THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO
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DOCTOR
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DOCTOR
@@ THE COMPLETE HISTORY
HORROR OF FANG ROCH,
THE INVISIBLE ENEMY, IMAGE OF THE FENDAHL
AND THE SUN MAKERS
THE COMPLETE HISTORY
HORROR OF FANG ROCK
THE INVISIBLE ENEMY
IMAGE OF THE FENDAHL
THE SUN MAKERS
1B I BIC]
DOCTOR
WHO
THE COMPLETE HISTORY
EDITOR JOHN AINSWORTH
EDITORIAL ASSISTANT EMILY COOK
DOCTOR WHO MAGAZINE EDITOR TOM SPILSBURY
ART EDITOR PAULVYSE
ORIGINAL DESIGN RICHARD ATKINSON
COVER AND STORY MONTAGES LEE JOHNSON
PRODUCTION ASSISTANT PETER WARE
ORIGINAL PRODUCTION NOTES ANDREW PIXLEY WITH UNA
cCORMACK (IMAGE OF THE FENDAHL)
ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON,
ALISTAIR McGOWN, TOBY HADOKE
WITH THANKS TO CHRIS BOUCHER, DAVID BRUNT, PAUL CONDON,
DAVID J HOWE, ANDREW MARTIN, BRIAN MINCHIN, STEVEN MOFFAT,
KIRSTY MULLEN, JON PREDDLE, JULIE ROGERS, MARTIN ROSS,
AN VINCENT-RUDZKI, EDWARD RUSSELL, GARY RUSSELL,
IM SANGSTER, DAVID STEAD, JO WARE, MARTIN WIGGINS,
BBC WALES, BBC WORLDWIDE AND BBC.CO.UK
MANAGING DIRECTOR MIKE RIDDELL
MANAGING EDITOR ALAN O'KEEFE
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BIB IC)
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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
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Contents
1977/8 SERIES
6
OVERVIEW
14
INTRODUCTION
PUBLICITY
STORY PRE-PRODUCTION PRODUCTION
37 38 39
BROADCAST MERCHANDISE CAST ANDCREDITS
THE INVISIBLE ENEMY
POST-PRODUCTION
&@
PROFILE
46
INTRODUCTION
71
PUBLICITY
48 52 62
STORY PRE-PRODUCTION PRODUCTION
BROADCAST MERCHANDISE CAST ANDCREDITS
70
POST-PRODUCTION
78
PROFILE
84
INTRODUCTION
104
PUBLICITY
112
INTRODUCTION
134
PUBLICITY
IMAGE OF THE FENDAHL
86 90 94
STORY PRE-PRODUCTION PRODUCTION
105 106 107
BROADCAST MERCHANDISE CAST ANDCREDITS
THE SUN MAKERS
114 118 126
STORY PRE-PRODUCTION PRODUCTION
134 136 137
BROADCAST MERCHANDISE CAST ANDCREDITS
103
POST-PRODUCTION
PROFILE
133
POST-PRODUCTION
138
PROFILE
140
INDEX
DOCTOR WHO | THE COMPLETE HISTORY
VOLUME 27 > stories 2-95
Right:
"This
lighthouse is
under attack,
and by morning
we might all
be dead...”
Wwelcom
t’s very hard to pick your all-time
favourite Doctor Who adventure.
With 50 years-plus of stories,
the series is incredibly varied
and it’s near impossible to
compare like-for-like. However,
it’s a topic of conversation that regularly
arises in Doctor Who circles, and back in the
1990s, I was asked to name my own “Top
10’ as part of a series for publication in
Doctor Who Magazine.
For the Number One slot, I nominated
Horror of Fang Rock [1977 - see page
12], one of the stories featured in this
volume. In truth, I think there are a lot of
contenders for best Doctor Who story of all
time, but I would certainly still rank Horror
of Fang Rock as one of them.
I know that Terrance Dicks, the author
of the serial, although flattered, is
slightly perplexed by the popularity of
his story, possibly due to the fact that it
was something of a last-minute, rushed
replacement for another serial. However,
I believe that it encapsulates so many
of the essential ingredients of a good
Doctor Who adventure. With the Doctor
and his companion, along with a group
of fast-dwindling supporting characters
trapped in a lighthouse while something
nasty lies in wait outside, Horror of Fang
Once again, a DWM contributor
MS attempts to rank his ten all-time
4 favourite Doctor Who stories—a near |
impossible task . -. |
ind
(The Fanzine Trap operator a
Out of the TARDIS interviewer)
—
1
Horror of Fang Rock :
pia iach about everybody, including Bee ieee
But it's FAB! Tom Baker Is just brilliant, the setting 1s . a!
scan territory for Doctor Who The monster is just 2 DIOD
and the ship is an Airfix kit but both fail to detract from this
great story.”
2S \ NSS
Rock is a vintage ‘base under siege’ story.
As the mostly unseen ‘horror’ picks off
the characters one by one, the Doctor is
forced to rely on his resourcefulness and
ingenuity to save the day. In this instance
though, it comes at the price of the lives
of everyone on the island, apart from the
Doctor and Leela. The Doctor though,
as always, sees the bigger picture, and by
destroying the Rutan and its invading :
mother ship at the climax of the story,
saves the Earth from an alien attack. :
It’s quite a grim tale, but there is still
room for some humour, even if it is a
little dark. The Doctor’s cheery, “This
lighthouse is under attack, and by morning
we might all be dead. Anyone interested?”
remains a favourite line of dialogue for me.
The Doctor is able to shine as a character
in these kind of close-knit situations - Image
of the Fendahl [1977 - see page 82] also in
this volume, has a similar set-up - where
there are just a handful of people, and
no guns or soldiers to turn to, and he is
the only hope of salvation for a world
completely unaware of the threat facing it.
John Ainsworth — Editor
i>
|
(THE DOCTOR ALWAYS SEES
[THE BIGGER PICTURE...’
: ~~
. f
0 | THE COMPLETE HISTORY 9
* y . eel
1977/8 SERIES Sa “a UN NANANANR ROO
‘THIS SERIES FINDS
THE SHOW IN A
& DOCTOR WHO | THE COMPLETE HISTORY
1977/8 series
he 1977/8 series of Doctor Who
finds the show in something
of a period of transition.
Charged with making the
show less frightening after
the controversy caused by
much of the Philip Hinchcliffe era -
notably The Deadly Assassin [1976 - see
Volume 26] - producer Graham Williams
doesn’t necessarily start as he means
to go on. His first series is bookended
by stories featuring the protagonists
in the oft-mentioned but never seen
Sontaran-Rutan war, but the two
productions are (like said warring
factions) very different creatures. In
between there is an array of styles in
this eclectic and surprising series
which, while it may not have the
consistency of the preceeding Hinchcliffe
era, boasts a freshness which befits a
show that thrives on change.
he two stories most similar to what
T= gone before are Horror of Fang
Rock [1977 - see page 12] and Image of
the Fendahl [1977 - see page 82]. The first
is easily veteran Terrance Dicks’ darkest
script for the series, one which kills off its
entire guest cast. Image of the Fendahl at
least spares the Tylers and Adam Colby
but the payoff is that a number of other
characters die quite horribly, including
Doctor Fendelman who is shot in the
head by his erstwhile colleague Max
Stael. Stael, in an admirable display of
fair play, then despatches himself in the
same way in a scene shocking even by the
|
r
|
1977/8 series
Horror of Fang Rock
The Invisible Enemy
Image of the Fendahl
The Sun Makers
Underworld
(see Volume 28)
standards of a programme
famed for sending children
scurrying behind the sofa.
Monsters from nightmares
and fairytales are one thing -
grotesque imaginings which
are safe within a certain
context. A man blowing
his own brains out, on the
other hand, is an entirely
different scenario.
Outgoing script editor Robert
Holmes clearly wasn’t going to obey the
instructions from the BBC top floor (to
tone down the violence) without taking a
few people with him. Consideration was
even given to having Louise Jameson’s
Leela perish in the steam chamber in
Holmes’ own The Sun Makers [1977 - see
page 110]. Killing off one of the show’s
leads would have made what is otherwise
a rather jolly satire on the tax system, a
tonally dissonant experience. It would
also have been almost as shocking and
peripheral an exit for a much-loved
character as, say, if she’d decided to marry
someone she'd barely met (ahem). If she’d
breathed her last in Horror of Fang Rock or
Image of the Fendahl however, viewers might
have just seen it as par for the course.
Striding mournfully through such
tonal bleakness, Tom Baker’s presence is
indelible. Received wisdom suggests that
during the Williams’ era the leading man’s
predilection for whimsy is indulged and
that the series becomes something of a
jokey affair. While Baker certainly appears
to take things less seriously at times, he’s
as likely to step into darkness as he is into
more lighthearted territory. He has an
The Invasion of Time
(see Volume 28)
DOCTOR WHO | THE COMPLETE HISTORY &
1977/8 SERIES
Above:
Synge, the
Doctor and
K9in The
Sun Makers.
almost Olympian detachment on occasion
- withdrawn, brooding, aloof and troubled.
His lack of sentiment about various deaths
suggests a dark, complex alien morality.
By the end of this series, this often harsh
detachment is used to the advantage of the
storyline, and we genuinely believe that
this unpredictable figure might well be in
league with the Vardans in The Invasion of
Time [1978 - see Volume 28].
That said, he emerges from such
solemnity to crack jokes at surprising
junctures. The dark anarchy of his
presence fits Horror of Fang Rock like a
glove: his “Gentlemen, this lighthouse is
under attack and by morning we might all
be dead. Anyone interested?” is delivered
with a grin and he reports the news about
Palmerdale’s disappearance from the
lighthouse gantry onto the rocks below as
if it were an aside in an amusing anecdote.
There are moments throughout the
1977/8 series where Baker is clearly bored
with the tropes of the show he has been in
for several years now, and depending on
his mood he reacts with either disdain or
mesmerising comic invention. But while
this ominous and most alien of Doctors is
embodied by a leading man at the height
of his powers, he does occasionally wield
them as if he were Caligula. He breaks the
& DOCTOR WHO | THE COMPLETE HISTORY
CANN ARAN
fourth wall on more than one occasion in
The Invasion of Time and the face he pulls
at the end of Part One of The Sun Makers,
when the Doctor is in mortal peril, is one
of inappropriate comic resignation.
The now well-documented friction
between Baker and his leading lady makes
for an effective dynamic on screen. Louise
Jameson never gives anything less than
100 per cent commitment and Leela is
so much more than the Savage-In-Need-
Of-Educating that she could so easily
have been. She shows great empathy for
downtrodden characters like Vince and
Cordo but has no time for Adelaide’s
histrionics or Mandrel’s threats. She’s both
coldly pragmatic and protectively gentle,
and Jameson reconciles these conflicting
aspects of her character with ease. It is
interesting to note that when the Doctor
watches a guard get electrocuted in The
Sun Makers — due to some jiggery-pokery
on his own part - he brushes it off by
saying that he had warned the man (which
he had, but only in a roundabout sort of
way, and he still allows him to die). Leela
on the other hand, only knifes a different
guard in the shoulder when he wakes up
from his hypnotically induced sleep in
the final episode, so she’s no longer the
walking killing machine who first entered
the TARDIS.
That said, the morality of The Sun
Makers is interesting. To overthrow
the administration which enslaves its
populace with crippling taxation and
bureaucracy, the Doctor and Leela have to
ally themselves with a pretty unappealing
bunch. Mandrel, leader of the rebels,
shows himself to be a murderous bully
when we first meet him but by the end
he is happily waving the Doctor goodbye
without having undergone any particular
character conversion. Indeed, the one
major death in the story is that of comedy
villain Gatherer Hade who, unarmed
and defenceless, is chucked off the roof
of a building by a cheering mob. In his
novelisation of The Sun Makers, Terrance
Dicks adds that after this cold-blooded
murder the group feels an empty pang of
remorse in order to address something
that is uncommented upon on screen and
is consequently pretty grisly.
The majority of the scripts this year
counteract the show’s violence and horror
with an effective wit quotient. The most
successful examples of humour emerge
organically from character and situation.
Image of the Fendahl benefits hugely
from the wisecracking Adam Colby who
breathes life into the bickering scientist
scenes (“You must think my head zips up
at the back”), while the double act of Jack
and Martha Tyler means that an ancient
evil from the dawn of time has some
winning nemeses who come armed with
rock salt, good lines and a clearly delicious
fruit cake.
WAR
he Sun Makers shows Robert Holmes
at his most caustic, weaving a
satire about the tax system into
an otherwise straightforward adventure
about guards and rebels. The repartee
between Henry Woolf’s unctuous Collector
(possibly one of the most successfully
alien performances in the show’s history)
and Richard Leech’s brown-tongued
Gatherer are very funny in their overblown
verbosity. Add to that references to the
“P45 return route” and a guard unit called
the Inner Retinue and you have a set of
scripts both funny and astute.
The humour only doesn’t really work
when the leading man goes off ona
tangent or a guest actor allows themselves
to be influenced by the wayward Time
Lord at the head of the show. Baker
behaves himself when in the company
of an actor he clearly respects, so his scenes
with, say, Woolf or John Arnatt’s amusingly
disdainful Borusa in The Invasion of Time
are witty and engaging. Elsewhere, Baker’s
battle to keep himself amused leads to an
occasionally distracting experience and a
curiously detached central performance.
Guest stars aside, he really rises to the
occasion when the script gives him
something interesting to wrangle with,
but this year’s stories are, on paper, quite
a motley crew.
Both Horror of Fang Rock and The Invasion
of Time were written in something of a
hurry. This certainly doesn’t show with
the former and Terrance Dicks appears
to have been on terrific form when this
emergency hit. Horror of Fang Rock boasts
a memorable cast of characters, most
of them three-dimensional. Reuben is
a salty, superstitious old sea dog but
is protective of the nervous Vince. For
his part, the young lighthouse keeper is
obviously innocent and good-natured
but nonetheless takes a bribe from Lord
Palmerdale. Skinsale is the most likeable of
the lot - he is charming, funny and brave:
DOCTOR WHO | THE COMPLETE HISTORY &
OOS 000 LL (nee
Below:
The
transformed
Thea gets
up close and
personal with
the Doctor in
Image of
the Fendahl.
1977/8 SERIES
VUVTIVIIY
Aninfected
and restrained
Doctor in
The Invisible
Enemy.
The Sontarans
attack Gallifrey
in The Invasion
of Time.
but he’s a crook, as is the supposedly
honourable and high-class lord to whom
he is in debt. The Doctor, always a good
judge of character, has little time for any
of the survivors of the boat crash and
instinctively allies himself with Harker,
the honest-to-goodness shipman whose
straightforwardness and practicality are
much more use to the Doctor than his
supposedly loftier companions.
Horror of Fang Rock also makes the
unusual move of featuring a creature
which had been referred to in the series
twice without being seen before. The
arch-enemies of the Sontarans, the Rutans
were only ever named - no suggestion of
their appearance or capabilities had been
hinted at and so their actual manifestation
as shapeshifting jellyfish may have
come as a surprise to long-term fans
who might have imagined a different
kind of arch-nemesis for the clone men of
Sontar. Those series favourites themselves
make an appearance in the series’ big
shock moment at the end of Part Four of
The Invasion of Time. This story helps to
consolidate the depiction of Gallifrey as a
society of duplicitous and cynical political
manipulators which had begun in The
Deadly Assassin. The plot has the feel of a
conspiracy thriller in which we’re never
DOCTOR WHO | THE COMPLETE HISTORY
quite sure of the Doctor’s plan - until Part
Five when the haste with which it was put
together becomes evident as a protracted
chase ends with the Doctor building a
big gun to kill the baddy with before said
baddy can kill everyone with a big grenade.
