Connections:
Martial arts
» When the Doctor
overpowers the sentries
in Part Four, Holmes
indicated that he sends
one ‘flying with a neat
bit of Venusian aikido’
The Doctor had used
Venusian aikido (or
Venusian karate) in
previous stories including
Inferno [1970 - see
Volume 16], The Mind of
Evil[1971 - see Volume
16], and Day of the
Daleks [1972 - see
Volume 17],
by the magnified eye of an
insect) from which Lindsay
emerged, to immediately
disagree with Bromly over the
pronunciation of “Sontaran”
(the actor insisted that if he
was one of the creatures he
should know his own name).
Lindsay wore Acheson’s
heavily padded, quilted lurex
costume which was topped
off by a fibre-glass collar
and helmet. Linx’s mask,
modelled by visual effects
assistant John Friedlander,
was constructed in fibreglass
with a latex section for Kevin
Lindsay’s face; it had been
developed by Sandra Exelby
and James Acheson from the
aos DOCTOR WHO | THE COMPLETE HISTORY
script’s half-toad/half-human description
which led to Linx having no neck. The mask
was the same shape as Linx’s helmet and
the top lip had a flap which fitted inside
Lindsay’s own lip; make-up was applied
around the actor’s eyes and mouth with
binding to the thin latex with spirit gum.
Lindsay found that the ensemble was very
restricting and limited his breathing. Ward
also built Linx’s ray tube (a black rod which
x=
VOT ae
Be
ie
a
illuminated yellow and ‘threw’ the sword
from Irongron’s hand), and the device
which unfurled the two Sontaran flags.
Shooting continued at another part of
the castle walls to show Irongron’s group
arriving at Wessex Castle in Part Three,
along with more forest scenes for Part
One. Horse riding practice was arranged
for Daker and John J Carney (Irongron’s
henchman, Bloodaxe), while several of
the extras (David Buswell, Tom Atkins
and Dick Weable) had been hired for their
riding skills. The horses were supplied by
Glebe Farm in Ruislip, Middlesex. Filming
on Tuesday 8 May began at 9am at ‘Area
D’ of Peckforton Castle, the courtyard
area near the gatehouse; the scenes filmed
first were those of Irongron’s men fleeing
in Part Four and the entrances of Sarah
and the Doctor in Part One. Moving to
the yard, Lindsay performed his first scene
in full Sontaran make-up for the climax
of Part One. Filming continued with Hal
being brought in during
Part Two and the Doctor
tricking the sentries in
Part Four. The cameras
were then moved up to
the battlements to film the
Doctor and Sarah escaping
in Part Four (with Pertwee
ad-libbing the overpowering
of the guards), some shots
at the end of Part One and
high-angle shots for the
robot knight sequence in
Part Two. Returning to the
yard, shots of the Doctor
and Sarah disguised as monks were filmed
for Part Three, along with more of their
escape in Part Four. Photocalls were held
for Linx, the Doctor and Sarah with the
regulars in both normal costume and
monk garb. Stunt arranger Terry Walsh
was due to arrive on this day to supervise
fight sequences and appear as one of the
sentries, but was replaced at short notice
by Marc Boyle, who had worked on various
Pertwee serials as a stuntman. At the
end of the day, the TARDIS material was
picked up, now that the prop had arrived
from London. The police box materialised
off-screen and Pertwee was seen to use a
new TARDIS key; this was an ankh-like
prop designed with merchandise potential
in mind.
‘Area D’ of the castle courtyard was
again used on Wednesday 9 May where
the day began at 9am and was spent on
two main action sequences: most of the
robot knight scenes for Part Two and the
chase sequence with the Doctor which
bridged Parts Two and Three. The knight
costume was constructed with a low waist
and built up shoulders so that it could be
worn by either a tall actor (Dudley Long) hit
or a short actor (Bill Monks) after its head snd youl cae
had been knocked off. The arrows which smashing!”
Connections:
Puttin’ it on
With reference
to the makeshift
accommodation being
provided for the
scientists, the Brigadier
confesses to the Doctor
that it's “not exactly
The Ritz" The Ritzis a
prestigious, luxury,
five-star hotel in
Piccadilly, London.
Say “cheese!”
“Just a little bit
DOCTOR WHO | THE COMPLETE HISTORY — 107
THE TIME WARRIOR ©:
Right:
Monk-ey
business:
Sarah and the
Doctor disguise
themselves
to gain access
to lrongron’s
castle.
Connections:
What a hooter
® Irongron describes
the Doctor as “a long-
shanked rascal with a
mighty nose” - a line
that pokes fun ata
facial feature about
ee *\ which Jon Pertwee
ke iS
— ’.
»\ was known to be
quite sensitive.
struck the robot were already inserted
into the padded costume and appeared
by intercutting the film and adding
sound effects; likewise the bolts that took
the control box and later the axe from
Irongron’s hand were already inserted into
the props. For the rescue attempt in Parts
Two and Three, Sladen changed into ‘boy’s
clothes of the period’ in accordance with
Holmes’ script. The chase and the Doctor’s
escape were concluded the following
day, from 9am, in the same area (which
required controlled use of fire), after which
the final filming was done on the rear walls
to show Irongron’s abortive attack in Part
Three; visual effects provided flash charges
and clouds of brown smoke pumped
through tubes hidden in the ground. On
the final evening, the American family
staying at the castle invited the cast for
dinner; the family’s daughter had arranged
for her school class to visit the shoot where
they had been entertained by Lindsay.
With the film work completed, the crew
returned to London; Pertwee gave Sladen a
lift in his blue Lancia so that the two could
continue to get to know each other.
Following filming, Pertwee travelled
to Stockholm and spent Sunday 13 and
Monday 14 May filming links for BBC1’s
Disney Time due for broadcast on Monday
28 May; he then recorded a special edition
of Radio 4’s Brain of Britain on
Tuesday 15 for transmission
on Saturday 18 August.
Alterations were still being
made to the script before
recording: one of the Doctor’s
lines to Rubeish about writing
on the TARDIS originally
read, “This is neither a
blackboard nor a public
convenience”; a later scene
lost Rubeish warning the
Doctor that Sarah could be
DOCTOR WHO | THE COMPLETE HISTORY
dangerous because of her mind, “A woman
can think almost as well as a man you
know”; some of Sarah’s dialogue to Irongron
and Bloodaxe at the start of Part Two was
also dropped, removing her comment that
“this might be the big event of the year - the
local Historical Pageant or whatever it is...”
before her threat to go to the police; and
in the original script, Sarah stated that she
came from 1974 which was changed to the
less explicit “twentieth century”.
Finding Sarah
ehearsals for The Time Warrior took
ite at the BBC’s Acton Rehearsal
Rooms from Tuesday 15 to Saturday
26 May, starting with a script readthrough
on the first day; Sladen found the old-
fashioned Bromly difficult to connect
with as a director and in refining her
performance made notes about Sarah on
her rehearsal script: ‘Righteous indignation
- clean cut - everything obvious - eager for
anything new - straight in - think later -
impulsive.’ Here, Nicholas Courtney, once
again playing Brigadier Lethbridge-Stewart,
formally met Sladen. The team was joined
by additional members of the guest cast,
including Alan Rowe and June Brown
(replacing June Watson, who dropped out
to spend time with her young family); Rowe,
playing Sir Edward, had previously worked
on The Moonbase [1967 - see Volume 9] as
Doctor Evans and a radio voice. The small
part of Eric, Sir Edward’s squire, was played
by Gordon Pitt who had previously had an
uncredited role as a crew member in The
Wheel in Space {1968 - see Volume 12]. Over
the Bank Holiday weekend, Pertwee took
part in a traction engine race at Beaulieu,
an event covered by a BBC news film crew.
During rehearsals, the lisping actor cursed
the name of his new companion: “With my
‘S’s, why did they give me someone called
Sarah Jane Smith?”
The first two days of recording took
place in Studio 6 at Television Centre
on Monday 28 and Tuesday 29 May.
Recording on the first day ran from 8pm
to 10pm and comprised the majority of
scenes for Part One. Recording began with
the first scene in the dormitory, after which
the opening shot of Linx’s craft heading
towards Earth was tackled; this was
originally to have been a filmed shot but
was achieved by superimposing a flashing
light across a photocaption of the Earth.
All the scenes at the Research Centre
(two linked sets consisting of the
dormitory and the landing) were recorded
next. For the sequence in which Linx’s
image appeared on the stairs, Lindsay
stood against black drapes and was
lit in a blue light; this image was then
superimposed on to the set. The usual
roll-back-and-mix technique was used
for the dematerialisation of the TARDIS.
Recording then moved to the scenes in
the Great Hall of Irongron’s castle, which
involved a recording break to line up the
CSO shot of the fireball seen outside the
window. When Linx fired his ray tube,
the end of the axe held by Daker ignited
and burnt on cue. For all these sequences,
Lindsay wore only the helmet of the
Sontaran outfit and not the mask itself.
The last scenes to be recorded were those
at Wessex Castle in the castle chamber and
castle kitchen sets.
zz BR a ly
a) luction i
The second day of
recording began at
7.30pm and ran to 10pm,
concentrating on scenes
for Part Two. With Lindsay
now in full make-up as Linx,
there was a photocall for
the Sontaran with other
shots taken of scenes in
the dungeons and of Hal
being captured. The evening
began with the recording
of all the workshop scenes
for Parts One and Two with
the cursitor prop in studio
and other consoles coming
from stock. A recording
pause was scheduled to set
up a red lamp which was
shone on Pertwee as the
Doctor was stunned by Linx’s ray tube. A
blue flash from a spark generator was later
superimposed over the Doctor’s head when
he was placed under ‘auto-control’; the use
of this was minimised and generally kept
off-screen or indicated by sound effects.
The film sequences for the episode
were then transferred to video tape, after
which the rest of Part Two was recorded,
starting with the scenes in the Great Hall;
Connections:
Blue planet
» The Brigadier
makes reference
to the Doctor's
experiences on the
planet Metebelis Ill. The
Doctor's brief trip there,
to secure one of the
planet's blue crystals,
had been seen in the
previous story, The
Green Death [1973 - see
Volume 20], following
a failed attempt to land
there in Carnival of
Monsters [1973 - see
Volume 19].
Below:
Linx catches
the Doctor in
the act!