The Invisible Enemy [1977 - see page 44] is
an ambitious piece which obviously owes a
debt to the film Fantastic Voyage. Grappling
such hot scientific topics as cloning
and viral infection, it also introduces a
character whose presence would set the
tone for the show in the two years to
come, intelligent and precocious robot dog
genius K9.
Image of the Fendahl, as well as being
something of a flashback to the Hinchcliffe
era and the show’s last stab at Gothic
horror for some time, is also, with its
sharp, banter-ridden dialogue between
cynical characters, a future echo of Doctor
Who’s BBC science-fiction stablemate
Blake’s 7. It also harks back to the
corporation’s very first wranglings with the
genre: the story’s black magic overtones
and ancient skull holding the key to
mankind’s development have obvious
parenthood from Quatermass and the Pit.
The ancestry of Underworld [1978 - see
Volume 28] goes further back and is one
of the show’s occasional attempts to mine
mm NS
mythology for inspiration. In a curious
move, the Doctor even alludes to this
on screen, remarking to Jackson on the
similarities between his mission and that
of Jason and his Argonauts. It’s a bit like if,
in The Brain of Morbius [1976 - see Volume
24] he’d asked Mehendri Solon if he’d read
Frankenstein, although the idea that events
repeat themselves and get mythologised
is an interesting one from a philosophical
point of view, even if it is left hanging.
Unfortunately for Underworld, any literary
pretensions it may have had are somewhat
lost once the story locates itself in a series
of model caves.
fter three years under Philip
PA recscin in which production
values were pretty solid, the
squeeze in Doctor Who’s budget starts to
show this year. Underworld is notoriously
uneasy on the eye and the idea that a
production might be 75 per cent reliant
on the unsatisfactory technique of Colour
Separation Overlay (CSO) is unthinkable
now. Despite the best efforts of the team
- and the CSO itself is actually very well
rendered for the time - it leads to many a
confusing or static sequence. The Invasion
of Time is the longest production of the
1977/8 series which aims to be the big
finale. It features a large amount of location
filming. The outskirts of Gallifrey and the
inside of the TARDIS take up much of the
action of the last few episodes - but the
latter is depicted as a curious mixture of
swimming baths and hospital corridors.
Despite some incredible model work, The
Invisible Enemy is probably the first story of
the Tom Baker era that blatantly displays
the parlous state of the programme’s budget
in a manner that threatens the credibility of
the production. There’s a sequence in which
K9 has to cut through a wall where the set Above:
ives away, in full view of the audience We hee
EES Eel vie ; was openly
highlighting that the section due for his inspired by
laser treatment has already been pre-cut. ue ie
A : ason an e
Throughout the year there is evidence of Argoneie
a production fraying at the edges.
The stories of the 1977/8 series were
mounted despite some great upheavals
and difficulties behind the scenes. One of
the show’s regulars was on her way out;
another was grafted in at late notice and
had to be written in (or out) of scripts
with undue haste; the show’s leading
man was an unpredictable ingredient;
and the financial constraints the new
producer was under were just another
pressure to go with the scrutiny under
which the show found itself by senior
BBC management and the National
Viewers’ and Listeners’ Association.
That we get two spooky horror stories,
an ambitious science-fiction thriller set
inside the Doctor’s body, a clever piece of
satire, an attempt to retell a Greek legend
and a series-busting climax involving the
invasion of Gallifrey itself, only goes to
show that sometimes ambition goes
a lot further than money. Even if it is
sometimes beyond the capabilities of
the show to pull off the stories it is
trying to tell, it has a go at telling them
anyway which makes for a topsy-turvy
but fascinating set of stories awash with
wit, invention and occasional folly. And
if Doctor Who is about anything, it’s about
dreaming beyond your limitations.
DOCTOR WHO | THE COMPLETE HISTORY @
ey
: » Toc d
=\N
Pee ees aa as f/f ///// vy
HORROR OF
FANG ROCK
STORY 92
The TARDIS lands on an island off the coast
of England in 1902. There, the occupants of a
lighthouse and the survivors of a shipwreck
fall victim, one by one, to a ruthless alien that
has the ability to transform its appearance.
& DOCTOR WHO | THE COMPLETE HISTORY
DOCTOR WHO | THE COMPLETE so &
es
14
HORROR OF FANG ROCK = » sto
Introduction
Below:
Zorelle (Carole
Ann Ford) is
revealed asa
Rutan in the
fan-made
Doctor Who
spin-off,
Shakedown:
Return of the
Sontarans.
hapeshifters must surely have
been a gift to the cash-strapped
effects team of the 1970s -
monsters hiding in plain sight
as nothing more exotic than
members of the story’s cast.
The upshot of this, however, is that we
only get the briefest glimpse of the real
Rutan - a gelatinous green globe that the
Doctor finally manages to corner on the
staircase of the Fang Rock lighthouse. This
quintessentially blobby menace doesn’t
hog the limelight and could easily have
been one of Doctor Who's forgotten foes.
It may well have been were it not for
the back-story appropriated for the
Rutans. Writer Terrance Dicks decided
that the monstrous threat in Horror of Fang
Rock would be the mortal enemy of the
Sontarans - even though the Sontarans have
no involvement in the story. He took the
name from The Time Warrior [1973/4 - see
Volume 20], where the series’ first Sontaran
is stranded on Earth after an encounter
with a squadron of Rutan fighters. Since
DOCTOR WHO | THE COMPLETE HISTORY
SN
then, the Rutans are often get a mention
whenever the Sontarans appear. In The
Sontaran Experiment [1975 - see Volume
22], the Fourth Doctor surmises that Earth
has gained some strategic importance in
the war between the Sontarans and the
Rutans. In The Two Doctors [1985 - see
Volume 41] the Sixth Doctor explains that
the two races have been fighting for so long
that they’ve become entrenched in their
attitudes to each other. The Tenth puts a
figure on this military campaign - 50,000
years - when the Sontarans attack Earth in
The Sontaran Stratagem/The Poison Sky [2008
- see Volume 58].
Despite this close association we’ve only
ever seen the Rutans - or just a Rutan to
be precise - in Horror of Fang Rock, and
the two warring species have never been
seen together on TV. It’s amusing that the
conflict that we’re told preoccupies them
to the exclusion of all else is never their
primary concern when either of them have
crossed paths with the Doctor.
Of course, Doctor Who has a life beyond
the TV series, and a face-off between the
Rutans and the Sontarans was eventually
staged in Shakedown: Return of the Sontarans
[a fan-made spin-off written by Dicks,
released on video in 1994 and adapted into
a book the following year]. Thanks to the
Sontarans raising their profile, the Rutans
have returned in other spin-off media, not
least of which was a striking reimagining
in The Gunpowder Plot {2011] - one of the
BBC’s online Adventure Games.
The Time Lords may be Terrance Dicks’
most iconic creation, but the Rutans
perhaps count as his most successful
monsters. Hl
Introduction
SPIN-OFF MEDIA,
ZING REIMAGINING
16
HORROR OF FANG ROCK =» sors
MM 0 the gallery of the lamp room
| of Fang Rock lighthouse, Vince
i Hawkins watches as a light shoots
into the sea. [1] His fellow lighthouse
keepers Reuben and Ben dismiss it as a
shooting star. A sinister creature emerges
from the water and approaches the
island, generating a cloud of fog. Ben tells
Vince to sound the sirens. But then the
power fails, plunging them into darkness.
The TARDIS materialises on the rocks
below and the Doctor and Leela emerge.
[2] Ben goes down to the generator room
and enters the coal bunker, where he is
electrocuted by an alien lifeform. [3]
The Doctor and Leela enter the
lighthouse and meet Vince on the stairs,
the Doctor explaining that they are
misplaced mariners. Vince is surprised
that the Doctor and Leela didn’t meet
Ben on their way in and the Doctor
volunteers to go and look for him.
DOCTOR WHO | THE COMPLETE HISTORY
In the crew room, Leela starts removing
her wet clothes and Vince runs away to
find her something to change into. [4]
The Doctor finds Ben’s corpse in the
coal bunker. Vince appears on the stairs
and the Doctor gives him the news that
Ben has been killed.
Vince tells Reuben about the strangers,
whom Reuben suspects of being French,
Russian or German spies. He enters the
crew room and orders the Doctor to leave
the wireless telegraph alone. [5]
Leela explores the rocks around the
lighthouse and discovers a rock pool full
of dead fish.
In the lamp room, Vince tells the
Doctor about having seen a ‘fireball’.
Vince then goes down to the generator
room and discovers that Ben’s corpse is
missing. Terrified, he calls Reuben, “It’s
Ben! He’s walking!”
The Doctor spots a steam yacht in
the fog and Reuben fires a warning flare,
but it’s too late and the yacht strikes
the rocks. [6]
@ he Doctor, Reuben and Vince go
T to search for any survivors, leaving
Leela to sound the foghorn. She
spots the creature, a bioluminescent
green blob, dragging itself across the
rocks below. [1]
Vince and Reuben lead three of
the passengers from the yacht into the
crew room. They are Colonel James
Skinsale, Lord Henry Palmerdale and
Adelaide Lesage. [2]
The Doctor enters the crew room with
a flourish. He sends Leela to help Vince
stoke the boiler and learns that the yacht
was bound for Southampton and that
Palmerdale is desperate to reach London.
In the generator room, Leela hears
something being dragged over the rocks.
The yacht’s coxswain Harker enters
pulling a body which turns out to be Ben’s
remains. [3] The Doctor believes he was
subjected to a post-mortem examination.
Palmerdale tries to convince Harker to
resume their trip but Harker refuses. The
Doctor tells Vince that Ben must have
been stunned and then staggered outside
and drowned.
Leela shows the Doctor where she
found the dead fish and the Doctor
detects a strong electrical field. [4]
Palmerdale threatens to expose Skinsale;
Skinsale has given Palmerdale confidential
stock market information. Meanwhile, the
Doctor deduces that the creature created
the fog to isolate them and was attracted
to the lighthouse by electricity.
In the crew room, Skinsale and Harker
are asleep. Palmerdale wakes Harker and
asks if he can send a telegram for him. [5]
Harker refuses and attempts to throttle
Palmerdale. The Doctor enters and breaks
up the fight, warning that the lighthouse is
under attack. Leela and Adelaide join the
Doctor in the crew room, while Reuben
tends to the generators. [6]
Suddenly the lights go out and they
hear his dreadful scream.
DOCTOR WHO | THE COMPLETE HISTORY
17
18
HORROR OF FANG ROCK =» stow <2
ART THREE
he Doctor and Leela rush
T downstairs, followed by Harker.
When he reaches the generator
room, he finds it empty with the outside
door open. Then Reuben emerges from
the bunker and walks up the stairs. The
power is restored, to Adelaide’s relief.
The Doctor and Leela return to the
generator room after having searched in
vain for the creature that attacked Reuben.
[1] Harker informs them that Reuben
is still alive. The Doctor tells Harker to
secure the door, then hurries upstairs
with Leela. ‘Reuben’ stands in the sleeping
quarters, his body glowing green. [2]
In the lamp room, Palmerdale offers
Vince 50 pounds to send a message to the
mainland. Their discussion is overheard by
Skinsale. Outside, the creature climbs the
walls of the lighthouse.
Palmerdale steps outside onto the
gallery as the Doctor enters the lamp
DOCTOR WHO | THE COMPLETE HISTORY
room to speak to Vince. Palmerdale is
killed by the creature, [3] which then
returns to the sleeping quarters and
transforms back into ‘Reuben’.
Vince discovers that Palmerdale has
vanished and, fearing incrimination,
burns the 50 pounds. [4] Then he uses
the speaking tube to inform the Doctor
that Palmerdale has fallen off the gallery.
The Doctor recovers Palmerdale’s corpse
and returns to the crew room, leaving
Harker to resecure the outside door.
The Doctor discovers that Skinsale has
wrecked the telegraph. [5] ‘Reuben’ makes
his way downstairs to the generator room.
The Doctor explains that Palmerdale
was killed by an electric shock. Vince calls
to report that the boiler pressure has
fallen. Everyone rushes downstairs.
The Doctor discovers Harker’s corpse,
then investigates the coal bunker with
Leela where they find Reuben’s corpse.
“T’ve made a terrible mistake,” says the
Doctor. “I thought I'd locked the enemy
out. Instead I’ve locked it in. With us.” [6]
n the lamp room, Vince is
I electrocuted by ‘Reuben’ [1]
The Doctor finds a power relay
fixed to the generator. He realises there
must be a modulator higher up the
tower, sending a distress signal. He
searches the sleeping quarters and is
forced to hide by dangling out of the
window [2] as ‘Reuben’ enters before
continuing downstairs.
In the crew room, ‘Reuben’ kills
Adelaide. Leela escapes upstairs with
Skinsale, passing the Doctor on the way.
He tells them to scatter gunpowder on
the stairs.
The Doctor faces ‘Reuben’, who
transforms into a Rutan! [3] It intends to
use Earth as a launch point against “the
Sontaran rabble” and is now waiting for
its mothership to arrive.
As the Rutan advances over the
gunpowder, the Doctor throws a match
and it explodes into flame. The wounded
Rutan slithers down the stairs. The
Doctor arms a rocket launcher but is
more concerned about the mothership.
He needs to create a laser beam and Leela
suggests using the lighthouse lamp. The
Doctor likes her idea but he’ll need a
diamond to focus its beam.
The Doctor and Skinsale go to the
crew room where Skinsale retrieves some
diamonds from Palmerdale’s body. The
Doctor selects a diamond, then tosses
the rest away. Skinsale greedily tries to
retrieve them and is electrocuted by
the Rutan.
The Doctor dashes into the lamp room
with the Rutan in pursuit. Leela fires the
rocket launcher, killing the creature. [4]
The mother ship appears in the
distance. [5] The Doctor aims the lamp
and rushes outside with Leela. They
shelter behind some rocks and Leela looks
up as the lighthouse beam destroys the
ship. Leela is blinded, before recovering
- but now her eyes have turned blue! [6]
DOCTOR WHO | THE COMPLETE HISTORY
© DOCTOR WHO | THE COMPLETE HISTORY
~
a
=]
i
ad
f
4
ROBERT HOLMES HAD
ALWAYS WANTED TO DO
A SERIAL SET _IN A
LIGHTHOUSE. ’
aa
onan
=~
~ Pre-productio
aving joined Doctor Who
in November 1976, producer
Graham Williams hoped
that his first series on the
show would comprise a
linked narrative - the hunt
for the Key to Time, which he outlined
on Tuesday 30 November. By this time,
however, new stories were already being
lined up by script editor Robert Holmes,
who turned to his predecessor, Terrance
Dicks, for a storyline for the 1977/8
Doctor Who series which would begin
production in March.
At this time, Dicks was freelance and
mainly involved in writing for Target’s
range of Doctor Who novelisations; he had
also developed scripts for two 50-minute
documentaries about Doctor Who, which
had been planned for broadcast over
Christmas 1976 but were cancelled on
Wednesday 10 November. As it turned
out, the production team of BBC2 arts
programme 2nd House was also thinking
of a documentary about the development
of Doctor Who; within days, Dicks had
| for the Daily Mirror, which
== ==
spoken to producer Tony
Cash and was on board as
consultant. He was formally
commissioned to write a
linking script - to be read
by Tom Baker’s Doctor - on
Tuesday 30 November, with
the programme now going
out as part of The Lively Arts
strand (the successor to 2nd
House). Meanwhile, Dicks
was writing Doctor Who and
the Hell Planet - a short story
| Dating
was printed on Friday 31
December 1976.
Recalling the Gothic
horror style that Holmes
had enjoyed in The Brain
of Morbius {1976 - see
Volume 24] - a serial by
Dicks that Holmes had heavily rewritten
- Dicks planned a similar story, which
was envisaged as the second story of the
new series. For this, he went back to an
earlier, rejected storyline submission, The
Haunting; this six-part serial, commissioned
as a storyline by Holmes on Wednesday
11 December 1974 for delivery nine days
later, had arrived with Holmes on Monday
6 January 1975, but had been dropped in
favour of The Brain of Morbius and written
off on Tuesday 13 May 1975. Dicks’ revised
version, The Witch Lords, was a four-part
vampire story inspired by elements of
Bram Stoker’s 1897 novel Dracula. The
Doctor would arrive on a planet with
a medieval-style community, where
immortal rulers living in a forebidding
tower oppressed the peasants... who would
DOCTOR WHO | THE COMPLETE HISTORY ©
Pre-production
Connections:
® The Programme-as-
Broadcast sheets compiled
after transmission describe |
the serial as being'set in
an off-shore lighthouse
in 1910' In Part Two,
comments by Vince and
Reuben about the mythical
beast indicate that its last
appearance was 80 years
ago “in the Twenties”;
Suggesting a time
between 1900 and1909.
In Part One, Vince makes
reference to King Edward,
who reigned from January
1901 to May 1910.
Left:
Lord
Palmerdale and
Vince Hawkins
come to an
arrangement.
HORROR OF FANG ROCK = » ss
Connections:
Flannan Isle
® Flannan Isle, which partly
inspired Horror of Fang
Rock, was a poem by Wilfrid
Gibson,
the volu
poem -
inspired
about the disappearance of
acrew|
in Collected Poems in 1923;
Gibson's work between
1912 an
lighthouse - was itself
be found dead in the local
woods, with bat bites to
their necks.
Keen to have an
experienced director on
board, Williams chose Paddy
(Patricia) Russell, having
worked with her on Z Cars -
on which he had been script
editor. Russell had worked
on various Doctor Who serials
since 1966 - the most recent
being Pyramids of Mars [1975
- see Volume 24] the previous
year. She was engaged for
and first appeared
me comprised
d1917, The
about a deserted
by a true mystery
n December 1900,
At the c
the Doctor quotes
directly from
Below:
The Doctor
gets to
know Reuben.
The Witch Lords on Monday
29 November, covering the
period Monday 14 March to
Friday 8 July 1977.
The show’s current star,
Tom Baker, was booked for
a further 26 episodes on Wednesday 15
December (to be made from the period
Monday 21 March to New Year’s Eve),
part way through location shooting on
The Talons of Greel (latterly The Talons of
ose of the story,
the poem,
DOCTOR WHO | THE COMPLETE HISTORY
NNNAN
Weng-Chiang [1977 - see Volume 26}).
The following day, Baker’s new co-star,
Louise Jameson, was also booked for a
further 26 episodes as Leela. This news
was a bit of a shock to Baker; Jameson had
initially been hired by outgoing producer
Philip Hinchcliffe for only three serials.
Baker, who disliked the violent nature of
the Doctor’s savage new companion, had
assumed that she would be dropped at the
end of the 1976/7 series. Indeed, Jameson
had been reluctant to continue at first,
but Williams persuaded her during the
London location shoot for The Talons of
Weng-Chiang. One of the concessions that
the producer made was that Leela’s eyes
could change colour from brown to blue;
this meant that Jameson would no longer
have to wear her extremely irritating
contact lenses.
“Hitting problems —
ver the Christmas period, Holmes
0 was kept busy on The Talons of
Weng-Chiang (which he was writing
under emergency conditions). Williams
commissioned Dicks’ serial, now entitled
The Vampire Mutation, on Tuesday 11
January 1977. Since the production office
now hoped to lead off with this story,
Dicks’ target for delivery was Monday
7 February. Part One was delivered
on Tuesday 25 January, with Part Two
following - far behind schedule because
of events in the meantime - on Tuesday 1
March. The novelisation soon appeared
in Target’s publication schedules as Doctor
Who and the Witch Lords, with a planned
release date of December 1977.
In mid-January, The Vampire Mutation,
which was to be made second in the new
run, was booked for filming in May on
Stages 3A and 3B at Ealing Film Studios.
At the end of January, however, this slot
was occupied by Invisible Invader (later
retitled The Invisible Enemy [1977 - see page
44] by Bob Baker and Dave Martin, and
The Vampire Mutation was brought forward
since the Baker/Martin scripts had not
been finalised. However, by the start of
February, Invisible Invader was once again
to be the first serial to go into production
in March. Unfortunately by now, The
Vampire Mutation had hit problems...
In February, while writing Part Two,
Dicks received a phone call from Holmes,
who explained that the BBC’s head of
drama serials, Graeme McDonald, had
severe misgivings about the story. BBC
Drama had arranged for a serious, big-
budget adaptation of Stoker’s Dracula to
be recorded during August for broadcast
that Christmas, and a ‘spoof’ of the story
in Doctor Who a few months earlier might
ruin its reception. By the start of March,
The Vampire Mutation was no longer in
development - although the planned
novelisation, now entitled Doctor Who and
the Vampire Mutations, would remain on
Target’s schedules for a few months.
However, Holmes still wanted to use
Dicks on the new series, and a replacement
script was needed for pre-production from
mid-March. Holmes had always wanted to
do a serial set in a lighthouse; this location
lent itself well to a low-budget serial with
a small cast and limited number of sets.
Keen that the setting should be properly
researched, Holmes gave Dicks a few
pointers in the same manner as Dicks had
_ elements of the plot and
given him when requesting
research for a medieval
storyline for The Time
Warrior. Dicks’ main source
of research was Lighthouses:
Their Architecture, History
and Archaeology by Douglas
B Hague and Rosemary
Christie, first published by
Gomer Press in 1975; this
directly influenced several
Fog Horn
also specific dialogue from
the character Ben, such as
his description of the old oil
lighthouses. The volume also
recounted the true events
surrounding the Smalls
Lighthouse in Pembrokeshire
in 1801; when one of the crew
died in an accident, his colleague
- fearing that he might be suspected of
murder - was driven demented by the
waving of the dead man’s arm from a
makeshift coffin. This was similar to the
story which Reuben told Vince in the
finished script.
Consequently, Dicks used the idea of
lighthouse electrification, which took place
from the mid-1800s to the mid-1900s;
the first electric lamp was used in 1858
at South Foreland in England, with an
arc lamp installed at Dungeness in 1862.
Prior to this, oil was the most common
source of lamp fuel. The lighthouse setting
prompted two other notable influences:
a Ray Bradbury short story called The Fog
Horn, and Wilfrid Gibson’s poem Flannan
Isle, which was suggested to Dicks by the
production team.
On Thursday 24 February, the
production office convened a meeting
to discuss the possibility of recording
Russell's serial - Serial 4V - at the BBC’s
Birmingham studios, Pebble Mill, as
DOCTOR WHO | THE COMPLETE HISTORY @&
Pre-production
Connections:
® The Fog Horn, one of
the inspirations for Horror
of Fang Rock, was a short
story by American writer
Ray Bradbury, which first
appeared in The Saturday
Evening Post on 23 June
1951; it also formed the
basis for the 1953 monster
movie The Beast from
20,000 Fathoms, The
Fog Hornis set ata
remote lighthouse on
Lonesome Bay.
Above left:
The Doctor and
Leela welcome
the survivors of
the shipwreck.
HORROR OF FANG ROCK =» sors
Right:
The TARDIS
arrives on the
rocks of doom.
Connections:
Tesh
® When the Doct
on where the li
generators power is going,
Leela responds
is “not a Teshni
is areference b
début story, Th
Evil [1977 - see Volume
26] in which a group of
people, descen
the techni
spaceship, were
known
24 DOCTOR WHO | THE
there was no space available for it at BBC
Television Centre during May and June.
Incoming production unit manager John
Nathan-Turner was concerned about this;
he had worked on other series at Pebble
Mill and, although highly impressed with
the crews, felt that the studios themselves
did not have the facilities needed for
a technically complex programme like
Doctor Who. Russell was also dismayed to
hear of her recording venue - but with no
alternative available, it was decided that
new equipment needed for the show would
have to be installed at Pebble Mill in time
for recording.
At this time, a new Doctor Who
companion was being considered -
a robot dog called K9. It was not known
whether the dog would be retained beyond
its introduction in The Invisible Enemy
or in which order the stories would be
transmitted, so Dicks did not include it
in his story. The debate over K9 was still
ongoing on Thursday 3 March, when
Williams informed Graeme McDonald that
he intended to keep his options on K9 free
until after a demonstration had been seen.
Dicks’ hurried proposal for Rocks of Doom
was a one-page synopsis
of the opening episode,
with a list of characters
and sets. The story opened
with a subjective shot of
something moving through
cascading foam towards the
lighthouse, where old Ben
Travers was having trouble
with interference on his
telegraph because of a storm;
venturing outside to check
the wiring, he was mercilessly
destroyed. This left two men
- old Joshua Crockett and
young Davy Williams - to
man the new-fangled carbon-
or ponders
ghthouse
that she
cian” This
ack to her
e Face of
ded from
cians of a
as the Tesh.
COMPLETE HISTORY
arc lamp without Ben’s expertise. As the
lamp failed, a steam yacht appeared - and,
as the Doctor and Leela emerged from
the newly arrived TARDIS onto a storm
lashed islet, they heard the screams from
the shipwreck. At the lighthouse, Ben
reappeared, dazed and almost drowned,
followed by the Doctor and Leela; the
Doctor got the light working, which
attracted survivors to the rock. These were
Lord Peach-Palmer, his secretary Adelaide
Couchon, his valet Herbert Burkin, the
Right Honourable John Skinsale and
Skinsale’s wife Veronica. Old Ben, resting
in a makeshift bay, rose and headed for the
generator room where Joshua was working.
There was a scream, Joshua was dead, and
Ben was a gibbering wreck babbling about
something emerging from the sea.
With only a storyline available, Paddy
Russell joined the production team on
Monday 14 March; she had recently
finished working at Yorkshire Television
on Emmerdale Farm. The designer, Paul
Allen, had previously handled The Seeds
of Death [1969 - see Volume 14] and
Spearhead from Space {1970 - see Volume
15]. Joyce Hawkins and Jackie Hodgson
were the designers assigned to costume
and make-up respectively; this would be
their first Doctor Who serial. The story
was the first full Doctor Who visual effects
designer credit for Peter Pegrum, who
had been an assistant effects designer
as far back as The Sensorites [1964 - see
Volume 3].
For research for the Fang Rock
lighthouse, Paul Allen looked at an 1859
lighthouse off the Needles near the Isle
of Wight, where he was intrigued by all
the built-in furniture. He also took a lot
of reference photographs of Southwold
Lighthouse in Suffolk, which started
operating in 1890 and was electrified in
1938. Allen also referred to the 1975
book Lighthouses of England and Wales by
Derrick Jackson, as well as Lighthouses,
Lightships and Buoys - a 1966 volume by
E G Jerome, which Terrance Dicks had
used for reference. The lighthouse scenery
used in studio was made by a freelance
firm in Essex that Allen hadn’t used before,
but he was pleased with the final result.
Although titles like The Monster of Fang
Rock and The Beast of Fang Rock were
apparently considered for the serial, the
scripts were delivered on Wednesday
30 March under the title Horror of Fang
Rock; these were then commissioned
retrospectively by Williams the following
Pre-production
day with a fictitious target
delivery date of Wednesday
30. Dicks was not terribly
happy with the new scripts
because he felt they lacked
action. Russell had been able
to view Dicks’ first script
for The Vampire Mutation,
which she had very much
liked, and considered Horror
of Fang Rock to be a poor
replacement.
As the scripts were written
quickly, there was little in
the way of description in the
stage directions. Fang Rock’s
lighthouse was described as ‘a sea-tower
built on a rocky islet’ and, when viewed
by the crash-landed alien, Dicks indicated
that the ‘treated picture suggests it is not
being seen through human eyes’. The
script indicated that the model shot of the
TARDIS arriving should have the police
box’s lamp flashing in alternation with the
lighthouse lamp.
rawing upon the 1939 Agatha
1 Christie mystery novel And Then
There Were None, Dicks created
a situation with a group of characters
trapped in an isolated location and being
picked off one by one... by a monster
apparently lurking outside. Colonel
Jimmy Skinsale MP was described as
‘a soldierly figure’.
The sea setting of the narrative had
inspired Dicks to create the alien menace
in the form of a monstrous jellyfish.
However, during the writing process, he
decided to make the alien creature that
menaced the lighthouse a Rutan, an alien
race which Dicks recalled being mentioned
in a line of dialogue from The Time Warrior.
DOCTOR WHO | THE COMPLETE HISTORY cm
Connections: %
Dots and dashes \,-...
} The lighthouse is
communicates with the
mainland by means of
Morse code telegraphy.
Each Morse code signal -
comprising short and long
signals, known as dots
and dashes - represents
a letter of the alphabet,
allowing messages to be
broadcast via early radio as
electronic pulses.
HORROR OF FANG ROCK =» srs
Connections:
Hidden enem
® Realising the ali
invader is able to change
its physical app
the Doctor refe
“Lycanthropy’.
psychological condition,
where a person believes
themselves to be a wolf,
is more popularly used in
werewolf stories, in which
someone undergoes
a physic
transfo
Right:
The Doctor
fears that
nobody may
survive the
night on
Fang Rock.
26 =DOCTORWHO | THE
This medical
term which refers to a
The Rutans had been
referred to previously - in
y both The Time Warrior and
al The Sontaran Experiment
[1975 - see Volume 22],
where it was established
that they were engaged in
an interminable galactic
war with the Sontarans.
Dicks noted that ‘the
fully transformed Rutan
shimmers weirdly, emitting a
shrill, triumphant ululation’
- and in conversation with
the Doctor, ‘it speaks in the
plural, since Rutans have
little concept of individual
identity, seeing themselves
as the Rutan, the all-conquering mother
race’. The Rutan mothership was
described as ‘a fiery glowing vortex,
rather than a clearly defined spaceship’.
Dicks had originally intended that
there should be various survivors by the
end of the adventure, but during the
scripting process he was encouraged by the
production team to have only the Doctor
and Leela left alive to allow the concluding
scene to feature Flannan Isle.
In Part Three, Skinsale made references
to ‘Salisbury’ and to ‘Bonar Law’;
these were the Marquis of Salisbury (a
Conservative statesman and secretary of
state for India in the 1870s) and Andrew
Bonar Law (a British Unionist MP who
later became chancellor of the Exchequer
and leader of the House of Commons).
Part Three also had references to the
science-fiction author Herbert George
Wells, whose works had included 1895’s
The Time Machine and 1898’s The War of
the Worlds; the Doctor also made accurate
reference to 1861’s Malicious Damage Act
and spoke to Vince about the Pharos tower
that was erected around 280 BC.
earance,
Ss to
al
rmation.
COMPLETE HISTORY
\ a \ X ~
On Thursday 14 April, Holmes and
Dicks agreed that The Vampire Mutation
should be abandoned, with Dicks paid for
only the first two scripts; the abandoned
serial would be resurrected in 1980, when
it would form the basis of the serial State
of Decay {1980 - see Volume 33]. The
following day, Williams commented that,
after the first studio session with K9, it
seemed likely that the robot dog would
remain with the series; the new companion
was not written into Horror of Fang Rock
at all, however, since Dicks’ story was
planned to precede The Invisible Enemy
on transmission.