DOCTOR WHO | THE COMPLETE HISTORY
109
110
THE TIME WARRIOR ©:
Connections:
Paint a picture
» The Doctor says he would
like to study painting
under Rembra
Considered one of the
greatest European
painters, Rembrandt
Harmenszoon
was a seventeenth-
century
artist.
Below:
Kevin Lindsay
unmasked!
In the studio
he would
struggle with
Linx’s costume.
Sladen changed into her
medieval outfit for the shot
of her looking in through
the window. It was during
these scenes that the strain
of wearing both the Linx
mask and the Sontaran
helmet under the studio
lights took its toll on Lindsay
and, after telling Exelby that
he felt faint, he collapsed.
It transpired that Lindsay
had a weak heart, and for
the next studio recordings
Bromly tried to rearrange the schedule to
ndt.
van Rij
Dutch
allow the actor to have regular rest periods.
Recording continued with scenes in the
castle corridors, more film transfers and
finally the scene at Wessex Castle.
There were further changes made to the
scripts for the last two episodes before
recording: originally the Doctor spoke
of an “atomic explosion” in Part Three;
Rubeish’s speech about getting back to the
twentieth century was dropped: “Yes, it’s
been very interesting here but I can’t be as
pure a scientist as I thought”; in Part Four,
Meg was to hold a skewer at Sarah’s throat
DOCTOR WHO | THE COMPLETE HISTORY
when she found her; and Linx’s comment
that by the next morning he would be
“seven hundred million and nineteen
thousand miles from here” was simplified
to “seven hundred million”.
Dalek thieves!
uring rehearsals for the second block,
which ran from Thursday 31 May to
Saturday 9 June, Doctor Who was in the
news on Thursday 7 June when two BBC
Daleks were stolen from Television Centre
having been returned from Wales where
they had featured in the programme Non
Mewn Pum Munud; the story was covered in
the Daily Mail and also by an item on Blue
Peter. The Daleks were recovered in separate
locations on Saturday 9 June, with Blue Peter
doing a follow-up film report about this in
its Monday 11 June edition.
The second studio recording took place
on Monday 11 and Tuesday 12 June in TC1,
with the first day going from 8pm to 10pm
covering all of Part Three and some of Part
Four. First the scene of Irongron returning
to the Great Hall was recorded, followed by
the next three scenes on the same set and at
Wessex Castle; for the early evening Sladen
was back in her medieval boy’s clothing.
The remaining scenes in the Great Hall
were then recorded, with Lindsay in his
Linx mask. This was followed by the Wessex
Castle scene of the triumphant Doctor, and
more film transfers, during which Sladen
donned her medieval dress; both Pertwee
and Sladen then carried friar’s robes for
the corridor scene in the episode. The rest
of the evening was spent recording the
workshop scenes for Part Three and the first
four scenes on that set for Part Four. There
was a pause to set in the red light needed
for Linx’s gun at the end of Part Three; the
image of the ray tube was superimposed
over a shot of the Doctor; and the reprise at
the start of Part Four was a re-recording.
Recording concluded with the remaining
Part Four scenes on Tuesday 12 June with
taping from 7.30pm structured around
action sequences and costume changes.
Recording began in the Great Hall with the
material which required Pertwee to be in the
robot knight costume, except for the Doctor/
Irongron sword-fight. All the kitchen scenes
were then recorded, after which Sladen
changed out of her period dress.
Recording then switched back to the
Great Hall for the scene where the Doctor
is fired upon by Irongron’s men and
makes his escape on the chandelier. Terry
Walsh, now available again, doubled for
Pertwee and arranged both the fights and
chandelier stunt, with recording breaks
scheduled to set this up. Recording then
carried on with the preceding scenes in
the Great Hall, purely recording shots
requiring dialogue from Pertwee (now in
his usual outfit), after which the rest of
these scenes were taped. With Sladen back
in her green boy’s outfit, scenes set in the
castle corridors were recorded, followed
by the scene at Wessex Castle and the film
transfers; it had been decided that adding
the white glow of a ship rising from the
castle was too awkward to achieve as a
superimposed shot in studio, so Bromly
instead opted to cut directly from a shot of
Peckforton Castle to two feet of silent stock
16mm film of quarry blasting, giving the
illusion of the castle exploding. Letts was
unhappy with this, having recommended
that a model shot, akin to the church’s
PRODUCTION
Mon 7 May 73 Peckforton Castle,
Peckforton, Cheshire (Forest)
Tue 8 May 73 Peckforton Castle (Forest;
Yard; Battlements)
Wed 9 May 73 Peckforton Castle (Yard;
Battlements)
Thu 10 May 73 Peckforton Castle (Yard;
Battlements)
Mon 28 May 73 Television Centre: Four)
Studio 6 (Part One)
Tue 29 May 73 Television Centre: Studio
destruction in The Demons {1971 - see
Volume 17] could be employed.
Work then resumed again in the Great
Hall for the swordfight sequence, with
Walsh now in the robot knight outfit after
which the final scenes in the Great Hall
were completed. The rest of the recording
for the evening was in the workshop set,
with all the insert shots of the scientists
vanishing made as cutaway inserts (a
superimposed image faded away from the
main set). For the confrontation between
Linx and the Doctor, there were many
recording pauses to line up the red light
for superimposing on the Doctor’s shield.
Walsh again doubled for Pertwee in shots
of the Doctor being thrown about by Linx,
landing on a mattress out of shot. For the
final episode, the cursitor prop was opened
up to show its interior in detail, some of
which was rigged to explode; Linx’s death
was achieved by inserting an arrow shaft
into the probic vent on the back of his
collar during a recording break and having
Lindsay react as if he had been hit. ™
6 (Part Two)
1 (Part Four)
Above:
The myopic
Professor
Rubeish assists
the Doctor.
Mon 11 Jun 73 Television Centre: Studio
1 (Part Three; Workshop for start of Part
Tue 12 Jun 73 Television Centre: Studio
DOCTOR WHO | THE COMPLETE HISTORY
THE TIME WARRIOR
112
The Doctor
keeps a beady
eye on Hal
the Archer.
STORY 70
Post-production
lan Bromly left many
elements of post-production
to Marcia Wheeler to
supervise. Part Two had three
cuts made to it, in addition
to having a shortened version
of the filmed reprise. Midway through the
scene between Irongron and Linx in the
workshop, Linx asks if Irongron is pleased
with the robot, and the ruffian replies that
“the creature nearly had my life”. Linx
explains that the measure of a weapon is
the skill of the man handling it, and that
Irongron must have mismanaged the
robot’s hand control. The scene at Wessex
Castle had two cuts, removing Sarah’s
explanation that she is from another time
DOCTOR WHO | THE COMPLETE HISTORY
(branded by Edward as witchcraft) and the
end of the scene in which Edward, wary
of the “witch-maiden”, asks Sarah to tell
Hal what the Doctor looks like so he can
be captured, whereupon the indignant
Sarah announces that she will go with Hal
and asks for suitable clothes. Part Three
opened with a heavily re-sequenced reprise
to remove the Doctor’s escape from the
workshop, and one line of dialogue from
Bloodaxe was cut from the end of the first
scene in the Great Hall.
By September 1973 all four episodes
had been edited, apart from their opening
and closing credit sequences. Part One
badly overran and had various cuts: the
end of the scene in which Irongron shows
— wa =-
. >"
oe
Bloodaxe the first of Linx’s new weapons
was lost (Bloodaxe fears that the rifle
is magic and warns his Captain not to
meddle with the powers of darkness while
Irongron shoots the core from an apple);
the end of the scene in which the Doctor
met Rubeish and Sarah (Sarah starts
asking Rubeish how long he has known the
mysterious Doctor and Rubeish receives
warning knocks from within the TARDIS
as he starts to scrawl on the police box
again); and the scene which introduced
Hal was totally removed. Set in the castle
kitchen, it opens with Hal chatting up
Mary, a serving girl, with his boasts that
he is the finest archer in England but is
now tired of wars. He says he followed Sir
Edward to the crusades and brought him
back home after he contracted a foreign
sickness. As Hal tries to steal a kiss, Eleanor
enters and tells Mary to fetch a flagon of
wine for Sir Edward before asking Hal
about his claim to being “the finest archer
in England”. As a result of this deletion,
Jacqueline Stanbury only appeared briefly
as Mary with no dialogue; accordingly, she
was removed from the cast listings for Part
One. Parts Two and Three had some minor
timing cuts made.
New title sequence
ver the summer Letts decided
0 that a new title sequence and logo
should be prepared to celebrate the
show’s 10th anniversary that November,
something very different from the feedback
howlaround patterns used since 1963.
Graphics designer Bernard Lodge opted for
Left:
The new title
sequence.
the time-consuming slit-scan technique,
pioneered by American John Witney and
developed by director Stanley Kubrick and
effects expert Douglas Trumbull for the
1968 movie 2001: A Space Odyssey. This
used animated artwork on a time exposure
to build up one frame at a time; a camera
on a motorised track was shutter-locked to
a single frame of film, with moving colours
passed beneath a small mirrored aperture.
The backlit colours moved past, the film
was wound on a frame and the process
repeated, starting from a different position
in the colour sequence. Lodge used a small
circular slot to create a tunnel effect with
stretched shopping bags under polarized
filters as the colour patterns. An optical
glow was superimposed at the end of the
tunnel, with a photograph of Pertwee used
to trace a Doctor-shaped tunnel, over
which rostrum animation of Pertwee and
the new logo were added. The process took
three months to complete; the resultant
35mm film was 49 feet of opening titles
and 79 feet of closing titles. The graphics
superimposed on this film used the font
Futura Extra Bold for the serial title,
instalment (now ‘Part’ as opposed to
‘Episode’) and writer, with Futura Bold for
the cast and crew at the end of the show.
Dudley Simpson was booked to provide
the incidental music for the serial on
Friday 13 April; this was recorded at Lime
Grove on the afternoons of Monday 1
and Monday 8 October, with electronic
elements added at the Radiophonic
Workshop on Tuesday 9, Wednesday 10
and Friday 26 October. The 13 minutes
of music included a particularly haunting
composition for one of Holmes’ script
directions in Part One: ‘eerie strains of
the Sontaran anthem ring out for the first
time on Earth’ Special sound by Dick Mills
was created at the Radiophonic Workshop
from March 1973.