A casting sheet for the serial, issued by the
production office, described the character
of Vince as: ‘Late teens. Hampshire accent.
Trainee lighthouse keeper. Young and lively.
Good part.’ Reuben was described as:
‘Mid-S0s. Hampshire accent. 30 years in
the lighthouse service. Is taken over by the
alien, so that basically episode 4 is his voice
and an alien body. Good part.’ Ben was
outlined as ‘mid-40s. Hampshire accent.
Senior lighthouse keeper and engineer. Fair
part. Lord Palmerdale was described as
‘mid-40s. Slightly rough edge in the voice.
Millionaire, but still on the make. Ruthless
but with a certain amount of charm.
Good part. Skinsale was described as
‘50s. Ex-colonel in the Engineers and now
.~CA BABE
an MP. Definitely a charmer. Sense of
humour. Good part.’ Adelaide was given
as ‘early- to mid-20s. Attractive, preferably
blonde. Palmerdale’s secretary. Probably in
love with him [Palmerdale] and definitely
naive. Fair part. Harker was ‘40s. Needs an
accent. Coxswain of a yacht. Tough seaman.
Very definite ideas. Good part while it
is there.
isappointed with the rather rushed-
(I) looking Fang Rock script, Russell
decided to call upon the help of
some of her acting friends. She initially
hoped that Frank Middlemass (a veteran
character actor who featured in Poldark)
would play Reuben; when Middlemass
was not available, Russell called on her
friend Colin Douglas, who had previously
appeared in Doctor Who as Donald Bruce
in The Enemy of the World [1967/8 - see
Volume 11]; she had directed Douglas in
the 1966 BBC1 series Quick Before They
Catch Us. Russell’s first choice for Lord
Palmerdale was Dinsdale Landen but the
role eventually went to Sean Caffrey, who
had been a regular as Detective Sergeant
Gregg in Associated-Rediffusion’s No
Hiding Place; Russell had directed him in a
1973 episode of Z Cars. Actor/writer Rio
Fanning - a semi-regular in Budgie - was
originally considered for Vince Hawkins;
Fanning had been directed by Russell
before in Z Cars and instead landed the
role of Harker.
The role of Vince went instead to John
Abbott, who, although aged 32, had
convinced Russell that he could play an
18-year-old; Russell had spotted Abbott
when he was working at the Kingston
Overground Theatre playing Snoopy in
You’re a Good Man, Charlie Brown in March/
April 1977. Abbott was also a friend of
Pre-production
Left:
Colonel
Skinsale (left)
takes delight in
annoying Lord
Palmerdale.
Louise Jameson from their days at
RADA together.
Of the other cast members: Ralph
Watson, playing Ben, had appeared in
Doctor Who in two previous serials - as
Captain Knight in The Web of Fear |1968 -
see Volume 11] and as Ettis in The Monster
of Peladon [1974 - see Volume 21]; Watson
was delighted to work again with Colin
Douglas as together they had been part of
the social musical Close the Coalhouse Door
in 1968. Russell had previously directed
Watson in Z Cars in 1969.
New Zealander Alan Rowe, cast as
Skinsale, was no stranger to the series
either, having appeared in The Moonbase
[1967 - see Volume 9] as Dr Evans, and
as Edward of Wessex in The Time Warrior;
Annette Woollett, cast as Adelaide Lesage,
had been in Upstairs, Downstairs and played
Diana in Emmerdale Farm. No extras were
required on the serial.
As usual, Dick Mills was assigned
to create the special sound elements
for the story at the BBC Radiophonic
Workshop and was assigned to Horror
of Fang Rock in April.
The scripts for Horror of Fang Rock
were sent out to the cast on Thursday 21
April. Louise Jameson was disappointed
to find that Leela’s previously strong role
was diminished, feeling that Dicks had
written the serial very much with the
previous companion, Sarah Jane Smith, in
mind. Having now settled into the series
somewhat, Jameson was starting to stand
up for herself and her character, ensuring
that Leela gained better screen time. For
instance, the script apparently had Leela
scream at one point, which Jameson
objected to. This was duly changed.
DOCTOR WHO | THE COMPLETE HISTORY cc
b
4
HORROR OF FANG ROCK
.. speed, the slow own film made the
image look like t
of the TARDIS
Part One; shot:
Rutan’s point
Crafted in po
sculptor, the me
~ feet tall and
controlled fl amp powered
a 12V battery. For tk that hit the
rocks at the er
BRAAANK LK)
craft previously seen in the BBC1 period
maritime drama The Onedin Line.
The first readthrough of the serial was
on Thursday 28 April, prior to the studio
filming. At once, Paddy Russell saw that
there had been a change in Tom Baker
since they had last worked together two
years earlier; the actor had been awkward
on Pyramids of Mars but was now even
more in control of the show - with his
own definite ideas about the programme,
its popularity, and what his character
would or would not do. This immediately
brought him into conflict with Russell, a
director who did not welcome extra input
from her cast. Eventually, Baker recognised
that Russell wanted to produce the story
as efficiently as possible and started to
address her as “sir”.
eela were also manifesting themselves as
is attitude towards cast and crew became
more temperamental. The actor did not
really want a companion at all, and took
out his unease on Louise Jameson; Russell
recalled how Baker would not speak to the
actress or would make barbed comments.
As a result, Jameson started to assert
herself in rehearsals in a manner that she
had not done before. The actress stood up
to Baker in a confrontation over one scene
in particular (a scene of the Doctor and
Leela entering a room in Part Three); this
\: Baker’s concerns over the character of
Production
broke the ice, and Baker later apologised
to Jameson for his behaviour, saying
that he was arguing about the script so
much only because he cared about the
programme so greatly. After this, the
pair’s working relationship improved but,
like Baker, Jameson wished to inject ideas
into the story and found Russell’s control
slightly stifling.
Being relatively new to television, John
Abbott was delighted at the chance to play
Vince, and learnt a lot about the medium
from Colin Douglas. Abbott stunned Baker
at one point by admitting that he was
happy to play a scene that the show’s star
was berating as “rubbish”. Abbott got on
well with Baker, despite having his script
thrown out of the window from the sixth
floor rehearsal room in Acton after Baker
accused the actor of not knowing his
lines. It was during rehearsals that Baker
added the Doctor’s references to an “early
Schermuly” rocket in Part Four.
Female cast members
L ouise Jameson found that she got on
very well with the only other female
cast member, Annette Woollett,
and was impressed when Woollett asked
Jameson to slap her for real during the
scene where Leela dealt with the hysterical
Adelaide. Woollett was not amused by
some of Tom Baker’s antics, such as when ade
he deliberately trod on Adelaide’s long Ll skeen
dress while on set. steps to calm
Paul Allen’s sets were erected on Stage ee
3A at Ealing Film Studios on Monday 2
May and lit the following day, ready for
filming on Wednesday 4 May. The first day
of shooting on 16mm film was due to start
at 9.30am and run through to 5.30pm
(as it would on each of the next two days)
and required only Baker and Jameson, the
intention being to play out the four scenes
DOCTOR WHO | THE COMPLETE HISTORY ©
HORROR OF FANG ROCK = » sors
Connections:
Rocketeer
® The Doctor identifies
a device as “an
Schermuly’” In
William Schermuly (1857-
1929), the Sch
rocket was intended to
be fired from boats in
distress, carryi
of rope as long as 4
mile wi
the sh
Above, right:
Leela
dresses for
the occasion.
vented by
of the Doctor and Leela
approaching the lighthouse
and of Leela exploring the
rocks from Part One.
Production was delayed
when the Nike Camera crane
required for some of the high
angle shots arrived late, but
Russell’s team soon started
filming. For these scenes,
Jameson was careful to
remove the contractions from
early
ermuly
ng alength
ore,
hitto Leela’s speech. As a point of
continuity with The Talons of
Weng-Chiang, a reference was
made by the Doctor to the ships that Leela
had seen on the Thames. Jameson had a
costume change for Part One - out of her
ladies wear and into the bulky sweater
worn by the lighthouse crew. The actress
had hoped that this would be baggy and
make Leela look funny, but found she had
to wear a belt to accentuate her figure.
Thursday 5 May saw the team joined by
Douglas and Abbott to shoot sequences of
the Doctor, Reuben and Vince searching
for survivors, and of the Doctor and Leela
hunting for the ‘Beast’, for Part Two. Friday
6 May was then kept spare to complete any
unfinished scenes, and also to concentrate
on the sequence of the Doctor and Leela
escaping the lighthouse in Part Four. For
this, shots of the Doctor coming into focus
were shot from Leela’s point of view; this
was the only scene in the serial where
Jameson did not have to wear her coloured
contact lenses.
Rehearsals for the first studio session
got underway on Friday 13 May at the
BBC’s Acton rehearsal rooms. Russell
was ruthless with rehearsals, and had the
steps of the lighthouse set laid out on the
floor of the rehearsal room so that the
actors could get their movement timings
correct in advance of studio. During
DOCTOR WHO | THE COMPLETE HISTORY
rehearsals on Wednesday 18 May, it was
decided that Brian Hodgson’s TARDIS
sound effect would henceforth be officially
recategorised as an item of music each
time it appeared in the series. On Sunday
22 May, Baker made a personal appearance
at Kirby Mallory racetrack in Leicester,
and appeared on Radio Leicester’s local
Newsround programme.
At the start of the following week, the
cast and crew travelled from London up
to Birmingham for the first of their two
recording sessions at Pebble Mill. By
now, it had been confirmed that Horror
of Fang Rock would open the 1977/8
series, starting transmission on Saturday
3 September. Although she had had her
misgivings about working at Pebble Mill,
Russell was amazed at how helpful and
adaptable the Birmingham crews were.
With such a major show visiting them, the
Pebble Mill crew was determined to show
that they could be even more efficient
than the London teams at Television
Centre, where Doctor Who was regarded as
nothing special. A cable had to be linked
from Studio A to another studio, and the
team worked flat out to have this done for
1pm on the first recording day. Electronic
effects expert A J “Mitch” Mitchell had
travelled up from London with Peter
Pegrum in a car full of equipment, and
was highly impressed to find that the
Birmingham team had assembled a video
effects desk for him similar to the one that
he used in London; a tiny flaw meant that
the equipment was a microsecond out with
its timing, but by running some extra
NNN NN roduction
wiring around Pebble Mill the problem
was soon solved.
Studio recording began on Wednesday
25 May, with an afternoon session from
2.30pm to 5.30pm and an evening
session from 7pm to 10pm in Studio
A. After morning camera rehearsals,
a costumed Baker and Jameson joined
presenter Donny MacLeod to appear on
the lunchtime magazine programme Pebble
Mill and present the prizes to winners of
a Design-A-Monster competition. One of
the main topics of discussion during the
10-minute item was whether or not Doctor
Who terrified children - illustrated by
material from the previous month’s Whose
Doctor Who documentary. Baker defended
his show, claiming that children enjoyed
being scared in a safe manner while
Jameson assured everyone that she would
be back in her leotard for the second story
of the series.
This first day in studio was spent
recording Part One, with Russell opting
to tape the show in sequence as far as
possible; the principal exception being the
first two scenes in the lamp room gallery,
which were recorded together in the
afternoon. The raised lamp room gallery
set was a particularly awkward one to work
in because of the shaped glass windows (as
many of them as possible were removed to
prevent reflections) and the fact that the
backdrop to this was a combination of
dry-ice fog and a background added by
using the blue screen Colour Separation
Overlay (CSO) process. Two Mole-
Richardson camera cranes were needed to
get the shots on the elevated set.
An image of swirling mist from a fog
box was also superimposed on some
film sequences, as well as on scenes set
outside the gallery on the gantry. The
alien presence of the Rutan was usually
indicated by a shimmering green glow, and
alien point-of-view shots were recorded
of Ben during his demise. The other
small sets with curved walls - notably the
staircases - were also difficult for Russell
to get her required camera shots around.
Baker complained about a number of
Russell’s camera angles - claiming that
his “Auntie Win” would not be able to see
him - while Jameson fought to ensure that
during recording, she was able to give the
performance that she had rehearsed; she
later apologised to Baker for holding up
recording while she made her point.
ecording continued on Thursday
R:: May, with the afternoon session
ending at 6pm; a photocall for Baker,
Jameson and Colin Douglas was held on
this day. Part Two was also recorded in
sequence as far as possible, with the first
few lamp gallery scenes grouped together
at the start of the day. When the Doctor
received a shock from the metal shelving, a
blue spark video effect was superimposed.
Unhappy about having to travel to
Birmingham, Baker was in an awkward
mood and, during one scene, kept on
rushing into the crew room too quickly;
after a couple of attempts, Russell gave up
instructing the star and decided to have
her cameras focus on Jameson instead.
Baker’s behaviour annoyed some of the
crew; he also blamed some of the other
cast members when he forgot his lines.
DOCTOR WHO | THE COMPLETE HISTORY (su)
Left:
Watch your
back, Ben!
HORROR OF FANG ROCK = » sto
ace Rehearsals for the second set of
There's ;
SeRernING recordings began on Saturday 28 May;
out there! around this time, two editions of BBC2’s
panel game Call My Bluff with Baker as a
guest were broadcast on Friday 27 May
and Friday 3 June (both recorded on
Monday 1 November 1976) and then, on
Sunday 5 June, Baker made another public
appearance, playing cricket at Blenheim
Palace. The Call My Bluffappearance was
promoted in The Sun by Margaret Pride’s
article: Monsters are just what the Doctor
ordered. In this, Baker lashed out at
the series’ critics, saying: “If I thought
Dr Who was doing harm, I'd leave at once...
I make hundreds of personal appearances
every year. I know what children want. I’m
happy to say they love me and they are
frightened of my monsters. I believe Dr
Who is good for them.”
Birmingham
Mg he crew travelled up to Birmingham
again in early June for the final three-
HM day studio session. Work began on
Tuesday 7 June with a standard afternoon
and evening recording; this covered Part
Three - in sequence, apart from a few lamp
gallery scenes of Vince on his own grouped
together midway through the episode;
as it turned out, the Perspex sheets that
formed this set had been
Connections: badly damaged after the
A little flutter first recording but had been
® Palmerdale and Skinsale repaired by the ever-helpful
had crossed the channel studio manager. A blue
to Deauville to gam flash effect was again used
at the casino becau as the Doctor got a shock
gambling was illeg from the generator, anda
in the United Kingd green shimmering light was
until the Betting superimposed over a shot
\ and Gaming Act of Reuben in his room. For
1960. the death of Palmerdale, the
tentacle that grabbed Caffrey
32. DOCTOR WHO | THE COMPLETE HISTORY
was taped on videodisc, :
being pulled away from Connections:
the actor; when played in No wires
reverse, energy flashes were = Tine Baits pols ult
superimposed over ; toLeelaa leoipes wireless
the cheraccer: telegraph which could send
Wednesday 8 June saw a Iessapes using Marae
morning recording session ie van ail inne by
added from 11.30am to 1pm, talian engineer Guglielmo
with the afternoon block beset one cae ite
running to 6pm. This was for et snneipmaneens i
the beginning of Part Four, ae BNE euiag
which was again recored a ini
mainly in order - aside from wire ess Telegraph
Signal Company founded
in 1897, Trinity House did
not introduce telegraphs
into lighthouses unti
the 1920s,
some of the scenes in which
Vince was found dead.
A videodisc was again used
to record Skinsale’s death.