DOCTOR WHO | THE COMPLETE HISTORY
113
THE TIME WARRIOR ©:
Publicit
» The departure of Katy Manning was ® In November Radio Times published a
114
formally announced on Friday 22
June, the day before Jo’s departure in
the final episode of The Green Death.
Manning appeared on Nationwide
to discuss Jo (featuring clips from
Terror of the Autons) and promote her
new series Serendipity which began in
September. The following Tuesday
came the formal press announcement
of Elisabeth Sladen’s casting, with
special magazine which chronicled all
the Doctor Who stories including the
forthcoming series. Pertwee appeared
with the new Whomobile on Blue Peter
as part of a retrospective feature on
Monday 5 November, and joined a
Doctor Who float in the Lord Mayor’s
Parade on Saturday 10 November. On
Saturday 8 December, the Today radio
programme interviewed Dalek creator
ayaa: and a photocall for the actress alongside Terry Nation about the anniversary;
Sladen at Pertwee in costume from The the following Monday the BBC hosted
Sea Time Warrior in the grounds of a party for people from the show’s
TV Centre. Television Centre. history, with Pertwee and Sladen doing
DOCTOR WHO | THE COMPLETE HISTORY
a publicity session; this was covered
by various papers including The Times.
Pertwee also appeared live on Radio 2’s
Open House to promote the new series
on Tuesday 11.
» On Thursday 13, Pertwee appeared
on the cover of Radio Times with
Michael Parkinson, Vanessa Miles and
Paul Jones (and his son Matthew). An
interior article by Liz Dickson entitled
Who's Who Among Who's Friends had the
three celebrities saying what they liked
about Doctor Who; the programme
listings were now illustrated by
artwork from Peter Brookes (replacing
Frank Bellamy) with a large panel for
Part One (including Linx and the three
regulars), and pictures of Linx, Sarah
being chased by Irongron, and the
Doctor for Parts Two to Four. Inspired
by the Blue Peter item, a letter inside
the issue from P Yorke of Ipswich
enquired about the possibility of
repeats of earlier serials, to which Head
of Serials Ronnie Marsh replied that
some compilation reruns had been
successful and they hoped to do more.
The following day, Nationwide
celebrated the new season with an
interview with Dicks (showing clips
from Episode Six of The Sea Devils
[1972 - see Volume 18], The Green
Death Episode Three and Episode
Three of Planet of the Daleks [1973
- see page 6]) and on Saturday 15,
transmission was promoted by The Sun
with an item about the three Dalek
operators who were then working on
Death to the Daleks {1974 - see Volume
21]. During transmission, there was
further promotion when on Friday
21 December, Pebble Mill at One
featured Second Doctor actor Patrick
Troughton, visual effects designer
Bernard Wilkie, a variety of monsters
and young fan Matthew Jones.
The ae
photograph we
used for the Rs
cover of Radio
Times.
DOCTOR WHO | THECOMPLETE HISTORY 115
THE TIME WARRIOR
Broadca
STORY 70
It was planned in June that the new
series would begin on Saturday 29
December 1973. However, it was
decided to bring the broadcast forward
by a fortnight to give a lead-in to
the BBC New Year season over the
Christmas period.
From Saturday 22 December, BBC
Cymru in Wales scheduled Gwerin
74, a programme of folk music, on
Saturdays and moved Doctor Who.
In terms of competition from ITV,
Parts One and Three went out opposite
the highly rated talent show New Faces,
Part Two against Sale of the Century and
Part Four was matched by regionalised
shows; Kung Fu (LWT/Granada), Candid
Camera (Southern/Yorkshire) and The
Partridge Family (ATV).
‘Dr Who began a new series with a new
buddy for all the world like a baked
potato, wrote critic Nancy Banks-
Smith in The Guardian on Monday 17
December, ‘I have not lived this long to
be frightened by baked potatoes.’
At the BBC Programme Review Board
on 19 December, director of television
programmes Alasdair Milne welcomed
Doctor Who’s return. On 9 January,
Enterprises general manager Peter
Dimmock ‘hoped that Linx... could be
regarded as missing rather than killed
for ever’. Ronnie Marsh commended the
introduction of Sarah Jane.
An Audience Research Report on the
final instalment, issued on 1 February
1974, gave comments from 272
viewers; including praise for Pertwee
and the realisation of ‘Lynx [sic].
The serial was sold abroad: to Australia
(in July 1974, who passed it uncut
and made it their first colour Doctor
Who broadcast in March 1975),
New Zealand (who broadcast from
November 1975), Dubai, Hong Kong,
Brunei, Canada (who broadcast in
1977), Gibraltar and Saudi Arabia.
From the early 1980s, it was sold
to North America where it was also
syndicated as a 91-minute TV movie.
It was screened by UKGold from June
1993, on BBC Prime in 1996 and by
Horror Channel from October 2014.
EPISODE DATE TIME
Saturday 15 December 1973
Saturday 22 December 1973
CHANNEL DURATION
5.10pm - 5.35pm BBC1 24'15"
5.45pm - 6.10pm* BBC1 24'10"
Part Three Saturday 29 December 1973 5.10pm - 5.35pm* BBC1 23'30" 6,.6M (89th)
Part Four Saturday 5 January 1974 5.30pm - 5.55pm* BBC1 24'57" 10.6M(22nd) 60
* Except BBC 1 Cymru which broadcast the episodes on Monday 24 December at 5.25pm, Tuesday 1 January at 715pm
and Tuesday 8 January at 710pm.
RATING (CHART POS) APP INDEX
8.7M(34th) 59
7.0M (75th)
PartOne
Part Two
416 = DOCTOR WHO | THE COMPLETE HISTORY
Merchandise
nusually, Robert Holmes
decided to novelise his scripts
himself, but after getting
partway through the first
episode (an extended version
of the prologue with Linx),
handed the project over to Terrance Dicks
to complete. Dicks took sole credit on
Doctor Who and the Time Warrior when it
was published in hardback by WH Allen
in May 1978 and in paperback by Target
in June 1978. Featuring
a picture of Linx painted
by Roy Knipe, the book
was latterly numbered
Book No 65 in the Target
Library, and in June 1993
was reprinted with a new
cover by Alister Pearson.
The novel was produced
as an audio book by BBC
Audio in November 2008,
read by Jeremy Bulloch.
The Time Warrior
was released in a non-
episodic, compilation
format on VHS by BBC
Enterprises in June 1989.
Then in September 2007,
it was released on DVD,
THE TIME WARRIOR
Left:
The box-set
DVD release.
Far left:
Brought
to book.
Below left:
The 1989 video
release and
the audiobook
adaptation.
BRED FOR ua
me SOnTRARN
Below:
A metal
containing the following extras and hice
INla ‘
special features:
»} Commentary by Elisabeth Sladen, Barry Letts
and Terrance Dicks
») Beginning the End making of The Time
Warrior documentary
» CGI Effects
») Continuity announcements
) The Doctor Who Annual 1974 in Adobe
PDF format
) Radio Times listings in Adobe PDF format
» Photo Gallery
» Production Subtitles
Bred for War: The Sontaran Collection was
released on BBC DVD in May 2008
and contained four stories featuring
the Sontarans, including The Time
Warrior. In September 2013, The
Time Warrior was included on the
DVD set The Monster Collection: The
Sontarans. The story was released as
No 53 of GE Fabbri’s DVD Files in
January 2011.
A Harlequin Metal Miniature
of Linx the Sontaran from The Time
Warrior was issued in December
1997. In 2011 The Time Warrior
Collectors’ Set was available from
whe
Harle Quip
MHIMAC LURE
DOCTOR WHO | THE COMPLETE HISTORY 117
118
THE TIME WARRIOR = »® s18°7
Above:
The Time
Warrior stamp
cover,
Right:
Robert Harrop's
pewter Linx.
Below:
Underground
Toys’ set of
action figures,
pn
hye)
Underground Toys. This included figures
of the Third Doctor, Linx anda
Sontaran spaceship.
In 1984 five different posters were
printed. One of the poster designs was a
photo of Jon Pertwee struggling with Linx
from The Time Warrior. The posters were
offered for sale through the Target range
of novelisations. A ‘Jon Pertwee’ stamp
cover from The Stamp Centre was issued
in May 2002. The cover showed a collage
of images from The Time Warrior and was
signed by Jon Pertwee’s widow, Ingeborg.
Limited to 1,000 covers, these prints
commemorated the unveiling of a BBC
plaque in honour of Jon Pertwee.
Sontaran costumes from
Head-Up Display were
produced in 1999.
The full-size 2G
costume had a
head similar
DOCTOR WHO | THE COMPLETE HISTORY
to Linx from The Time Warrior and cost
£999.99. Sculptures of the Sontaran
Commander Linx were available for
£35.00 from Invaders in 1996. They were
13” high and comprised of 10 parts. In
March 2015, limited-edition hand-painted
6.5” pewter statues of Linx were designed
and sculpted by Robert Harrop Designs
in Shropshire, England in partnership
with AE Williams of Birmingham, makers
of traditional hand-cast English pewter
since 1779. The exclusive statues were
Sams cast from 1kg of solid English
aN 3 pewter. Every piece
a) Om
was individually
hand stamped
on the base
with a specific
limited edition
number and came
accompanied by
a certificate of
authenticity, signed
by Robert Harrop.
They were limited
to 100 worldwide
and were priced
at £110.00. @
CAST
JONIPGFEWOCG cacunccaanscnuonten Doctor Who
with
Elisabeth Sladeni.........ccccuusn Sarah Jane Smith
Nicholas Courtney viii iiccsicssactissininnencamaninmnn
peiayiesttrevssitveetteeriaiiss\sh604s Brigadier Lethbridge-Stewart [1]
KeVIN LINES AY i isiijiissnescnconnsnamomatmmaroes Linx
David Daker...... . rongron
John J Carney Bloodaxe
Jeremy Bulloch)... :.icisiccnscsnaccone canes Hal
JUNGIBIOWN Fee ites accoraniamninanined Eleanor
Alan Rowe} jicsiciavonannene Edward of Wessex
Donald Pelme ar ...........ccc Professor Rubeish
Sheila ay icc unum ta ne Meg [1,3-4]
Gordon Pitt............ wetie| [1
Steve Brunswitkiiisinonnnuonninantecenmern
nTO Ue OT Sentry [3; also 1-2 and 4 uncredited]
UNCREDITED
Keith Norrish, Alan Thomas, Alan Lenoir,
Jimmy Lyon, Bill Herbert, Emmett Hennessy,
Tom Atkins, Dick Weable, Michael
Ralph, Ray Dunbobbin, Brian Bowles,
David Buswell, Michael Boone, Howard
Williamson, Malcolm Stevens, David
Carruthers, Jim Whelan, Sidney Tomas, Jon
James, Andrew Greenwood, Alan Luxton,
Bil LOdGe... iiccccsnttaruencat lrongron’s Soldiers
Andrew Abrahame................005 lrongron's Sentry
David Cleeve, Stephen Ismay ....... UNIT Soldiers
Douglas Domingo, Robert Pete®s .........:..:00
Par cept atte icesisls nnd lrongron’s Men in Workshop
Roger Marston, George Ballantine, David
Enyon, Eden Fox, Paul PhillipS..............cc0000
Bere sarap uatastitsis Scientists inc Professor Morrison
Jacqueline StanbBuPy nn... Mary Above:
JOHN HUGHMAN.........cccsscsssssnsiisiinen Robot — Theguest
cast take
Dudley Long.. S brane
Bil MONKS... between
Ronald NUNNETY.........:0s0ssssseisen Wessex'sMan _ battles.
Allan Deutrom, Clifford Kershaw.............00.008
Marc Boyle.
Terry Walsh...
ravine eee Wessex's Bowmen
..Stuntman/Irongron’s Man
oe Stuntman/Double for Doctor Who
Bella Emberg, Mary Rennie........... Kitchen Hags
CREDITS
Written by Rob
ert Holmes
Fight Arrangers: Marc Boyle [2-3], Terry Walsh [4]
Title Music: Ron Grainer and BBC Radiophonic
Workshop
Title Sequence: Bernard Lodge
ncidental Mus
Special Sound:
Costume Desig
Make-Up: Sand
Film Sound: Joh
ic: Dudley Simpson [uncredited on 3]
Dick Mills
ner: James Acheson?
ra Exelby
Film Cameraman: Max Samett [1, 3-4]
nGatland [1, 3-4]
Film Editor: Wil
iam Symon [1, 3-4]
Studio Lighting: Mike Jefferies !
Studio Sound: Tony Millier+
Visual Effects Designer: Jim Ward [uncredited:
Peter Pegrum]
1
Script Editor: Terrance Dicks
Designer: Keith Cheetham
Producer: Barry Letts
Director: Alan Bromly
BBC © 1973
1 Credited on Parts One and Four only.
DOCTOR WHO | THE COMPLETE HISTORY
119
rorile
ELISABETH SLADEN
Sarah Jane Smith
orn 1 February 1946 in
ab si Liverpool as Elisabeth Clara
Heath-Sladen, the spelling of
Elisabeth with an ‘s’ challenged
= billings editors for decades; her
mother explained “s is for star”.
Sladen enrolled at Shelagh Elliott-
Clarke’s local dance school aged four. In
her final year at Mosspits Lane junior
school, she played the title role in Alice
Through the Looking Glass and during
one performance after a day eating too
‘ much ice cream she was sick onstage over
# > classmate Edwina Cohen - later better
known as Edwina Currie MP.
While at Aigburth Vale High School,
Sladen performed on stage with the
Royal Ballet each Christmas for five years
running - to her chagrin she was dressed
up as Great King Rat each year!
At 16 Sladen signed up for three years’
: full-time study at SEC’s drama school.
Put forward for TV talent contest Search
for a Star in her first year, reading Portia’s
speech from Julius Caesar, she won through
to two TV heats in London.
After a year at SEC she spent a summer
"with the London Youth Theatre at the
) Seala Theatre. When she played a court
x lady in Hamlet, the other courtier was
one Helen Mirren. For Julius Caesar she
~ understudied for Portia.
SEC found her work as an extra in
Merseybeat pop movie Ferry Cross the
» Mersey (1964), starring Gerry and the
® Pacemakers. Sladen was appalled to
no's
”
>
|
Fve'> =
Tw sane
bere OF
a " 4 ; | : 4 a '
e 120 cine lage .
3 e RR x me " *
e
“ss
ye “,
ap
later see herself on the big screen, thinking
she looked chubby-faced.
After two years at SEC, Elliott-Clarke
suggested that Sladen should apply for
an assistant stage manager’s job at the
Liverpool Playhouse.
For her third Playhouse production The
Long and the Short and the Tall, an actor from
Birmingham was brought in, Brian Miller.
They started cagily dating when he stayed
with the company for Twelfth Night, in which
Sladen had a walk-on.
After a brief spell lodging with Miller in
London, their Playhouse colleague Tony
Colegate was made director of the Library
Theatre Company, Manchester, bringing
in Miller and appointing Sladen as ASM
in December 1966. Through 1967 Sladen
won ever-larger parts.
After she and Brian married on 8 June
1968 in Liverpool, they returned to the
Library, Manchester, where Sladen took the
lead as Jo in A Taste of Honey.
Sladen’s first TV appearance (Search for a
Star aside) was a walk-on in ITV Playhouse
entry Top of the Ladder, made at Granada
and aired 11 December 1967. She played
a hotel maid in another ITV Playhouse,
Chekhov’s If Only the Trains Come, shown
December 1968.
BBC Radio work included Story Time:
Royal Brides (1969) and A Bang with a
Spanner (1970). She made several plays for
dramatist Alan Ayckbourn at BBC Leeds
and she and Brian played the 1969 summer
season at the Library Theatre, Scarborough
under Ayckbourn, appearing in How the
Other Half Loves.
A taste of TV fame came starring in
six episodes of Coronation Street, shown
January 1970, as barmaid Anita Reynolds.
Sladen failed to capitalise on this exposure
and returned to theatre in Manchester.
Summer 1970 was spent at Scarborough
in Wife Swapping — Italian Style, The Shy
Gasman, and Ayckbourn’s new play The Above: —
Story So Far (Family Circles) Elst
4 4 F ; her first Doctor,
Sladen finally moved to London, with Jon Pertwee,
Brian now in How the Other Half Loves for Fee.
: : pposite:
the next two years. Finding an agent, she Thenepilelte
starred in a one-off showcase of Stephen in trouble
Poliakoff’s Pretty Boy at the Royal Court, already!
4 June 1972.
Making inroads into television, she
won two roles in Z Cars, and a part
in Doomwatch.
Losing out to Michelle Dotrice for the
part of Frank Spencer’s wife Betty in
sitcom Some Mothers Do ‘Ave ’Em, Sladen
took the small part of Judy the greengrocer
in the episode The Hospital Visit (1973).
While understudying in The Philanthropist
at the Mayfair Theatre in spring 1973,
Sladen returned home at 2am after
shooting a TV commercial to find a note
telling her she had an interview the next
morning for Doctor Who. Sladen was
unaware the part was the new companion.
Sladen bridged two eras of Doctor Who
but quickly developed a chemistry with
Tom Baker. She evolved Sarah Jane and the
tough, feminist journalist softened into a
more whimsical performance. Doctor Who’s
schedules left little time for other work,
DOCTOR WHO | THE COMPLETE HISTORY
121
THE TIME WARRIOR ©:
Below:
The Doctor,
Sarah and Harry.
although she appeared in two BBC Radio
4 plays in the Morning Story strand, The
Package Deal (6 March 1975) and A High
Standard (24 April 1975). Two Doctor Who
audio spin-offs came in April 1976; LP
Doctor Who and The Pescatons, on sale from
July, and BBC Schools radio programme
Exploration Earth: The Time Machine
broadcast 4 October.
Sladen’s departure from Doctor Who was
announced on 13 May 1976 leading to an
interview on Nationwide and making the
Daily Mail's front page. Her swansong was
the final episode of The Hand of Fear [1976
- see Volume 25] on 23 October 1976.
With no career plan for what came
next, Sladen returned to the Liverpool
Playhouse, acting alongside Brian in
Mooney and his Caravans, Saturday,
Sunday, Monday and The Lion in Winter.
Further theatre included a 1978 tour of
Ayckbourn’s Bedroom Farce.
Radio included Thirty-Minute Theatre
entries Post Mortem (1976) and The Night
of the Ammo Train (1977), two Afternoon
Theatre plays A Bitter Almond (1976) and
The Hilton Boy (1977) and a Saturday-Night
Theatre titled Laura and the Angel (1978).
=
6
Risqewe
DOCTOR WHO | THE COMPLETE HISTORY
Trading on her popularity with younger
viewers, Sladen became a children’s
presenter on BBC Schools series Merry-
Go-Round. She also joined the presenting
roster on Yorkshire TV preschool series
Stepping Stones. Sladen also became a
regular storyteller on Yorkshire’s school
series My World.
Grown-up TV included an episode of
Granada series Send in the Girls, Beware the
Gentle People (1978) where Brian Miller
played her husband. She also featured in
a Saturday Drama made for Anglia, Betzi
(1978). She moved into comedy with
Granada sitcom Take My Wife (1979),
playing wife Josie to stand-up comic
Duggie Brown.
The following year, 1980, brought
Sladen’s film début, as a bank teller in
Silver Dream Racer. TV included period
sitcom In Loving Memory (she turned down
an invite to later reprise the part) anda
more serious role in Play for Today: Name
for the Day as Jo, a woman whose husband
suffers a nervous breakdown.
She made corporate films, including
Thank God It’s Friday (1980) for the
Manpower Services Commission and two
films for Lloyds Bank; Dreams of Success
and The Awakening (1982).
She joined the company of the Little
Theatre, Bristol for their 1981/2 season
appearing in Twelfth Night, Comic Cuts
and panto Robin Hood. Barry Letts cast
her as Lady Flimnap in serial Gulliver in
Lilliput (1982).
Other Doctor Who connections were
already at work and she had appeared
at US conventions since 1979. She
turned down an approach by new Doctor
Who producer John Nathan-Turner to
return to the series. Undeterred, JN-T
brought her back for spin-off pilot
K9 and Company, aired December
1981. Sarah Jane returned again for
anniversary tale The Five Doctors [1983 -
see Volume 37].
Outside of the Whoniverse, Sladen
starred in an Afternoon Theatre radio
play Getting Through to Polly (1984) about
autism, directed by husband Brian.