The final recording day,
Thursday 9 June, also had a
morning recording from 11am; this day
was reserved for the bulk of the complex
effects shots, and shooting over-ran
by an hour to 11pm, partly because of
problems with the quality of some of the
film sequences. CSO had not been used
extensively at Pebble Mill before, and
Studio A had been equipped especially for
Doctor Who; this was now used extensively
in the closing sequences of Part Four,
which saw the Doctor in conversation with
the Rutan.
After the bulk of the episodes had been
taped, a number of special effects shots
were recorded; these included the shot of
the Rutan seen by Leela from the lamp
room gallery in Part Two, the Rutan on the
model lighthouse in Part Three, the Doctor
hanging from the model lighthouse in
Part Four, and various shots of the Rutan
moving up the staircase in Part Four. CSO
was used for a shot of Leela hurling her
knife at ‘Reuben’ in Part Four; Jameson
was on a blue CSO set throwing the prop
blade at a blue object positioned over the
DOCTOR WHO | THECOMPLETE HISTORY © 33
34
HORROR OF FANG ROCK = » sts
Connections:
w cried Alice
® The Doctor's co
regarding Ben's
disappearance
“Curiouser and curiouser”
was a quote from the
1865 children’s
Alice's Adventu:
Wonderland by
‘Lewis Carroll’ (ie
Charles
Right:
The Rutan in its
natural form,
PRODUCTION
Tue 26 Apr - Mon 2 May 77
Visual Effects Department Model
Stage, Western Avenue, London:
Model filming
Wed 4 - Fri6 May 77 Ealing Film Studios
DOCTOR WHO | THE
image of Douglas... although
the fake knife travelled
further than the actress
expected and narrowly
missed a cameraman.
During the time-consuming
CSO work on this final day,
tempers started to get frayed
in the studio, with Caffrey
in particular complaining
about the way the cast was
being treated.
The Rutan prop was the
result of a collaboration
between Peter Pegrum and A J “Mitch”
Mitchell, and was made as cheaply and as
quickly as possible late in pre-production.
Several of the creatures were made from
a special gelatine mixture which had been
coloured with green vegetable dyes. The
Rutan props were kept in moulds, and
stored in fridges taken from the Pebble
Mill canteen just outside Studio A; they
tended to start melting after a while,
whereupon a replacement would be
needed. As each mould was taken out of
the fridge, a high intensity quartz halogen
mment
of
classic
resin
Dodgson),
Stage 3A: Rocks
Part One
Part Two
Tue 7 Jun 77 Pebble Mill Studio A:
COMPLETE HISTORY
Wed 25 May 77 Pebble Mill Studio A:
Thu 26 May 77 Pebble Mill Studio A:
ASN N
lamp was placed inside it; controlled by
a rheostat, the lamp was able to pulse in
time to the dialogue delivered by Colin
Douglas. Paddy Russell felt that the
monster was not terribly successful and
attempted to keep it off the screen as much
as possible.
A number of other video effects
performed included the pink trail of the
Rutan ship in Part One, the numerous
blue/green edge-of-screen distortions for
the Rutan’s otherwise monochrome point-
of-view shots, and the circular masking
of the model film when seen by Reuben
through his spyglass. Work with the Rutan
prop was delayed from its scheduled
session one morning until after lunch
while the studio crew attempted to find a
way to successfully achieve Russell’s desired
shots of the monster. When the afternoon
session began, Russell discovered that the
technical crew had broken into another
studio to liberate the extra cameras and
equipment needed for the sequence.
Recording wrapped an hour late at 11pm.
On Monday 13 June, Williams wrote
a memo complaining about the film
processing on the serial, which had caused
delays on the final studio day; all the film
inserts were meant to have been ready for
the first studio session, but these prints
- and the four subsequent ones provided
- had all been unacceptable.
The presence of Doctor Who in
Birmingham was heralded by an item
about Baker and Jameson in the Hereford
Evening News on Thursday 16 June.
Part Three
Wed 8 Jun 77 Pebble Mill Studio A:
Start of Part Four
Thu 9 Jun 77 Pebble Mill Studio A:
End of Part Four; Lamp Room POV for
Part Two; Model shots
| uf
} y
a tt |
n Tuesday 14 June, Graham
Williams extended Paddy
Russell’s freelance director
contract by three weeks
to allow her to complete
post-production on the serial;
Part One was edited the same day, with
the only trim being Vince’s “I know
— what I saw” at the end of the first scene.
The edit continued with the remaining
episodes, including Part Three on
Saturday 18 June and the final instalment
on Friday 1 July.
Composer Dudley Simpson had been
commissioned to provide a score for
the serial on Tuesday 10 May. The first
recording session for Parts One and Two
Post-production
was held on Tuesday 19 July, with six
musicians performing almost nine minutes
of material. Part One was then dubbed
on Saturday 23 July, with Part Two on
Saturday 6 August. The final
two episodes had just over
14 minutes of music taped
on Thursday 11 August;
these were dubbed on
Sunday 11 and Wednesday
14 September, by which
time the 1977/8 series
was underway.
First edits of the first three
episodes were transmitted,
along with a second edit of
the final instalment.
Connections:
U by QoverR
® The Doctor quotes
the rule of electrical
potential due toa
point charge from The
Way Things Work: An
Illustrated Encyclopedia
of Technology which
had appeared in various
editions since 1967,
DOCTOR WHO | THE COMPLETE HISTORY ©
HORROR OF FANG ROCK = » storv 2
Right:
The Radio
Times
listing for
Part One.
Publicit
| ® Friday 6 May saw the Drama Early
| | Warning Synopsis issued for Horror
of Fang Rock, which indicated that
the story was set at the ‘turn of
the century’. Promotional material
for The Horror of Fang Rock [sic]
emphasised the charcter of Leela (‘the
most popular companion ever’) and
the setting of an isolated lighthouse
(‘all the elements of a classic Victorian
melodramatic thriller’).
® Unlike the previous two series,
Radio Times failed to carry a feature
promoting the return of Doctor
Who for the BBC1 autumn season;
a monochrome picture of the
Doctor and Leela accompanied the
programme listing for Part One.
® The serial was promoted with a
65-second trailer, which highlighted
the mystery of a lighthouse without
a light, screened at 10am on Saturday
3 September. Prior to the broadcast
of Part One, Louise Jameson was one
of the guests on a repeated edition of
the children’s game show Star Turn
- recorded Sunday 3 April and first
broadcast Wednesday 6 April.
® The day that the series returned to
BBC1, Mary Malone of the Daily Mirror
ran the item A Dog’s Life for Leela. This
chat with Louise Jameson revealed that
Leela was partially based on Bosie, her
boyfriend’s dog. She also commented
that after the next run of 26 episodes,
_ DOCTOR WHO | THE COMPLETE HISTORY
6.15 New series
_ Dr Who
BBC1 AUTUMN SEASON
Drama .
Starring Tom Baker
in
Horror of Fang Rock
A four-part story
by TERRANCE DICKS
Part 1
A lighthouse with no li ht show
ing? The Doctor’s curiosity is ne
mediately aroused, But night is
just beginning on Fang Rock, ,,
Mesa +0 eeeevenseerarascess JOHN ABBOTT
Baek etietereecees COLIN DOUGLAS
Dr Who AHR OR Cees esas eee RALPH WATSON
0 Meme cbhaade aetpey oan. TOM BAKER
OLB. ssseeereresenesas LOUISE JAMESON
incidental music by puptey SIMPSON
Script editor rowent HOLMES
Designer PAUL ALLEN
Producer Grawam Ww ILLIAMS
Director pappy RUSSELL
there would be a new companion
as she was refusing to extend her
contract. “I don’t want to get known as
a Dr Who lady,” she said, “I don’t want
to be identified only with kids’ science-
fiction. I want to get back to the
theatre.” Of her working relationship
with Tom Baker, Jameson said it was:
“a bit cat and dog, with friendly
banter... He puts me down. I put him
down, but we still save each other’s
lives and have the odd hug at the end.”
® Louise Jameson also joined Tom Baker
at Studio B13, Broadcasting House,
where they were the guests on Pete
Murray’s Open House on BBC Radio 2
on Thursday 8 September.
. CAA RASS
Publicity | Broadcast
Broadcast
® Part One of Horror of Fang Rock aired
against a variety of shows on ITV; the
regions scheduled items as diverse as
the imported emergency adventure
series Code R, the quiz show Mr &
Mrs, The Jetsons, and a variety of films
such as The Sons of Katie Elder. From
Saturday 10 September, though,
most regions took LWT’s diet of The
Masterspy followed by New Faces.
® Although the first week’s ratings were
very low, there was a steady build
through the serial’s run, taking the
show back into the Top 30. The final
episode was followed by a 21-second
trailer for The Invisible Enemy.
® In The Observer on Thursday 29
September, critic Richard Boston
commented that, ‘having watched the
programme man and boy these past
few decades, he felt the series was
now ‘below standard’; his main targets
for criticism were the slow pace,
characterisation and dialogue.
® Horror of Fang Rock was sold to a large
number of foreign broadcasters.
Purchasers included Chile, Gibraltar,
Puerto Rico, Columbia, Canada,
ORIGINAL TRANSMISSION
EPISODE DATE TIME
PartOne Saturday 3 September 1977
Saturday 10 September 1977
Part Two
PartThree Saturday17 September 1977
Part Four Saturday 24 September 1977
6.15pm-6.40pm BBC1 24'10"
6.15pm-6.40pm BBC1 24'10"
6.15pm-6.40pm BBC1 2312"
6.15pm-6.40pm BBC1 23'49"
Australia, New Zealand, the United
States and Brazil. In Australia, it
was broadcast uncut with a G rating
in 1979. In North America it was
initially edited and had extra narration
from Howard Da Silva added but
was later broadcast uncut as well as
being syndicated as a TV movie of 90
minutes duration.
® Inthe UK, Super Channel broadcast
the story, in four-part and two-part
versions, in 1988 and 1989; and
UK Gold screened it episodically
from February 1994 and showed it
in compilation form from March
1994. BBC Prime screened the story
in October/November 1998 and it
appeared on Horror Channel from
June 2014.
Left:
Colonel James
Skinsale MP
CHANNEL DURATION RATING (CHART POS) APPRECIATION INDEX
6.8M(52nd) 58
71M (51st)
9.8M(23rd) 60
9.9M (23rd)
DOCTOR WHO | THE COMPLETE HISTORY ae
HORROR OF FANG ROCK =» sz
Merchandis
an a : errance Dicks rapidly novelised
The video an : :
Bitecues his scripts as Doctor Who and
the Horror of Fang Rock, which
was published in hardback by
WH Allen and in paperback
by Target in March 1978; the
cover artwork was by Jeff Cummins. It was
_ planned that the book,
| latterly number 32 in the
| Target Library, would
be reprinted by Virgin
| in spring 1994 witha
| new cover from Alister
Pearson - but, although
artwork was produced,
Virgin cancelled its
reprint programme
before the book saw
print. Louise Jameson
recorded an unabridged
| reading for release
by BBC Audio in
February 2017.
The TV soundtrack
TERRANCE DICKS
4
vagy ~—_
of the story was
released by AudioGO
ag in September 2012.
novelisation Louise Jameson
cover by Jeff provided linking
Cummins. narration, andina
Right: 20-minute bonus
The audiobook interview, recalled her
eri orenes time on Doctor Who. Also included were
Fang Rock.
PDFs of the original TV camera scripts.
Horror of Fang Rock was released on
BBC Video in July 1998. The DVD release
followed in January 2005 and came with
the following extras:
» Commentary by Louise Jameson, John Abbott
and Terrance Dicks
DOCTOR WHO | THE COMPLETE HISTORY
» Terrance Dicks:
Fact & Fiction -
documentary on
the career of
Terrance Dicks
» Paddy Russell: A
Life in Television -
interview with
Paddy Russell
» Doctor Who and
the Daleks: The
Antique Who
Show - feature
on Doctor Who
merchandise
broadcast on Friday 12 November 1993
» Photo gallery
» Production subtitles
» Easter Egg - countdown clock for Part Three
The story was also included as part of
GE Fabbri’s Doctor . . ,
Who - DVD Files, ggmovog —@ aa
issue 61, in / .
May 2011.
Harlequin 4 ;
Miniatures issued | HORROR OF FANG ROt
a Rutan figure
in 2000.
Art prints of
Horror of Fang Rock
were issued by the
Stamp Centre in
August 2001. Copies
were signed by Tom
Baker and there was a limited numbered
edition of 1,000 copies of each print.
Horror of Fang Rock T-shirts - featuring
Jeff Cummins’ artwork from the cover of
the novelisation - were available from GB
Tees in December 2011.
The TOM BAKER Years 1974-81
Cast and credits
CAST
WONNBaKeL, 5.ccctacaccccscomenniestnnes Doctor Who
LOUISE JAMESON cscs Leela
with
COMIN DOUGIAS ........: cities Reuben?
JOHN ADDOLE sescousimionsmnmimainacimnnnenn Vince
Ral PIWAtSONN Tc ccecccescscescssstuanttorenecrseneroseune Ben [1]
Sean Caffrey vniiccsccnns Lord Palmerdale [2-4]
ALAM ROWE) ssienscossnscooinesoneniennn Skinsale [2-4]
RIO FANNING |... Harker [2-3]
Annette Woollett.............c6scccs Adelaide [2-4]
Parts One to Three, the Rutan Duplicate of Reuben
in Part Three and Four and the Rutan Voice in
Part Four
CREDITS Above:
, = é Reuben and
Written by Terrance Dicks the Donal
Incidental Music by Dudley Simpson face horror
tle Music by Ron Grainer on Fang Rock.
and the BBC Radiophonic Workshop*
Title Sequence by Bernard Lodge*
roduction Assistant: Peter Grimwade
roduction Unit Manager: John Nathan- Turner
ghting: Bob Gell
nd: David Hughes
Im Cameraman: John Walker
isual Effects Designer: Peter Pegrum
pecial Sound: Dick Mills
ostume Designer: Joyce Hawkins
ake-Up Artist: Jackie Hodgson |
Script Editor: Robert Holmes
Designer: Paul Allen
Producer: Graham Williams
Director: Paddy Russell
oie Ts. WW ~o
> O >
p=
(ae
‘Colin Douglas plays the real version of Reuben in
(cap AeA)
BBC © 1977
Left:
Lighthouse
* Credited on Part One only lodgers.
DOCTOR WHO | THECOMPLETE HISTORY © 39 |
HORROR OF FANG ROCK » sts
Profile
Right:
Graham
Williams.
Photo ©
Paula Bentham
Producer
eries producer on Doctor Who
from 1977-9, he was born
Richard Graham Williams on
24 May 1945 in Cheshire.
After five years as a theatre
stage manager, bemoaning
pitiful wages, Williams had the idea of
briefly working in TV to finance a later
return to theatre. Instead, he fell in love
with television and stayed there.
He joined BBC Birmingham in
December 1966 as a prop boy in their
Gosta Green studios. He soon became
a floor assistant, and was a fully fledged
assistant floor manager within a year
of joining.
While his career advanced, he married
Jackie (née Jacqueline Baldwin) in Solihull
in late 1970. Richard, their first child,
would arrive in 1975, followed by Katie
in 1980 and David in 1982. Jackie would
work for news network ITN in the 1970s.
Williams departed BBC Midlands for
BBC London's Script Unit, where he script
edited two Scottish-shot crime dramas
The View from Daniel Pike (1971-3) and
Sutherland’s Law (1973), then espionage
series The Double Dealers (1974). By 1975
he was concurrently script editing police
show Z Cars and spin-off Barlow.