Sladen gave birth to daughter Sadie on
25 February 1985.
Although she also took a role in Dempsey
and Makepeace (1985), Sadie’s birth
changed her attitude to work. She talked
herself out of a regular role in Emmerdale
Farm and did not work on TV again until
The Bill in 1989.
Sarah Jane was a large part of Doctor
Who's 30th anniversary events and featured
in a radio serial starring Jon Pertwee The
Paradise of Death (1993). Follow-up The
Ghosts of N-Space would not be broadcast
until 1996, held back while the BBC
secretly prepared its TV Movie
revival.
Sarah Jane also cameo’d
inthe ChildreninNeed @
adventure Dimensions
in Time (1993) and
the celebratory
documentary 30
Years in the TARDIS
(1993). The character
later reappeared
in straight-to-
video drama
Downtime
(1995)
alongside
the Brigadier
and Victoria
Waterfield.
Outside of Doctor Who, Sladen was
becoming disenchanted by acting and the
search for good parts. She shared a scene
with future Master, John Simm, in Men of
the World (1994), appeared in Faith in the
Future (1996) and took the regular role of
Dr Pat Hewland in the fourth series of
Peak Practice (1996) before retiring from
the business.
Despite her retirement, she was happy
to return for a series of Sarah Jane Smith
audio adventures for Big Finish from
2002. Playing sidekick Natalie Redfern was
aspiring actress Sadie Miller.
This return may have seemed at the
time like a happy postscript to Sarah
Jane’s career, but soon Russell T Davies
came a-calling with the script to School
Reunion [2006 - see Volume 52]. Any
doubts she might have had about a cheap
cameo part vanished as soon as she read
it and realised it was all about Sarah Jane
and Rose.
Sladen was even more delighted when
Davies asked her to star in spin-off series
The Sarah Jane Adventures for CBBC. A
pilot aired New Year’s Day 2007, with
a series following in September.
»’ Sarah Jane Smith was as popular
§ as ever as shooting got underway
on a fifth series of The Sarah
Jane Adventures, but during
a break in production
Sladen was diagnosed
with cancer. She died
just months later, in
the early hours of
19 April 2011, and
Joined by Tenth
her death shocked _ Doctor, David
generations of Tennant, in her
: own spin-off
adoring fans. Her —cerias..
autobiography
was published
posthumously in
November 2011.
and Eleventh
Doctor, Matt
Smith.
DOCTOR WHO | THE COMPLETE HISTORY 123
148
Index
Page numbers in italic type refer to pictures.
1973/4 SEES wun iscuinsenoannimaimmanreingnt 84, 85, 86-89
SO Vears iit the: ARDS wwwsiicinnwsiceamanvimundannninenidwnsies 123
AGE ccmconrncmnninnnnonmncmacmmannmnmennumtennmanies 87
ACHESON; [AMES isicinsinnnednvidvaancien countenance 102,106
Achill@os, CHTIS wesssssesen
Acton Rehearsal Rooms...
ACAIMS, TOMY ainviemncnnnmisinimpiaoncmmnsiewnns 66, 70, 83
Allan WINGO sscnctscnnanommammamananinmnannannrts 43,79
ANGFOld INVASION: FAG isis ciscoumuprsinissomniinianvesie 83
Angels Take Manhattan, THO vusssssssssrssssesssscssnsssssssssssessesssssssasssen 4
ANC =GAVILVISCsimnnnanimmmmnnminmennncmen 13;:26,32
AIK, TRG cascessisiins 26, 69, 70, 83
ARMY OF GHOSTS iiisiveiscesririnmninrenunorinmmameninnTaRTeNTET 4
ARE GE A SiiinmmmaiinainiuniimnyuniianmunnemnnianauNamNaiaTiA. 33
ALKINS, TOM canniiaanimnnaoninnianiaa nnniinnvidinnaniiansinn 107
AU CIO AAVERTUFES ss srccennacerninerannacsncveeesa 43,47,79,117,122
AUGIOGO s ccccisiseacseriniiacccnnnirmnnainntigannpedunminnonnitaatnnnnien 43
PAVEMGETS, UO cccecs sixccnnecetperteisecssiasizseasdinvviontiedarnsesvatenissengyiuiieti 16, 46
BOG! WOM sissssecrsrscszcasvceressccrnmiearecccepeanpnicininivnteenanverraanariaianisiatie 50
Baker, Tom.. 83,121
BBC AUG Otanidcmnmmnniniinnantianmnnnmaninionies 79,117
BBC Programme Review Board wissen 40-41, 76,116
BESIEURIGMANG smite crnnenisanssatrisunnammnmednucdedealneanronnaee 69
Bell; GHAPIES swissssrnnsciessnvivnvareasiannacsisinnascennanmanmancaiienateavis 61,63
Bellamy, Fic Kec csiuisixcnnteasccarcanir wisn innsinndygausesins ies 39,75, 114
BENtON, SCG SSM bs vussaieassacccrasarenenaicnetee 55, 90;5/,,02,03; 2
Bernard, Paull ccssitimnpiinaninnnnanisimainanimnniaakonnnniy
BGGE. -.anvenrananinenaroavennmmeuaavamuaieaninadd 52, 53,54, 66 =
BOSSIGiiissisisnnaenesinviivssinmninnaaniguisineoeien 56, 64, 66,67, 71, 72
Bevan SIEWal bt monsnisincinaanenimne cnn 63,71, 72, 77,79, 80
BiG JF IAS Wis innisccstuamnentsivieininnivaumnnssenmbiauminnnanias 44,123
BU MGs cartninemimanensminmidind anhiutatomin 47, 83,123
BIOOGANG siivvenecansncninmansnnaniss 94,95, 101,107, 108, 112,113
EATS CY Site secs tevvveeasvasavennscunscovivensevevcavvcsacanset 52,54, 56, 57,89, 109
BlUOP Cte hiccncomannannencnnimnennmmnronmanennn 44, 110, 114
BOSS codimbaseronanevnieacnt 50, 55, 56, 57,61, 67, 69, 71, 72
BOWtel|, AlStER nisicnsimeniinaninnnsinnnomininananimgunonniunnuns 35
Boyle, Marc
Bred for War: The SONtArAN COME CON issues LF
Briant, Michaels 62, 63, 64,65, 66, 67, 69, 70, 74, 77
British Safety Council complain tisssissecmaniasasainacciaasicani 40
Bromly2Alan vicina 102,103, 104,106, 108, 110, 111,112
Brookes, Peter...
DOCTOR WHO | THE COMPLETE HISTORY
BOW MAC MO assnatinaianauintneiciaguimimnnnaiinturandbinmavans
Bulloch, Jeremy...
Burrowes, John...
BUSWEll, DaWIG ciscicinaioneinenionmaineniinnoienaiadenrinnninn
Gainey, OhM | mmanunanmnanadamamiaammnann mane 107
Carnival Of MONSUETS rasscicmsininmounnnnnmnonine 27,102,109
Character Options Action FIQUFES iscsi a4
CHASE: TG cccsrcsnenseicenen canton inn apantran wannmtunrs teenie tigate 32
Cheetham, Keith. 102
CHESTEFtON AN minanmmmnnmnriomncmanmmnamR 17
CHIMA aiinsavcinndnnmarinamenniinmmningaminneenmnmnennmimeneemeid 86
CHO=| Oi iiauinsivaeiiivns 84,85
COWS OF AXOS: The nscimimnsicconmaniunnmnimnimaanmnanam 86
GOdal sissies 8, 10, 11, 12, 13, 14, 15, 17, 19, 23, 26, 32, 33, 35
Colliag Katil¥ tviccnsvessmimumacanannmmncomimnnantarcnent 66
Colony in Space... 62, 67-68, 70, 83, 86
COMMENTANES pworimraninnmcnoymmacuninnmencuany: 44, 79,117
ConWay, RICHAG sinmennainnimnnncnnaninniniinmmenntal 63,66
Coronation SWE? ccncsmmannnnmmniona 41,121
GOUFIMEY NICHOIAS ssssscosesirnacsisenceanixenne 65, 69, 78, 80, 108
CSO....20, 31, 32, 34, 35, 37, 63, 66, 68, 69, 70, 71, 72, 74,109
GUIIEY CATS iaiiceccnammncinmunanmmmamarnimmamnn 22, 34
CUPSCOF FERIG Men siicninnnainonianniumcadasionannninanusen 50
CURSGOF PElGdON:, TRE itccsimnncnnmnnaimimmmmamamnaman emai 89
Curse of the Fatal Death, The.. iia 83
CYBSNM EN i aisitisncrmmaiinninannineinaniannenimaninnnin 8,.17,83
DEBAMONS, THO ccivieresceinisrivecevvsciveeniavawversiieninenstnt 20,60, 111
DGIV EXBTESS icnomineniimntaciinnmaianciainntinanneniaeradas 61
LGV MGI caseccsnaccciunceorvntntantenin savrumnansanadentict 110,122
Dak@r DaVIG sisivcincsisnmmnanannieninmanmenautten 103,107,109
DEER STN iwiinienvcessscsevvniyrarestenies wean 8,9, 15,17, 34, 36, 37, 44
Dalek EMPe@ror tanmacsmmnanmndmnmnan mmr
Dalek Supreme...
Dalek Warbox set
Daleks INVASION EGF 2ISOAD nicmicconansienunnmerimsvenanees 30
Daleks’ Master PIGN, TAG sss 8, 16,17, 38,66
DAIEKS sss 6,8, 9,10, 11, 12,13, 14,15, 16, 17,18, 19, 20,
22:23:24, 25; C6 .27,,.28; 30, 31, 32; 33; 34,35, 36, 37, 38;
39, 40, 41, 42, 43, 44, 45, 75, 77, 82, 83, 89,110, 114,115
"QOOM Dal@kSiscssiviensnson 25, 26, 31, 33, 34, 36, 37,75
Davies, Dave
DAVIS; RUSSEMT csc aiscccrsninnnamicaninnanicminganinniiin 79,123
Davis, GEtY niiscimiaaonanananninmmiainmmmaammmiMTRNIN 17
DAVOS (BiG'FIAISI haijiieimincammmbrariammmmentmnatenanewgien 47
Day of the Daleks wc
Day of the Doctor, The...
Deadly Assassin, The
deadly bacteriau.w :
DS aE, [OPIN os svsssssacsievsrvvsseeevereaccvvevviveapinveecesrivennnienactsincesis
DOGO TNE: DGIERS wi cisicmncmmicnnmmonninndann
Delgado, ROGEF wise
DepartMeEnt S veces
Destiny of the Daleks
DICKS, TEFANCE sessssressssssessees 8, 16,17, 18,19, 20, 28, 43, 44, 58,
60, 65, 70, 79, 98, 99, 100, 101, 102, 104, 115, 117
DIMENSIGASI WMCosccorimcontnuntahaseneonciokuiaaiunirmns 123
DISNEY TIME sessssssssssnes 75,76, 108
DIXON OF DOCK GREER viitiwisicarnnitccnnmmmmanmancvencnninncreni 46,64
Doctor WhO and the Green De Cthiissssssssssnsseesssnen 79
Doctor Who Gnd the: PeSCOtONS iisiisisiniianicinnmnaeannnins 122
Doctor Who and the Planet of the DGI@KS wissen 43
Doctor WhO ANd the SHUTIANS wissen 64, 102
Doctor WhO GN the TIME WTTIOP issn 117
Doctor WhO DVD Fil@Swicssseseen 44, 80,117
Doctor WHO FIQuriNG COMP!CTION vss 44
Doctor Who Float (Lord Mayor's Parade) wives 114
DOGO WHO: MGGOZING:iiessisnisnanannnnnnamonnemnanannceien 44
Doctor Who: Tales from the TARDIS sss 43
Doctor Who; The Dalek OMNIDUS wissen 43
DO OMS GV irs, dscomnisasectemmmritannaremenunaiinnnganannnaadnin 4
Doomwatch.... 46,121
DOWIE viscccpeningenqoniinoninmmnimimeEnReMARETN 123
DE WHO /IGSQWSs iwernconnommiuinmamnmnnaannmiNrey 80
DU MING, Bhi Guanantmninmraconainninmnimimnivernonmneaaninans 26
DVD EXtraSiininiennmantinnin niennimenbadamens 44,79, 117
EaGleMOss FIQUriING CONSCTION wissen 44,80
Ealing StUIOS ss cvivvesisninveersssepcce cmmmmnnmrainnC OPOL
Eitan «28, 50, 58, 60, 93, 109
BIBS Of siiiiiinsitansaniaiumennnannindammnnntinaet 94,95, 101
Electric Banana (The Pretty Things)
lEUINGVEF BEM Giiccaccmacmaimmancmcmmmunrann 71-72
Eleventh Doctor
EIGN mivisinensancivmnnionnnenananivecitienir
Evans, Dai .
EVanS, MOSIYN nvioncmcndmniiundinativnmanrertonemeann nies
EVANS; ROY iiiincuninntcncinmaimnncninenmnnnnenianminenE
Evil of the Daleks, The..
EXE] DY SANG ral niecayecsonnandaimanacdteteaen munud acer
F
Fell: Rall p Misvesecaveisaawiererancsevveee
Final Game, The.....
Finch, General...
Five Doctors, The.. .
FOFEM dhl, SUS Mensiiiameujnannunanmnnnancnonumcdonaneiiiiny
FOURTH DO COR icicnninnniiraninmaninamenmmnmnne
Franklin, Richard....
64,66, 67,69, 71, 72, 74
Global Chemicals... 48, 50, 52, 53, 54, 55, 56, 57, 62, 63,
66;'67, 58,69; /1,/2, 73, 75,/6,.77
GIANT, JO viseseeeeeen 4,5,6,10, 11,12, 13,14, 15,17, 18, 19, 20,
23, 27, 28, 31, 32, 33, 34, 37, 38, 44,
52,53, 54, 55, 56, 57,61, 62, 63,
64,65, 66, 67, 68, 69, 70, 73, 74,
76,78, 79, 84, 98, 101, 114
CEP aUC i wvswanareivewtwaiativnsie, 4,5,71,72, 76, 84,98
Green Death, Therese 4, 48-49, 50, 51, 52-57, 58-59,
60-83, 84, 88, 100, 103,
104, 109, 114,115
ROA CASE isiisisrisacisisranin inaismanimmmnanoanrarennniieaittee 76-78
CASU ANG ClEGItS wcicnmuoonvammonnmnmminmmoNoNT 81
Cd Sintnncninmnminnancnnnninnnnininns 73-74
Gamlen Chemical Company complaint w/6-77
MERCHANGISE ics tansrncaiencas ay usoneinapannissenimcnantineige 79-80
POSED HOGUETION: ciminicensunuiensuvaiisnarcupegeinnite 73-74
pre-production... 58-63
Production... 164-72
profile... 82-83
PUI DUCHY svsariyivessine avineuiniurnviumuiieiianpprmiaa uy saveisinwlmianein 75
FALINGS iit 76, 78
FESETHOU EA ccvnseriisinnannnmnnnammmniranacrnarsa 67
FEM EaSaS cmmamnnscormmemnniamemmmn 67,68, 69, 70
STONY visittarnciia saecstsnninnaitorens odnsnonianuemninnescoramuies 52-57
Fhe AMOESDOIRS (OUTIME) iscceivevseneaswoereccenssessiieevcerneeciveccen 58
the Doctor in disguise ........ 55,,67;.,20
GOVE Rimsuscornmiammns ci annmanorandiinunadinnmnsimniEN 86
GUM Da: MUPDNY ssnnnceccrmamenmnranimmnanininnmearmammnanen 22
GUGFGIGM:, THe se owsncnisncemenuineneinceconienenivoneammnnnen 116
GuNFIGhteNs; TheicncsncinninnnnannnmnmmnmnaninNant 69
GWENT GOZEEE: isicssinincormminononmcmmmnnmuinnumannninets 68
Hal -neianiaawinns 94, 95, 100, 101, 103, 107, 109, 112, 113
Hancock: PrentiSvinniniticaciasnnmemnciannmemmnnnin 26, 31, 44
AONGOP FOG THe ansoncunanmansnnciiommanmnanini 83,122
PHANG Y RAYS scapes cinacttcensivicogrectasnuntereasracnanan Ruateeaaatatiseandininagutes ons 64
Harlequin Miniatures. dd 7
FlSRS) |OMM ss insietecnumisccanpstaicmunsiciis saimannnenianeanng 64
Hawkins; Peter ccnsnnonnainannimnnmniamitanmaanmmnnny 82, 83
HERO ZOE sccnvucien memancnnungrnwummdmanummumadceunain 87
PUTO: WATE Se CO iniccuuiisnjunaipuiieniinptannuiiyriaanmintidieds 66
HIDKS arccriusseatinmnicccrniia tnmnencccnianienarins 52, 54,61, 64, 70, 73
Holmes; RODGrtiisinnnnnncadanin 92, 93, 98, 99, 100, 101, 102,
106, 108, 113, 117
Horsfall, BErMard wissen 20, 24, 26, 33, 44, 46-47
HOW) (ANG issiienai mmriimnnaramasinaiacrin
Howard, Ben
HUGMES issicceniss
DOCTOR WHO | THE COMPLETE HISTORY aaa»
IGE WGRHORS;- THE. asicimcciisnuninanmaamnucmeiunadun 50, 83, 89
Inthe Forestof the Nightininacsonontnnnomnnmorianonmnnit 50
INF ETO bcccanincvncnnanenneananiwn inemmmimiennenntaenents 104, 106
INVASION Of thE DINOSAUTS issues 84, 86, 88, 89, 104
IAVOSION: ThGiensccnmninninaniimacmnmannaminmmnntia ame 65
Sad CS; MIKE iccanicccimncmmnnimniinnnnniannnnmnnninien 66
NGHNOC niiimnannimociininaniim anna mmimmeunayins 20, 24, 46, 82
Jeites: Manono nemanmsiommnnnmmmmmmtns 56, 70, 71
JESSIE THE TAU St i crsinngnaannemnaainenimoneamummacmsnnnces 70
JONES). PAU isiinrwironriniisriensccimnagmanuunnnanainninys 114,115
Jones, Professor CIfFOFd wissen 4,50, 52, 53,54, 55, 56,57,
61, 62,.63,'65,66,67,.68, 70,71, 73,75
JUSTICE: Brlahnmminonsmencswaimmmnmmmenceminmnarnreamennmani 69,72
K9GNG: COMPGNVivwuaesi dium manivenitmunciuimaninmuncaicn. 122
IGG SBD liginasennicaeisniiersuitnaeciayctausmn aman nari Queen 62
Knipe; Ro Wiimnwnnncwnnmmincemmmnnmnnemnmernsmnmmannt 117
KiOtOnS;, MiG wiicmiiiuinnanndsnmmnntanimerenmnlnncitnin 20, 83
LATED siirneiinnccmanneraneninnnnen 4,11, 13, 14,15, 17, 23, 32, 37
LOG la) cairiicamnianan cdma amma 87
Lethbridge-Stewart, Brigadier........ 50, 52, 53, 54, 55, 57,64,
65, 66, 73, 78, 80, 87, 88, 94, 107, 108, 109, 123
Letts, Barry vos 8, 16,17, 19, 20, 23, 34, 40, 44, 58, 60, 61,
62,69, 70, 76, 77, 79, 83, 84, 86, 87, 89, 98, 99, 100, 101,
102, 103, 104, 111, 113,117, 122
LEVENE, JON ieuscaninanacinumntiainimaannnmanetiey 63,.65;,71
LUMMEIGFOVE! SEUCIOS: « sassecesisenveiocsssa vecrezenneisvorarescovennereyeiteres 38, 74,113
Lindsay, Kevinwwue 89, 103, 104, 106, 107, 108, 109, 110, 111
Linx, Commander win 86, 89, 90, 92, 93, 94, 95, 96, 97, 98,
99, 100, 101, 103, 106, 107, 109, 110,
111, 112, 113, 114, 116, 117, 118
LlArital PACH wwmisismnmmnsrincnmamcnannai 52,/01;'65, 75,79