Though editing occasional Z Cars into
1976, during 1975 he began producing The
Zodiac Factor, a run of 12 US co-funded TV
movies. Despite spending nine months in
pre-production, the project was cancelled
when the BBC failed to match the $1.5m
put up by the US end.
40 DOCTOR WHO | THE COMPLETE HISTORY
a
Williams also helped devise police series
Hackett, but this had stalled when writer
Roger Marshall was asked to rework
a feature-length treatment to an hour
format. Any possibility of Williams now
returning to Hackett was scotched by
BBC politics.
Suddenly, Williams and Doctor Who
producer Philip Hinchcliffe found
themselves job-swapped. Hinchcliffe,
whose sometimes violent era had
irked clean-up TV campaigners, was
transferred to the post-watershed Hackett,
and Williams sounded out on taking
over Doctor Who in late October 1976.
Hinchcliffe eventually retooled Hackett as
action film series Target (1977/8).
Hinchcliffe only discovered he was
being replaced when producer-in-waiting
Williams came in to oversee pre-filming on
The Robots of Death [1977 - see Volume 26]
in the first week of November.
The following week a storm broke over
the cliffhanger to Part Three of The Deadly
Assassin [1976 - see Volume 26], with TV
campaigner Mary Whitehouse’s complaints
over a drowning freeze-frame upheld
by the BBC. Now all Doctor Who scripts
would be vetted in advance for violence
and horror by head of drama serials,
Graeme McDonald.
Williams quickly realised that his
considerable experience was “Stone Age”
compared with Doctor Who’s technical
demands and that a steep learning curve
lay ahead.
Eagle-eyed viewers would have spotted
Williams in the documentary Whose Doctor
Who, aired on BBC2 on 3 April 1977.
He was seen in the production office in
staged discussion with script editor Robert
Holmes and scriptwriter Terrance Dicks,
filmed in February 1977.
Williams’ instructions from above
were clear, as he recalled to Doctor Who
Magazine's Jeremy Bentham in 1983:
“I was... being offered the job but with an
absolutely clear dictate - it wasn’t a brief,
OOS Ne efile
breach. I spent most of my time stopping
Tom putting in humorous business.
That seemed to me my function in life
at the time!”
With scripts already in development for
the 1977/8 series, Williams temporarily
abandoned plans for a series-long umbrella
theme. He had earlier circulated a rather
rambling outline detailing the four forces
that govern the universe.
Fortunately, the hugely experienced
Holmes remained initially as script editor
but, even so, the first script submitted,
Terrance Dicks’ vampire story The Witch
Lords, was rejected by Graeme McDonald
who did not want the production stealing
thunder from the BBC’s forthcoming
Dracula adaptation.
The next script available, The Invisible
Enemy, was hurriedly brought forward into
studio; after recording was completed,
Williams went home and slept for 36
hours. Next up, Horror of Fang Rock had to
Below:
it was a dictate - that the violence level decamp to Birmingham’s Pebble Mill due Patrick Move
had to come down, and the horror element to lack of London studios. in Target,
with it.” These were indicative of the testing ooh
Williams filled the resulting vacuum with | conditions Williams would face in the by Carer,
his leading man and moves to humour next three years. Star tantrums, executive Williams but
and send-up. As he told fans Jon Heckford interference, industrial action and budget ultimately
and Michael Stead in 1984: “Tom Baker cuts would all besiege this intelligent and a Paice
was the principal element that filled it, of outwardly laidback producer. Hinchcliffe,
\
course, because if you've got an actor like
that, with the energy and enthusiasm that
Tom could bring to anything, you'd be
crazy to let it wither on by.”
Some fans soon complained of a descent
into slapstick, and even Graeme McDonald
acknowledged Baker was prone to
becoming “flippant and unmanageable”.
Williams explained this creative tension
to Dreamwatch magazine interviewers Gary
Leigh and David Miller in 1985: “I know
that folk go on and on and on about the
humour in the programme, but I think
it was the natural thing to step into the
DOCTOR WHO | THE COMPLETE HISTORY a
42
HORROR OF FANG ROCK =» sors
Right:
Horror of Fang
Rock opened
Graham
Williams’ first
series as
Doctor Who
producer.
The 1977/8 series finalé The Invasion of
Time [1978 - see Volume 28] was hastily
written by Williams and his new script
editor Anthony Read, while City of Death
[1979 - see Volume 31] was similarly
hurriedly concocted with his third script
editor, talented rookie Douglas Adams.
Williams also contributed (uncredited) to
another Adams script, Shada (1979).
Williams later admitted his umbrella
theme of the quest for the Key to Time run
across all of the 1978/9 series had been
“a rod for my own back”, with inter-story
continuity meaning stories had to air in
recording order.
His star took an increasingly
proprietorial attitude towards the show
and after a row in studio between Baker
and Alan Bromly, director of Nightmare
of Eden [1979 - see Volume 31], Williams
was forced to direct the final studio
session himself.
DOCTOR WHO | THE COMPLETE HISTORY
Matters came to a head when Baker, ina
fit of pique, briefly resigned from the show
and the issue was escalated upwards to Bill
Cotton, controller of BBC1. Cotton sided
with Baker, persuading him to stay, thus
emasculating his producer. Baker himself
later said of Williams: “He was the dearest
chap... but he was used to dealing with
people who were saner than I was.”
Williams’ greatest pressures were
budgetary, his stories attacked by fans
as cheap and shoddy. Even Graeme
McDonald vocally criticised production
values on The Power of Kroll [1978/9 - see
Volume 30].
This was however due to the economic
realities of hyper-inflation. As Williams
explained in 1985: “Each of the years I
had the programme we were cut back by
something like eight to 10 per cent when
inflation was anywhere near [22 per cent],
so you're faced at the end of the year with
making the programme for something like
30 per cent less.” In 1984, he reckoned that
“in real terms we made that third season
with half the cost of the first”.
Despite such pressures, Williams
managed occasional production triumphs,
introducing innovative Steadicam filming
to Destiny of the Daleks [1979 - see Volume
30] and achieving the series’ first overseas
location shoot, to Paris for City of Death.
Ratings remained around a respectable
8-9 million, seeing off glossy imported ITV
rivals The Man from Atlantis and Logan’s
Run. Destiny of the Daleks and City of Death,
aired while ITV was blacked out by a strike,
reached up to 16 million viewers.
Yet industrial action gave with one hand
and took away with the other. Having
successfully navigated numerous disputes
before, Williams’ strike-hit swansong
Shada was cancelled before production
was completed and never broadcast;
a downbeat end to an era typified by
creative invention compromised by
impossible odds.
Exhausted, Williams quit the
programme, bemoaning its “57 weeks
a year schedule”.
In his final interview, with fanzine
In-Vision, he summed up his experience:
“I went into Doctor Who rather as a
journeyman; as a writer/producer there
to do a professional job. I didn’t have a
burning commitment to the show then
and I don’t think I developed one all the
time I was on it. It was just a television
programme, not a way of life - or rather,
it should not become a way of life. Doctor
Who did become a way of life, which was
one reason why, ultimately, I gave it up.”
He left Doctor Who - and the BBC - at the
end of March 1980.
Interviewed by Peter Griffiths in 1998,
writer Chris Boucher compared Williams
and Philip Hinchcliffe: “They were both
elegant young men, rather middle class.
Philip was more pushy, a man on the way
up, whereas I always sensed that Graham
in some strange way was a man on the way
down. I don’t think he was sure of himself
- he felt he had to make a mark.”
Williams spent the next
two years involved in
computer technology and
indeed helped develop
the BBC Micro text-based
adventure game Doctor Who
and the Warlord, released
1985. He also wrote Play for
Today drama documentary
London is Drowning (aired 27
October 1981) on BBC1.
tags C0
‘GRAHAM WILLIAMS
<- 47> ge
Left:
Williams
co-authored
The Invasion of
Time and City
of Death under
the pen name
David Agnew.
He returned to TV production with
Anglia’s Tales of the Unexpected, producing
batches of episodes which aired 1982-8,
delighted to have four times the budget
of Doctor Who.
Doctor Who script editor Eric Saward
asked him to write a Blackpool-based
story featuring the Celestial Toymaker.
The resulting script The Nightmare Fair
was however scrapped when the series was
put on hiatus in February 1985. It was
published as a Target novel in 1989 and
adapted for audio by Big Finish in 2009.
Williams produced Tyne Tees children’s
programmes, beginning with 1986
Dramarama play Flyaway Friend, then
moving onto comedy Super Gran for its
1986 Christmas Special and second series
inj19S7,
Disillusioned, Williams retired from
a i : Left:
television in 1987, relocating from Gana
Kew, South London to run the williams’
Hartnoll Hotel in rural Tiverton, novelisation
; of his unmade
Devon. He also ran for election as DoconWwhe
a local councillor. story The
Nightmare Fair.
Tragically Williams was
_ killed, aged just 45, on Friday
| 17 August 1990 in a shooting
| accident while out with a
shooting party arranged in
a hotel publicity drive. Ml
DOCTOR WHO | THECOMPLETE HISTORY © 43
THE INVISIBLE
ENEMY
» STORY 93
In the year 5000, mankind has ventured
beyond the Earth, but out in space a sentient
virus, the Swarm, is waiting. With the Doctor
contaminated by the Nucleus of the Swarm,
clones of himself and Leela must journey into
his own brain to confront the enemy.
© DOCTOR WHO | THE COMPLETE HISTORY
%
% :
oe hae! me “Ng DOCTOR WHO | THE COMPLETE HISTORY ¢ 45
S \
™~
THE INVISIBLE ENEMY
Below:
Sarah Jane
Smith receives
KS asa
gift from
the Doctor.
=~ \\ NXE
Introduction
orror of Fang Rock’s Rutan
may not have shown its true
colours until the very end, but
it was walking about, large
as life, disguised as ordinary
folk throughout. The Invisible
Enemy’s monster of the week might not
be strictly invisible as the title suggests,
but it’s so small it can’t be seen with the
naked eye. Like the Rutan, the Nucleus
of the Swarm doesn’t put in a proper
appearance until later, when it’s scaled up
to macroscopic proportions. It’s then that
we learn that viruses - or this one at least -
look like an angry prawn.
But before this fishy fright is revealed
in all its glory, there’s a journey into
a previously unexplored realm. The
Doctor and companion Leela are cloned,
miniaturised and venture inside the
Doctor’s brain!
The Invisible Enemy revels in being
unconventional, from the new
environments it explores down to details
6 DOCTOR WHO | THE COMPLETE HISTORY
such as the quirky ‘futuristic’ spelling
on signage dotted about Titan base and
the Bi-Al Foundation. This out-of-the-
ordinary approach can also be seen in The
Invisible Enemy's foremost achievement -
the introduction of the robot dog K9. He
was the first non-human companion, and
became a regular on the series for over
three years.
For the briefest of moments it looked
as if K9 was going to be written out after
only five stories. In the final episode of The
Invasion of Time [1978 - see Volume 28] K9
decided to stay with Leela on Gallifrey, but
before the credits could roll we discovered
that the Doctor had another K9 lined up
ready to join him on his travels. K9 Mark
II eventually left the series with Romana
Mark II in Warriors’ Gate [1981 - see
Volume 33]. A third model soon followed,
however, when former companion Sarah
Jane Smith received another K9 as a gift
from the Doctor in the spin-off show
K9 and Company. The Tenth Doctor was
reunited with both Sarah and K9 in School
Reunion |2006 - see Volume 52]. K9 Mark
II] sacrifices himself, but is soon replaced
by Mark IV. The irony of this is not lost
on Sarah who notes that the Doctor has
replaced her with a younger model too.
K9’s début in The Invisible Enemy
complemented the established TARDIS
crew. The naive yet impulsive Leela
found much to like in the obedient,
literal-minded dog. The Doctor,
meanwhile, now had two companions
who could offer him some physical
assistance. And while Leela was famously
a hit with some older male viewers, K9
soon became the children’s favourite.
1
“Kg’?S DEBUT
THE ESTABLISHE
COMPLEMENTED
D TARDIS CREW.
48
THE INVISIBLE ENEMY =» storvs:
PART ONE
Mm he Titan shuttle steers through the
asteroid belt. The pilot, Meeker,
allows it to drift off course so
his superior officer, Safran, takes over
the controls. Then the ship enters a
flickering, oily nebula. [1]
The Doctor shows Leela the TARDIS
“number two control room”. The ship
materialises in space in 5000 AD, the year
when the human race began to spread
across the galaxy.
The shuttle lands on Titan and descends
into the base. Its crew put on helmets and
emerge into the base. They enter the mess
room and the personnel - Meeker, Safran,
and Silvey - are all possessed by a strange
infection. [2]
The remaining member of the Titan
personnel, Lowe, sends out a mayday and
escapes through an airlock. The TARDIS
picks up the mayday, and then a second
signal from Safran saying that it should be
DOCTOR WHO | THE COMPLETE HISTORY
disregarded. Leela senses evil and as the
TARDIS passes through the nebula, a fork
of lightning crackles from the console and
knocks the Doctor unconscious. [3]
The TARDIS lands in the base and
Safran, Meeker and Silvey approach it.
Inside, the Doctor wakes up, claiming to
hear a voice in his head.
Lowe arrives and orders the spacemen
to drop their weapons. He kills Silvey and
then runs, pursued by Safran and Meeker.
He hides in the cryogenics section.
The Doctor emerges from the TARDIS
and finds Silvey’s corpse. Leela wanders
off, while the Doctor meets Safran
and Meeker. [4] They tell him they are
preparing the hives for the Nucleus within
him. A lightning fork flashes between
them and the Doctor is possessed.
Leela rescues Lowe [5] and helps him
recover in the mess. Meeker enters, and
Leela despatches him with a knife - but
as he dies, he infects Lowe.
The possessed Doctor spots Leela, and
prepares to shoot her... [6]
. CAA RAB
he Doctor cries out a warning. Leela
Ti and the Doctor misses, then
places himself in a coma. Lowe meets
Safran and informs him that “contact
has been made”. He offers to go with the
Doctor and Leela to guard the Nucleus
as they do not suspect him yet. He helps
Leela carry the Doctor into the TARDIS.
He suggests taking the Doctor to the Bi-Al
Foundation in the asteroid belt. [1]
Once they have arrived, the Doctor is
taken to the isolation ward on level X4.
Lowe goes to the eye section, claiming to
have suffered from a “blaster flash”.
The Doctor is examined by Professor
Marius, the Foundation’s specialist
in extraterrestrial pathological
endomorphisms. He is assisted by a
medic called Parsons and a dog-shaped
mobile computer called K9. K9 informs
Marius that the Doctor is suffering
from an unidentified viral-type infection
' located in the mind-brain interface. Leela
finds the Doctor and meets K9. Marius
explains that he had K9 built to act as his
own personal data bank. [2]
Lowe infects some Foundation staff
and informs them they must protect the
Nucleus. [3] Marius prepares to operate
on the Doctor. The Nucleus telepathically
informs Lowe that it is threatened, and the
nebula attacks another shuttle. The shuttle
spins out of control and crashes into the
Foundation, sealing off level X4. [4]
At the Doctor’s request, Marius makes
clones of the Doctor and Leela. [5] The
Doctor’s clone returns to the TARDIS to
collect the relative dimensional stabiliser.
Meanwhile Lowe contacts Marius,
ordering him to release the Doctor.
The Doctor’s clone returns to the ward
and explains his plan. He intends to use
the stabiliser to reduce himself and Leela
to micro-dimensions so they can fight the
Nucleus. Marius follows the Doctor’s plan,
miniaturising the clones and injecting
them directly into the Doctor’s brain. [6]
a
DOCTOR WHO | THE COMPLETE HISTORY a a
THE INVISIBLE ENEMY =» storvs:
PART THREE
Ml he Doctor and Leela clones find
themselves in the Doctor’s brain.
Marius pretends to acquiesce to
Lowe’s ultimatum, telling Leela and K9 to
guard the corridor. K9 creates a barrier
by blasting down a section of wall. [1]
They exchange fire with Lowe and the
possessed staff.
The cloned Doctor discovers damage
caused by the virus, then the cloned
Leela is attacked by some phagocytes.
[2] The cloned Doctor distracts them by
connecting some ganglia to send them
away to repair the Doctor’s liver.
One of the staff makes it over the
barrier and infects K9. K9 blasts Leela
unconscious. The cloned Leela and
Doctor reach the interface between
the Doctor’s mind and brain. [3]
Lowe enters the ward, kills Parsons
and infects Marius. Leela recovers and
K9 informs her that he was temporarily
DOCTOR WHO | THE COMPLETE HISTORY
overpowered. Marius’ assistant informs
them that the professor has been taken
over and is cloning Lowe.
The cloned Doctor and Leela enter the
land of dreams and fantasy. [4]
Marius injects Lowe’s miniaturised
clone into the Doctor’s brain. The clone
follows the same route as the cloned
Doctor and Leela.
The clones come face-to-face with the
Nucleus of the Swarm. It explains that for
millennia the Swarm has hung dormant in
space. They have as much right to conquer
as the human species. But now they intend
to dominate both the microcosm and the
macrocosm! And through the Doctor, the
Nucleus has time itself in its grasp! [5]
The cloned Leela makes short work
of the cloned Lowe. The cloned Doctor
orders the Nucleus to “get out of my
brain’ before he disintegrates.
Marius collects what he thinks are the
clones from the Doctor’s tear duct. But
instead, he has rescued the Nucleus - and
grown it to the size of a man! [6|
SS AAA.
he Doctor’s signs of infection fade as
Tes helps the Nucleus out of the
cloning booth. [1]
Meanwhile, Leela disguises herself as
a victim of the Swarm. She gets close
enough to the Doctor to rescue him, and
they escape into the TARDIS with k9.
The Nucleus orders Marius to remain
behind while it travels to Titan in a shuttle
with Lowe.
The Doctor instructs K9 to knock out
Marius, then the Doctor and Leela take
him to the isolation ward. The Doctor
examines a sample of Leela’s blood and
discovers she is immune to the Swarm.
[2] Now all he has to do is duplicate her
immunity and inject it into Marius and he
will be cured.
Marius is successfully cured. [3] With
K9’s help, the Doctor isolates a strain of
antibodies with lethal capacity and Marius
cultivates it. Then, having regained the
relative dimensional stabiliser, the Doctor,
and Leela return to the TARDIS with K9.
The shuttle reaches Titan and the
Nucleus is placed in a breeding tank. It
starts spawning. [4]
The TARDIS lands in the base. K9
serves as a decoy to distract the breeding
tank guard and keeps Lowe and Safran k
occupied while the Doctor attempts to
use the antibodies. But Lowe shoots the
antibodies from the Doctor’s hand. K9
blasts Lowe and the Doctor shoves him
into the breeding tank. [5]
The Doctor is forced to improvise a
new plan, opening oxygen cylinders and
rigging the door of the tank with explosive.
Then he runs into the TARDIS, nearly
forgetting to take Leela and K9 with him!
The Swarm attempts to leave the tank
and the base explodes. The Doctor and
Leela return to the Bi-Al Foundation,
where Marius asks them to do him a
favour - can they take K9 with them? [6]
K9 trundles eagerly into the TARDIS,
ready for adventures!
DOCTOR WHO | THE COMPLETE HISTORY &
THE INVISIBLE ENEMY =» stores:
Pre-production
s work on the 1977/8 series producer from February 1977. Previously
geared up, Doctor Who was to a script editor on BBC series such as The
be landed with both a new View from Daniel Pike, Sutherland’s Law,
\ producer and a significant new The Double Dealers, Barlow and Z Cars,
| directive. Following numerous § Williams’ appointment had come in late
icomplaints and criticisms October 1976, just as The Deadly Assassin
eeding the level of horror in the series controversy had erupted and when he
since 1974, culminating in a furore over had been attempting to set up a BBC film
a drowning scene in The Deadly Assassin co-production entitled The Zodiac Factor.
[1976 - see Volume 26], Bill Slater, the As it transpired, Hinchcliffe was to move
BBC’s head of drama serials, had indicated on to produce Target, a tough crime series
that a more family-oriented approach was which Williams had recently helped devise.
Ber, required. With this in mind, 3 L-year-old In addition to his instruction to reduce
Waris the Graham Williams found himself actively the violent content, Williams was to
firing line, trailing Philip Hinchcliffe as the series’ encounter a number of other problems
“ill ay,
upon joining the series. The continued
involvement of Louise Jameson, the
actress playing companion Leela, had not
been confirmed beyond her initial three
stories. Williams had the job of breaking
the news that Leela would remain to the
show’s star, Tom Baker, who had an intense
dislike of the Leela character. Jameson
herself was undecided about her future,
but was persuaded by Williams to stay on
while in Northampton recording location
material for The Talons of Weng-Chiang
[1977 - see Volume 26] in January 1977.
One condition of Jameson's remaining was
that a forthcoming storyline would allow
the colour of Leela’s eyes to change from
brown to blue - meaning that the actress
would no longer have to wear contact
lenses, which she found painful.
een to establish a running theme for
K the series, and in accordance with
Slater’s desire that the series did
not revive the UNIT format, Williams had
drafted a three-page document on Tuesday
30 November 1976 which had outlined the
Doctor’s search for an artefact known as
the Key to Time over six serials. However,
script editor Robert Holmes had already
begun developing storylines for the new
series; these did not fit Williams’ format,
forcing the postponement of the idea.
After three years on the show, Holmes
was keen to leave, and was unhappy at the
prospect of toning down the series’ style.
However, Williams persuaded him to stay
on for a further six months, until he had
settled in as producer.
The first serial planned to go into
production that year hit problems. Holmes
had asked Terrance Dicks to provide a
storyline at short notice; on Tuesday
11 January 1977, the writer had been
Pre-production
_—
commissioned to pen a four-part vampire Above:
narrative titled The Witch Lords (later The Me - a
Vampire Mutation). Unfortunately, before
Dicks could complete the second script, the
serial was vetoed by newly appointed head
of drama serials Graeme McDonald on
the grounds that the BBC was planning a
serious adaptation of Bram Stoker’s Dracula
for later in the year, with which a vampire-
themed Doctor Who might clash.
With Dicks despatched to write a
replacement serial, Rocks of Doom (latterly
Horror of Fang Rock [1977 - see page 12]),
Williams and Holmes brought the series’
second planned serial forward, which
would now be recorded first. This was a
storyline which Holmes had commissioned
in January from Bob Baker and Dave
Martin, two experienced Doctor Who
writers who at the time were also working
on scripts for Target. The deadline for the
serial was now very tight, with filming
scheduled for March and recording
for April.
Baker and Martin’s tale was a futuristic
affair inspired by a newspaper article
concerning virus mutations, and also
a piece in Scientific American about
noetics and diseases which attacked the
arrive on Titan.
DOCTOR WHO | THE COMPLETE HISTORY @
THE INVISIBLE ENEMY
imagination. The concept of
battling a mutation which
could adapt quickly was then
linked to ideas contained
within the 1966 20th
Century Fox movie Fantastic
Voyage, in which a group of
scientists in a submarine are
miniaturised and injected
into a man’s body to effect
vital brain surgery, eventually
emerging through the tear
duct (as discussed by the
Doctor and Professor Marius
in Baker and Martin’s script);
the homage extended to an
attack on one of the villains
by antibodies in the Doctor’s
bloodstream, which was akin to the demise
of a saboteur in the movie.
T he storyline, entitled The Invisible
Connections:
Old fashions
® The hat stand in the new
TARDIS control room has
hanging onit the Doctor's
burgundy jacket which he
first wore in Robot [1974/5
- see Volume 22]; his cape
and deerstalker which
he wore in The Talons of
Weng-Chiang [1977 - see
Volume 26]; and his long
brown overcoat which he
first wore in Pyramids
of Mars [1975 - see
Volume 24].
Invader, submitted in early January
1977, offered a scene breakdown for
the first two episodes of the ‘Space Virus
Story’ and then a summary of the two
concluding instalments. The story was set
in the solar system around the year 5000,
Right: ; é brea
Fe See during mankind’s colonisation of space.
Leelaventures The basic outline was very close indeed
into the
to the finished programme. In Episode
One, Meeker, Safran and Silvey were
‘mine engineers’ and when the Doctor was
attacked by the virus in the TARDIS, it was
noted: ‘SPECIAL EFFECT: the virus POV,
like the microphotography techniques
used to film cells, as the virus goes through
the eye along the optic nerve into the grey
matter. For the three miners who had
been taken over, ‘We see the difference
clearly now: only the eyes (outposts of the
brain) and surrounding tissue affected.
Shiny metallic growth across eyes... There
Doctor's brain.
ae DOCTOR WHO | THE COMPLETE HISTORY
a SK NN
was some hint that the mine on Titan is
dangerous to the virus, and Meeker said
that when they leave, they would set the
methane atmosphere alight to destroy
this threat. The cliffhanger was to have
Leela trapped in a battle with Meeker and
the others (unaware that the unnamed
supervisor has also been infected) while
the Doctor seemed to fall fully under the
influence of the virus which he had been
fighting (this process being referred to
as a Jekyll and Hyde effect). At the start
of Episode Two, Leela killed Safran and
Silvey, but the Doctor staggered in and
allowed Meeker to escape. The supervisor
(who wore gold goggles to disguise the
infection) suggested getting the Doctor to
the Bi-Al Foundation on Asteroid K 4067.
Professor Marius was the ‘head man of
Foundation... Hard autocratic exterior, like
all surgeons: cruel to be kind. Foundation
very much his baby, Marius’ idiosyncrasy
was ‘a portable computer, like a tin dog
on wheels, called Phenomenological
Indication Data Observation Unit: ‘FIDO’.
Fido follows Marius about, and stores all
he wants to know. A rectangular wheeled
box with a screen for a head. Antenna
for tail’ After the shuttle crash, Marius
—
‘realises that all the wounded have the
virus. Agonising decision - all the wounded
are jettisoned back into space (UNSEEN)
in a cryogenic container. For examination
later. The Prof realises the Foundation is
under attack by the intelligent Virus.’ It was
also noted that ‘The reason why the Prof
has not been affected: as with [Dr Albert]
Schweitzer and leprosy, the Prof has spent
his life fighting disease, has built up great
resistance... Or so he tells Leela’ Leela and
the cloned Doctor fought their way to the
TARDIS to get the relative dimensional
stabiliser, while the supervisor took over
central control and threatened to kill
other patients unless the professor gave in.
Fido helped the cloned Doctor and Leela
get back to the isolation ward theatre.
In the closing scene, the miniaturised
Doctor clone and Leela on CSO (Colour
Separation Overlay) were ‘fighting their
way through the lymphatic streams,
the synaptic lightning storms, into the
Doctor’s brain...’ For Part Three, Baker and
Martin indicated that half the action took
place inside the Doctor’s Brain and the rest
in the operating theatre. ‘Ideally we would
like all this Mind section to be on film)
Pre-production
noted the writers, suggesting ‘the old and Left:
new colleges of Cambridge for example - The Tes keer
on Titan,
interiors only. Or a garden and follies
such as the grounds of Stowe School?
The virus in the Doctor’s mind was to be
like ‘an octopus in a crevice’. Leela used a
laser-blaster on the virus which disappeared
seconds before she and the cloned
Doctor had to get out. In the operating
theatre, when Leela blasted the virus, the
supervisor watching the professor’s every
move suffered traumatic shock and was
overpowered, allowing Marius to extract
the Doctor clone and Leela and restore
them - but instead sees ‘a man-sized virus...
armoured, exoskeletal, multipodal, like
some vile enormous tick... In :
Part Four, the Doctor on the Connections:
operating table recovered, Phoning it in
while the viral monster’s ® Tom Baker cheekily
influence caused the other deviated from the script
infected personnel to mutate
into creatures like itself. The
miniaturised Doctor and
Leela emerged - the Doctor’s
clone being reabsorbed
into his original self. The
transformed Meeker (‘the
monsters have hideously
recognisable human faces’)
had prepared an incubator in
the caverns of Titan for the
next stage of evolution for the
virus so that it could emerge
like millions of locusts. The
Doctor’s solution was to
increase the temperature to
a point where Titan ignited
and blews up in its methane
envelope before the virus
could swarm.
During the second half
of January 1977, Invisible
Invader temporarily swapped
places in the production
when reading off the
coordinates of the mayday
message, giving “Quadrant
six two, WHI1212.
9990EX41" ‘WHI [short ,
for Whitehall] 1212’ was
the telephone number for
Scotland Yard, with ‘999’
being the number for the
emergency services. ‘Ex
41' was the beginning of
the telephone extension
number for the Doctor
Who production office (the
full number being ‘4111’,
Continuing the same
theme, the Doctor tells
Leela that the coordinates
for the Bi-Al Foundation
are 7438000, which was
the number for the main
switchboard of the BBC's
Television Centre.
DOCTOR WHO | THE COMPLETE HISTORY &®)
THE INVISIBLE ENEMY
schedule with The Vampire Mutation.
However, at the start of February 1977
it was moved back to being the first
in production order for the 1977/8
series. Rehearsals on Invisible Invader
were originally to have been held from
Wednesday 30 March.
Right:
The (not so)
ue commissioned on Friday 14 January
invisible enemy.
1977, with a delivery deadline of
Tuesday 15 February. As it turned out,
though, the scripts were actually delivered
one week early, on Tuesday 8 February.
In the scripts, Titan Base was described
as ‘machinery set into solid orange rock’.
The trappings of the serial’s main setting,
the Centre for Alien Bimorphology (or the
Bi-Al Foundation), were to be depicted as:
‘Men and women in surgical greens and
reds and whites. No nurses as such. All
very equal.’
Baker and Martin developed a sinister
catchphrase akin to “Eldrad must live!”
in their earlier The Hand of Fear [1976
- see Volume 25], this time the words
“contact has been made” were to be
uttered by each person infected by
the Swarm. The script described the
infection’s primary manifestation as
a ‘reddish metallic rash round the eyes’
and ‘bushier thicker brows’.
The Nucleus of the Swarm itself was to
be seen in two forms. Firstly, when seen
within the Doctor’s brain in Part Three:
‘We see oxblood antennae waving from
the crevice. Close up of another part of
the rock, a prawn-like leg or pair of legs
waving in another crevice. The Nucleus is
embedded in the whole of the split rock,
not just one crevice, but many crevices, as if
the whole rock was teeming with this single
life form... From behind [the Doctor] we see
T he scripts for Invisible Invader were
oe DOCTOR WHO | THE COMPLETE HISTORY
an antennae with a claw... pincers’. Then,
at the end of Part Three, the Nucleus is
extracted from the Doctor and is magnified
as it enters the ‘macroverse’: ‘The hideous
shape of the full size nucleus, unobscured
by rock. Man-sized, armoured, exoskeletal,
multipodal, like some vile blood-red prawn’
The scripts for The Invisible Enemy also
incorporated a robot dog called K9 (again
from the version of Finglish spelling
conceived by Martin), named by Baker
after ‘Pluto’ had been ruled out on the
grounds that it might cause trouble with
Walt Disney. Martin had always liked
dogs, and wanted to see one in Doctor Who
although the use of pets was awkward
and time-consuming. Martin had recently
lost two pedigree Springer Spaniels which
had been hit by cars, and it was suggested
that if he had one which was built like a
tank with a gun, then it could fight back!