LOCATION FIIMING vases ; .24-25,63, 64,104
Beachfields Quarry, REMI scsi 24
Deri Mine, Mid GlaMOrGaN ves 6D
Ogilvie Quarry, Deri, Mid GlAMOFGAN vss 64
Peckforton Castle, Tarporley, Cheshire......104, 107, 111
RCA International, Bryn-Mawr, Breconshire... 66, 67
Troed-y-Rhiw Jestyn, Deri, Mid GlaMOrdanvsees 64
LOCGE;, BEMMaAlG inimuiniacasaneputanmeaummunumncinen 113
ORIG) DGIEY civics: catiarenacyinirsraannorgaisodawtnistaladantelancuis 107
Louis Max Dalek GY niiuencwimmoncamammmmmanmminanannn 34
LOWE, KON usec 64,65
LUD LON Gaia mannicnsiuianudinensimncC usa ORE 89
MoGra TemOn The ivnimnnciianunnmanenennmnaninnnenniana 69
Maloney, David 20, 21, 22, 24, 26, 27, 30, 34, 47
(150) DOCTOR WHO | THE COMPLETE HISTORY
MANNING, Katy veces 24, 27, 31, 32, 34, 44, 61, 63, 67,
68, 69, 70, 71, 72, 75, 77, 79, 98, 103, 104, 114
departure... 61, 63,67, 71, 72, 75, 77,98, 103, 104, 114
MapsOn, COMM seccsciisiernviecauiviseticananaiiseniaueiesin 62-63, 66, 79
Malia visiicivinnainns iellpl2, 23,26,32
MORCO PONG: tinarccnsnimeniicas iti naan minnnninisuni aussi 98
Marks) Lou Sinniansamencinanniamanmnimmn aman 16,102
Marsh, Ronnie... .18, 40, 102, 114, 116
Martin OMT SCOT ia sicnsevssccsersaeemnimmiseassineines 22, 24, 25, 30, 68
LY” sina stsssntovvsiiundiaiieatsviaye iundsvvisvvivisuoatanaaguvunnsaviaoninaidiadibarevieita 101,113
Master tneiwomnuiannmanncaconaninnninanmntieninnaninan 39
ML TEV YS, Billlhsvousisitivaivats fas ntctannriai niveivalasn tated mlahamenniniganarstes 64
MeCrimmOny, |AIM Crninsincsnconmmmnacenmnanannnmamanmman 104
McKenzie, MitZi...... 67, 72,79
MeM illait | Can iniicnsininn tion niiiniratnncainensvinnatnmieany nee 22
M6G) titanium mTOR 101,110
MERE -GOZROUMG taseaieniecapanetimisuss cal inmeuaienseaneriansteree 122
Metebelis Ill... 52, 54,60, 65, 68, 84, 109
MINES; VENESSAi ciiiisganidimiuiohniannninoepnniety 114,115
MUS; Ditkiiinontednacccmiann neaimuanamcarnuna 38, 74,113
Milne, AlSSC Sif nivstianawnindnniimaninmnninninnaiirnd 41,116
Mind OF Evil, TiC rancccmanmetcmaienmnnnnnmmenaen 102,106
Ming RODDEr TG rsdsusindisaieemmameruuieas 20, 46, 47
MIRSTSE Fila iauiagunvsauinaniviasasncnmaninnicametaciscenniureries 26
MISSION t0:thE URKNOWR iinssinsninawiiancninmmnmnnaT 31
Mota STEVE Rica iissianantinniiinasanasilamnadiaimninuniasasy 93
MORKS;. Billicanssnincaninnauseraneniveansstiaaraneannnnennetunnsecenanenyerarenettas 107
FONGFON wees 87,94, 95, 97, 99, 100, 101, 103, 104, 106, 107,
108, 109, 110,111, 112, 113, 114
Monster Collection: The SONtArANS, Theisen 117
Monster of PEladOn, TAG ionnsnnmancccaremnnnenns 84, 87,88
MOOMDOS GS cos eoiransceainimestinnaniuenunenieumomuaneny 43,70,102
MOORDOSE,. THC iccivvcmccvsiewarettcevce srannntcccnsrnenntenennnnnantiirn 68, 108
ATAIS | @sesceseceveasiesevin 38, 43, 71-72, 74,113
Mutants, TRE (AKA. The DGIAKS) bss erennaesmsiananiin 17, 44
MuUtOntS;, TG imucnancaniiceanaienmnmnainianancnines 86, 102
NAN GW titonidtarnnsa admire macsnommmbinasienmd iinet
Nathan-Turner, John
ation, Terry......8, 16, 17, 18, 19, 20, 23, 30, 32, 35, 40, 86, 114
NOTONWIGE a iisncadeaniaviscanwinaininsndunnvinunns 75, 114, 115, 122
Navy Lark: The Radio. 2) iiisncninwwencnventannanannantin 27,64
Needham, Doug..... netO3
MEW LMSC CSIC sistiresss cstvunvvsinsaspitissanksabenasunscvei nv ausiatsnhavatecitins 113
NUERUTCH: THE cnssiiesssinnncvrasaaneassinnainrnwed 61, 62,63
OSLES; ROM wisiiinisinisinnvaniia scans iancurinnianniiseniieen
Open House (Radio 2)....
Out of the Unknown.......
OVETSCESS al OS icosecniencutenrnneinnniay tannins
Paradise of Death, The
Parkinson: Michael miimuwcievawnciommniednenmntomminans
PGREAG OF CHE WOYS;. DAS ssicsssssiessississcnssiciveis siniiiaieisancaissnvegiiiesaiet 8
Pearson) AliSt6 finmnnninanmannnaammnmarcamenianrans 43,117
Pepe MGh One icin qinatuntinasninaniimninaiy es 27,115
POET Kittesisissiscnsenstiaeccasnssisciiurssnveeecinunstccaniiniereannjrasemiiiiersisne 17
POQKUM, PELE R sccstsnissennimnirrcenirisanmmcimnnmmannnvennennsets 102
Pel Mear-DOnAlG ammaniconmanwsoananmimemimucenunaiin 104
POFSHIGETS:. Th Giamunccanvunanaiimnninaninaws 16,17, 40, 46, 76
PErtWee, JON seven 19, 20, 21, 24, 26, 27, 33, 34, 43, 61, 64,
65, 66, 67, 68, 69, 70, 71, 72, 75, 76, 77, 79,
84, 89, 100, 102, 103, 104, 105, 106, 107, 108,
109, 110, 111, 113, 114, 116, 118, 121, 123,
PROLOG hr istisssisetiiudatcainremauenainantns 34,65, 68, 107, 109, 114
Pitty God OMimnccnnmecnninienmncemnnmmntemmmeomas 109
Plain of Stones... 13,14, 34
PIGHEEGh GIGS itis aicinsinanddauaaniinauaiienteniitiis 50
Planet of the Daleks.......4, 6-7, 8, 9, 10-20, 21, 22-23, 24-25,
26-28, 29, 30-35, 36, 37-47, 71, 83,115
DOA CASE asiimmcnndicnunmemnmanannmneninaaenmuncivet
cast and credits..
COSTUMES wanncmidomuvaanomnannany
Destination: Daleks (working title)
COS ianimcmmcmamancamnmianrammamin
MARGHANCISE csiiunwininwardaouinnnermacnnancs ins
DOSTEDFOGUEHOMN ssscsssscississssinsientdrsvcennaisnoraniannsiy itileinwaenainn 38
Die+PLOdUCNO Niarisiicnnnamnmmmamnanainncinen 16-23
PFOCUCTION ees
profile...
publicity...
TALINGS vss
fEHEATSal Svnicndainebnanannimunreasvarnnnes
Return of the Daleks (storyline)
SLO Viosanconvanssirconseipertaiannnnaieciraseons
STOFYIING wasn
Planet of the Spiders....
POG AMY ccssisiersssnonnare
PFEACE. Ul Minuccvnionorinennccnmmmarcennnmiinsias
OU | Malifeticsnsupiaipasnusipuganumimemuyesouh 87,88
REGO TIMES wiiunctaininnmaminainantacun
Radiophonic Workshop
ROMBOW sisi sevisvsssrsssnvictstininccn
RaVMERt ANN snmiaussnveannncncammmenimentianiiausnie
REDO ssssssssrsesecee 11, 12,13, 14,15, 17, 19, 23, 26, 30, 32, 35, 37
FEGENElaON snicameninceoncmnmnnenimmnmornmmTtRN 84, 86
Remembrance of the Daleks...
HE PESES) sisessnriaressssinanneiiesearsvareesesienivincen
Return of the Daleks (Big Finish)...
Revelation of the DGlekS wus
reverse the polarity
FODOEKMIG sisivessecasssncceaisinesarrecini
ROMGNS: UNG icecciinatiinmoeccunmemnanmnmeniainnnninnaninnwanien
Rowe, Alan vives
Rubeish, Professor-....
FRU TEAS; EMS inadincratives nnsuitirsivatsirianinranteneer ninecctonaneieecaiingie
SUNG TNC sissaniceccrntanionautinewaraunicawiesns aun daeneaniaia ie 16
Sarah Jane Adventures, The 4,92,123
DEGthOF TRE DOGO. coos cniminnnmummacnnmnadd 4,79
Sarah Jane Smith (Big Finish)... wes
SEeHle Chart LIMITE siscicicvovnrennnnionummnnimeancinnen; 22
SCHOOL REUNION wncnciinrnnwmnnnceminmmnmmmanT 4,93,123
SEG: DEVWIS). TNO ssiiuunccnisininnnaommunaiion: 42,69, 86,115
SCCOd/ DOCG sammanntnindcannnonaimma 84
S@rendipityouuun 75,79, 114
Seventh Doctor...
SHaWElal CricntinmnemniseninrncmnninceniRaNRe 24
Silva [email protected]
SIMPSON, DUCEY wennirousnarncnncmnmnnnemnnntionen 38, 74,113
SIP GWAR sniciecevavevenracevevveinis 94,95, 99,100, 101, 108, 112, 113
SAD O STON i sceivssvesivves werccaiveentaninnavnd apoawtnanemaninnaemnieds! 92
SKANG. ccammunendiarcramimcenncnnntivn cempnuiennns 4,15, 18, 28, 83
SKE MOH 1 ROYssscssnsuissunciesasseanavisressssereisinwss 22, 26, 31, 35, 70, 82-83
Sladen, EliSADCtH assesses 70, 87, 102, 103, 104, 105, 106,
108, 110, 111, 114, 117, 120-123
SloMAaN; ROBE Rssnnisicncinamneinnnnnenciy 60, 61, 62, 63, 79
Sith DOELON OM ih scayivniegnivcrivepusraieanonnieriuanneeiulaietnnes 104
Smith; Mattticnvarncncmunomanmananncnntnomnnmannnnne 79, 123
Smith, Sarah Jane... 87, 88, 90, 92, 93, 94, 95, 96, 97, 100,
101, 102, 103, 104, 107, 108, 109, 110,
112, 113, 114, 116, 120, 121, 122, 123
SOMESCEWCRIVEF sincarssetiovnscincirtreninimevinearien 32, 33, 56, 74
Sontaran Experiments. THe rsesscccssissereesitecrsicesesvenensvarenrcie 93
SOMALAM Sica 86, 89, 90, 92, 93, 94, 98, 99, 100,
101, 106, 107, 109, 110, 113, 117, 118
PRODIEVEN ES isisisitinaiiinmisnaasinisiiaaoriadnasiaisieas 97,100
South Wales Echo
SPACE MUSEUM, THO iisissucnivecronaiianirorinnesisenarise rine 103
SPEGrHEGM FLOM SPACC wvvsssssssssesssessssssesneseen 26, 64, 69, 104
S DIG OM sscssvssssssssssecsncssasersi 6, 8, 10, 11, 12, 13, 14,17, 18, 19, 23,
24, 25, 26, 30, 31, 32, 35, 37, 38, 44
SPIFICONS vases 10, 11, 12, 13, 14, 18, 19, 23, 30, 31, 32, 35, 37
SHOOMESL DSMMALS rss siseiisessusscevvvesinaavsvesvviivaverysapeanvenesvioniniwcseryveviiveees
Stamp Centre Cover... i
Stanbuny, |AGquel NG issaiinamsminiraanamiennvnoniiieasn 113
Stanley-ClaFk; OSS iCavsssiiicniaisiinaninuimamiinndusmurmaniinenins 70
Starr, Tony
SLEDDING STONES iicianiceiminninicinnnmmnunmnnnunnnsinnt 122
STEVENS wissen 52,53, 54, 55, 56,57, 59, 60, 61, 62, 66, 73, 74
StoleniDalekSinncnwnncommnnacomaunmmanncnaunpiit 44,110
Styre
T
TARD Siiirsscanasiaiitneaiunaiee 6,10, 11, 15,17, 20, 23, 27, 28,
30, 32, 38, 40, 52, 68, 94, 97, 99,
104, 106, 107, 108, 109, 113
NEW. TARDIS KEV) inicinwcwinvnnduiinouimiauincaniasnivets 107
TARDIS lO Qisnnssssssatinireciz 10, 11, 20, 28, 32, 38
Target NOVELISATIONS whic 43, 79,117
DOCTOR WHO | THE COMPLETE HISTORY
TARO Fh asidsicicinssieciseeistnsiai 8,9, 10,11, 12, 13, 14,15, 17,18, 19, 20,
23, 26, 32, 35, 37, 38, 43, 46, 47
TEIBVISIOH:-CEAUE isiriccinosncivenuntenniiien 27,68, 109, 110, 114
FEBVISION TOGGY siitsirsisiciimavniinomonsionuiiiammnaiemunicinie 77
TEHASNG, DaVG coninrieniinnnraninorstnnannendnnesiremnaiengndies 123
TeRth DOC Fsiiecavcnnananmnaieniouniemnnunanmieannid 4,92
Tenth Planet. The rcccccnmumnnnnnnnmmaromannian 83,102
Terror of the Autons..... .63, 102, 114
TEMOr OF THE ZV GON Sisscnsninmnnngnosnnmnigrnannndmnnnan sed 50
WUTGS, wateniecctanstasanigen 4,6, 8,10, 11, 12,13, 14,15, 17,18, 19, 20,
22, 23, 26, 30, 31, 32, 33, 34, 38, 40
Third DOCIOF BOX SEE. TG ia usiisiassrcinninieciintreannasiaieanarnane 79
This: PlanetEarth Replica Dalek siisiscucansnnmamnvnccnvmanvenn 44
THGIMES), Tal FEY Miwiiassveeiseinisecvreeersviaen 64,69
THOME, STEVEN waisiniincinincndiionnranmainnirninmimninuneit 103
THES DOCtOLS;. TAG unisaissosmuvernninaes 27,62, 64, 68, 87,102
MHUITHES OTE Si ieeccorseiveeurehardnrrenun heinananvatnnarteniied 6,10, 84
TMEMONStCE. T NeiwnnivennncnrenminonnnmmmmnnaniT 60,102
TIME Wak: ThE ecient ct annniaianiannimeNaNeN 4
Time Warrior Collectors’ Set, TR@ suru 117-118
TIME WATTION, THE visser 84, 86, 87, 90-93, 94-104, 105,
106-119, 120,121, 123
BKOdd GAS Cais ndretiotniuabnismacoretvin carndasanshanenenanie 116
GAS TAME ChAC TESS iad csvavetssresssivenserisanaasroa us eignniaeunineniing 119
casting Sarah Jane Smith . 100-101, 102-103
COSTUMES) cininanaitoarniuntaies 102,103,106, 111
RCIA O isrransaravenenernamamnrtiermimnrremmmennarnccnnnemnnt 112-113
METEHANGISE yascsnommanonorcinniomueiiaiin 117-118
OUT Crsinnnninnmsiadanniaicininnnnmmmmnnitaanniin 99-100
POST DHOGUCHOM wrnicnindiomcnnnonnuinnaintin 112-113
PLE DIOGUCHON iacmpanawansimemommmannemnre 98-103
PUOGUGHO Mssssivosscnietr muvongecminignineumuinanno wiainie 104-111
FOR S ssvavivereereneareuraevernnearseea ev vessocvvwnmveveneeeecatersevearsceaviere 120-123
PEVCITEDN ITE seas vecuzces etree entaceeatvcysivgeescnmnsiv vias dcrnaveeis tt 114-115
sina 116
cewaanis 108
sities 108, 109
saree 94-97
The Time Fugitive (WOrKiNG title) vices 100
The Time Survivor (WOrkING title) icc 100
TINGS, Th Gisncscsnnmcmniencnmonmennonnmanenentannnie 40, 114
TOdGY(RAGIOA) ssissirisnmcnnnnnomianmunaiancnninen 114
HOO VIG ENE nwnmmnmrainaammrinuisidicnniinmeD ADEA 18
OWN; CVinisnannnicnnnmmnncmnannianiemni mamma 22
TalES cme 39,79
Troughton, Patrick
Tucker, Alan esses
TEV GEICO LINC casassecesersnssiccesdatvececiticadivesincecsetantitincialnusetewaniesiy
TV Gently 2] cinmcnmimannnmnimomnamonmameanninnnins
TWELFTH DOCLOM sssinstissessesiscsscee
Twyford Moors Helicopters
TWIEE:ROS 6 woxhiiomnccnmniiinnommmmenamomimmnnanY 4,8, 123
152. DOCTOR WHO | THE COMPLETE HISTORY
Underground Toys Action FIQureS wissen 117-118
UNL sccastssinisavanondvitasionigneesmaliaiagltancniacerinntvaasansi 48, 52,55, 58, 63,
65, 66, 78, 88, 101
Ne DE Fusiarussinaeannnanitenitands 10, 11, 12, 13, 14, 23, 26, 31, 32, 41
VENUSIAMSIKIGO isiniieaiiinusiitannvaiinaianinaniinntoniniadn 106
VISUALCTIOCS since 22, 24, 25, 30, 32,
WGlES TOdGY incommnannmnmnonanmninnncmmnmmamamnu 66,79
WEI KE [isi ra tesiuntanecienernatenniiianiuntnatin tn omaieenminuniazane 86
WalkemADrilsidecsesnrsvienndtinivarnieanaravarnenntantanannpents 100
Walsh, Terry seus 66,67,107,111
War Games, The... 20, 47, 84
War MaGhines:. Ln @wenminnicncnaiitnentnarmnaninn 38,68
Wald, JAMES. 102, 106
Wate Field, ViGtOr a tinmarmpionna cian oan aioe 123
We able). DICK wisciscosineinonnaniiicommniinansinaimaaajneamnnianauts 107
Westbury Design and Optical LIMITE” waves 22
WSS CE Tia issn cesuierrveniaiaianinmtentitdyiesien 11, 12, 14, 23, 26, 31, 32, 35, 83
WAL AIG Risisssasinecenstinncanntnmenmaiennanrconannnniteacataiit 43,117
Wheel in Space, The.. 83,104, 109
Wheeler, Marcia. .103,104, 112
Wine lel Oi GI: asseesateren sasadmnnudndenasraumumramneaaneconnins 40, 41
WiIKie, BER KG ssmanmnininnanicnecanarnmuinimnmarinatnitiietsl 115
Williditts; ROM inneusincomnannpotenmnemconmeaneammmiongat 4
Willis JEFOME icc rorcnnnndtiommemancoiianGamnt 66, 72
WillOw: Alaniiinsnncininnnnmcnnnminnnaimmmmannanimmmnnnnnn 79
WIDER TAPES rnconncenmaumquERaDnNNNURAICUN 41
Wisher, Michaels pi@ened
Worlds Of DOCtor WhO, TAG ssisisincccerteccerncasneieicesntcncs 43
Wight; Barba issscimisesssnmianeniamnnanimevniiccnmianencmiaey 17
Yates, CAPtain MIKO assesses 55, 56, 57, 62, 63, 66,
67,69, 70, 72, /4, 79, 88
Ze CORSK sccsnitunsrsimimundeanansetn neste 46,62, 66, 102, 103,121
1B} BIC}
VOCTOR
WHO
THE COMPLETE HISTORY
STORIES 68-70
PLANET OF THE DALEKS
The Time Lords pilot the TARDIS to the hostile planet Spiridon.
There the Doctor and Jo join forces with a group of Thals to
prevent the Daleks from launching a galactic invasion.
THE GREEN DEATH
When a miner is found dead and glowing bright green, UNIT
and the Doctor are called in. The culprit appears to be Global
Chemicals and its mysterious boss, whose sinister plans extend
across the entire world.
THE TIME WARRIOR
Investigating the disappearance of several scientists, the
Doctor and journalist Sarah Jane Smith discover they are being
abducted through time by the Sontaran warrior Link.
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