Another idea was that K9 could hover,
although the writers realised that they had
used this concept before for the Sontaran
scout machine in The Sontaran Experiment
[1974 - see Volume 22]. In The Invisible
Enemy, Marius’ mobile computer, K9, was
devised as a way to inform the audience
what was going on while the clone of the
Doctor was inside the real Doctor. In the
script, the writers indicated: ‘Professor
Marius is reading the print out from K9,
.~ AAA
his personal computer (komputa) which | ‘Doctor 2’ - would be similar we
is like a tin dog on wheels with a screen to ‘that between Dr Jekyll and § Connections:
for a head, printout for a mouth, antenna Mr Hyde’. Part Three’s script Bad Doctor ‘
for a tail. In computer lettering on each contained dialogue about shied ite Bisctar tells -
flank: ‘K9’. Much smaller: ‘If found return the Leela clone remembering | es fo A
to Professor Marius X47. Later on, K9’s London (a reference to The resista malevolent force
defence capabilities were shown when Talons of Weng-Chiang {1977 - jj tos coir She ais r e
‘a short stubby barrel emerges snout- see Volume 26]). The agents shaialmeaancianininn
like from below the screen’. On reading of the Doctor’s immune reference be ‘asain the
the script, Holmes called the writers system were introduced in Raper eter a Ga
immediately to say how much he liked the same episode: ‘A large inte nin saiuneied
the idea of K9. bag shaped object slides kets Boetal in The
The opening scenes aboard the shuttle into shot and pursues them eee Gl ee See ae
with Safran calling out to Meeker that silently. It is a phagocyte Molumecee)
he was off course when the latter took or white corpuscle, which 7
manual control were inspired by an destroys foreign bodies by surrounding,
experience of the writers’ aboard a sailing enveloping and digesting them,
boat; Baker had been left to steer for six On Tuesday 1 February, live action
hours during the voyage, while the skipper pre-filming for Invisible Invader was
continually called from a bunk at the back: scheduled to take place from Tuesday 22
“You're off course!” to Tuesday 29 March on Stage 2 at Ealing
The script for Part Two indicated that Film Studios. This was to have covered tinue May
the difference in behaviour between the all of the scenes inside the Doctor’s body. Exploding
Doctor and his clone - referred to as However, to cut production costs, it was the mind. .
er. |
a 7 -
THE INVISIBLE ENEMY
Right:
The Doctor
is in!
decided that these sequences would all
be recorded on videotape, along with
the rest of the serial. On Wednesday 16
February, Williams wrote to Tom Baker
and Louise Jameson to say that the
filming had been cancelled, but instead
there would now be an extra studio day
on Sunday 10 April.
Having originally submitted their
storyline under the title The Invader Within,
several alternative titles were considered,
including The Invader Within, The Invisible
Invader and The Enemy Within, before
the final title of The Invisible Enemy was
arrived at.
illiams found that some of the
Wi -- established BBC directors
were reluctant to work on Doctor
Who; others who had worked on the show
before were now busy, such as Michael E
Briant who was invited to return to the
show in 1977 but who was committed
to a BBC1 adaptation of Treasure Island.
For his first serial as producer, Williams
drafted in Derrick Goodwin from Z Cars
(having worked with him since 1975) on
what would be his first work on Doctor
Who. Born in Hendon in 1935, Goodwin
had been a stage director - and actor -
since the early 1960s, working at Leicester,
Dundee, Glasgow, Ipswich, Newcastle
and Birmingham. Moving into television,
he directed instalments of BBC2’s Thirty-
Minute Theatre in 1969 and then moved to
Yorkshire where he worked on sitcoms like
Never Say Die and Albert!, following which
came other sitcoms at London Weekend
Television such as Bowler, The Train Now
Standing and Thick as Thieves. However, he
had also dabbled further in drama with
Thames’ Six Days of Justice and LWT’s
New Scotland Yard and Within These Walls.
&) DOCTOR WHO | THE COMPLETE HISTORY
XN NNNAN
Goodwin did not like science-fiction and
refused Williams’ offer on two occasions
until the producer promised him some
of the best people to work with on the
project. Learning that it was one of the
inspirations for the serial, Goodwin viewed
a print of Fantastic Voyage. Like Goodwin,
The Invisible Enemy would also be the first
professional encounters with Doctor Who
for costume designer Raymond Hughes
and make-up artist Maureen Winslade.
Designer Barry Newbery, though, was a
series veteran whose work extended back
to the very first Doctor Who story 100,000
BC [1963 - see Volume 1]. John Nathan-
Turner, previously a floor assistant on
several serials from The Space Pirates [1969
- see Volume 14] on, also formally joined
the show as production unit manager,
having stood in for Chris D’Oyly John
on the final weeks of The Talons of Weng-
Chiang. Visual effects were originally
assigned to Ian Scoones, who'd worked
on The Ambassadors of Death {1970 - see
Volume 15], The Curse of Peladon [1972 - see
Volume 18], Pyramids of Mars [1975 - see
Volume 24] and The Masque of Mandragora
[1976 - see Volume 25]; however, when it
became clear that the serial was to be very
effects-intensive, department head Bernard
Wilkie allocated the model work to
Scoones and all
studio effects to
Scoones’ former
assistant, Tony
Harding.
The first
sketches
of K9 were
produced by lan Scoones, who imagined
an armoured Hound of the Baskervilles-type
dog large enough to be operated by a small
actor. Graham Williams was unhappy
with the idea of a pseudo-Doberman
Pinscher, which he considered both
Wile Frupulgy ff
a. Ge ; : This page:
too fierce and indicative of a man in Tony Harding's
a costume. Further designs (some design
named ‘Fido’) were drawn up by sketches for
; : : KQ,,, and the
Tony Harding. His first design was cniched ere!
very comical, akin to Walt Disney’s
Pluto. This was refined until a third
design was passed. Harding’s design
incorporated the following elements:
a tail that could droop and rise; a
retractable shutter revealing a display
screen on K9’s side; flashing lights
showing a computer online display on
the side of K9’s base; a retractable
analysis probe ‘eye’ (inspired by the
tail-light of a Mercedes which
Harding noticed when he
drove home one night);
a retractable ‘blaster’ for
offensive capability; a paper
data printout facility; and
a motive unit ‘in excess of
normal human walking pace’.
A wooden and Plasticard
mock-up of K9 was made by
Harding and his assistant Chris
Lawson, with another assistant,
Roger Perkins, then taking a mould
to make a fibreglass body. With no
experience of remote controls,
Harding contacted companies in
the Yellow Pages and found himself
THE INVISIBLE ENEMY =» storvss
Connections:
Brain scan
® Marius asks a nurse to
“get an encephalograph
ut” on the Doctor. This
iS agenuine medical
rocedure which allows
Right:
Supervisor
Lowe prepares
to confront his
attackers,
the examination of the
rain by replacing some
the cerebrospinal
fluid with air or gas
that acts as a
contrast medium,
talking to Nigel Brackley of
the Radio Control Model
Centre in Harlington who
then assisted with the
drive mechanism and its
operation. Powered by
small wet-cell batteries as
used on motorcycles, the
prop’s special features were
operated via two Futaba AM
frequency radio control units
- one four-channel and one
six- channel. These allowed
K9 to move back and forth,
turn, wag its tail, extend its
antenna probe, wave its ears, project its
gun and emit ticker-tape from its ‘mouth’.
The head electronics were fitted by Charlie
Lumm, but the tickertape mechanism
was overlooked and the head had to be
enlarged very close to the studio recording.
The prop - constructed in three weeks -
was propelled by a rear wheel drive on
a chain motor, with a windscreen
wiper motor steering the rear axle. K9
was painted a dark gold which appeared
gun-metal grey on screen.
When casting, Goodwin originally
considered James Balfour as the speaking
Crewman and the Computer Voice, with
stuntman Stuart Fell as the Nucleus
operator and voice artiste Peter Hawkins
pencilled in as the Virus Voice. Actor
Geoffrey Collins was originally cast as
Hedges, but his contract was cancelled on
Thursday 7 April, with Kenneth Waller
contracted in his place on Tuesday
12 April.
John Leeson, who previously worked with
Goodwin in Repertory theatre, had met up
again with Goodwin when the director had
been in charge of OB recording on the Z
Cars episode Rage in early 1977; the chance
encounter in a pub led a few weeks later to
Leeson being contracted for three episodes
oe DOCTOR WHO | THE COMPLETE HISTORY
as the voice of K9 on Thursday 17 March.
He was later contracted to provide the voice
of the Nucleus as well on Friday 25 March.
Brian Grellis was an old friend of
Goodwin's from the RAF. He had played
the Vogan, Sheprah, in Revenge of the
Cybermen [1975 - see Volume 23], and was
now cast as Safran.
Goodwin had previously worked with
Michael Sheard on the Yorkshire sitcom
Albert!. Cast as Supervisor Lowe, Sheard
appeared in The Ark [1966 - see Volume 7],
The Mind of Evil [1971 - see Volume 16] and
Pyramids of Mars. Cast as Silvey, Jay Neill
had worked with Goodwin before; he had
also featured as a pikeman in The Masque
of Mandragora.
Because of the problems experienced
by Doctor Who in terms of the tone of its
scripts in late 1976, when he formally
took over from Bill Slater as head of
series and serials on Tuesday 1 February
1977, Graeme McDonald paid particular
attention to the series, reading and
commenting on all scripts prior to
production. On Monday 21 February,
McDonald sent his comments to Williams
regarding Parts Two and Three of the
serial, noting: ‘Excellent pair of scripts
with Leela well used. Hope Azimov [sic]
and Twentieth Century Fox don’t sue for
plagiarism. Two days later, McDonald
sent a memo to Williams regarding the
script of Part Four, asking in particular
if K9 was being left behind or not on the
Bi-Al asteroid. McDonald also queried
why the Doctor did not simply destroy the
virus with fire in the first place, and noted
that the Doctor’s use of the antibodies
was unclear. The head of serials and
serials also hoped that there would be
no sound on the Titan explosion, and
asked ‘Couldn’t K9 have a few “bionic”
tricks?’ On Wednesday 2 March, Williams
replied to McDonald that he was keeping
his options open on retaining K9 until
he had seen a forthcoming visual effects
demonstration of the prop; he did indeed
have an alternative ending ready. As well
as explaining about the virus’ need for a
host, the producer also agreed that the
Titan explosion would be silent. Rehearsal
scripts for the serial were sent out the
following day.
llocated studio 6 at Television Centre
A for both recording sessions of The
Invisible Enemy, Graham Williams
became aware that there were perceived
issues with the new cameras that had
recently been installed in the studio. As
make-up designer Maureen Winslade
explained in a memo to Williams on
Monday 14 March, ‘The new cameras in
TC6 still produce problems for make-up.
One of the difficulties is the appearance
of oversaturation of all colours, but
particularly in the red area. Having arrived
at the stage when a general flesh tone
Pre-production
was acceptable, we are now once again
having to compensate for the cameras
by applying more make-up, and in some
cases, lighting the faces. In an attempt
to address these concerns, Williams
arranged for an experimental recording
session to be held on the morning
of Tuesday 22 March in Studio TC6.
Following the session, Williams wrote
to his superiors, saying: ‘I was present
this morning at an experimental session
with the costume designer, make-up
supervisor, set designer and technical
manager. They were all concerned as to
the suitability of design materials used in
other studios but possibly not acceptable
in TC6. Having received an assurance...
that no compatibility problem exists, I
advised them to use the materials of their
choice, proven by past means, without
compromise for the real or supposed
vagaries of TC6.
The sound effects for the serial were
Below:
created, as usual, by Dick Mills of the The cloned
BBC Radiophonic Workshop who had Doctor and
‘ : fe, Leela are
been assigned to the untitled serial in items
February 1977. miniaturised,
ee
DOCTOR WHO | THE COMPLETE HISTORY a
4
y
4%
Ph
oA
aN
+
THE INVISIBLE ENEMYy tsow
ollowing overspends on many
of Philip Hinchcliffe’s later
serials, Graham Williams would
be expected to keep within
a restricted budget. Despite
this, he decided to give a large
financial allocation to his first serial
in production, which he wanted to be
visually impressive; The Invisible Enemy
was the most expensive Doctor Who serial
to date. Williams wanted much of this
budget devoted to special effects, with
cutbacks made on the cast. Consequently,
Ian Scoones and his assistant Mat Irvine
were able to use the facilities of the former
Group Three effects stage at Bray Studios
to shoot a week’s worth of effects footage,
from Monday 28 March to Friday 1 April,
which included space panoramas, shuttle
material, shots of Titan Base and elements
of the Doctor’s mind. Scoones’ vision
of the Swarm hatching was inspired by
the alien dome sequences in Quatermass II,
se DOCTOR WHO | THE COMPLETE HISTORY
4
| atelevision documentary.
which he had once recreated for
Most of the models were made by
Scoones and his assistants Steve Bowman
and Andy Lazell, with Irvine making two
versions of the shuttle miniature (which
incorporated opening cargo bay doors
inspired by the NASA Space Shuttle,
the first of which had been unveiled in
September 1976) to help out. A planet
roller from Gerry Anderson’s Space: 1999
was used for one of the model shots of the
the working atmosphere on the show; at Left:
this point, it was uncertain whether or The BEAl
Foundation and
not K9 would continue in the series. After Titan shuttle.
rehearsals on Thursday 7 April, Leeson
attended an experimental sound session to
perfect the voices for K9 and the Nucleus
' between 7pm and 8.30pm. Having seen
the designs for K9, Leeson’s initial thought
was to make the voice sound high-pitched,
clipped and tinny, as if it was coming from
shuttle. A lava lamp was shot through a a cheap transistor radio; seeing the tartan
distorting mirror to simulate the interior collar on the design of the dog, the actor at
of the Doctor’s mind. one point suggested using a Scots accent.
Scoones prepared very detailed and
involved storyboards for all the effects on
the serial, and hired Nick Allder, a highly PAR
experienced lighting cameraman, to ensure > See began on Sunday 10 April
that the shooting on high quality 35mm with an evening session running
stock was as good as possible. The model between 7.30 and 10pm; the
i
work required the use of a smoke effect as pressure was on, because Williams was not
space vessels were attacked by the Swarm; | prepared to sanction expensive overruns.
this was achieved by squirting Dettol The first scenes to be recorded were those b.
into water and placing this over the in the shuttle; these scenes used CSO to
main image. add backdrops seen through the windows
Rehearsals on the serial began in room of the two-level set, on which Finglish
403 of the BBC’s Acton rehearsal rooms on | signs, such as ‘Chek Presser Valv Beefor
Wednesday 30 March, ending a six-week Entry’, were used along with stock panels
holiday for stars Tom Baker and Louise which had previously featured in the
Jameson since concluding work on The television series UFO. Anthony Rowlands’
Talons of Weng-Chiang. taped voice was heard as the Titan shuttle
The radio-controlled K9 prop was not Captain computer. Part way through
available for rehearsals as a cost-cutting taping, Grellis, Neill and Edmund Pegge
measure; it had to be hired from the Visual had ‘infected’ make-up added. ‘Two Part
Effects Department and necessitated the Four scenes, featuring the Nucleus aboard
contracting of operator Nigel Brackley of the shuttle, were recorded next.
the Radio Control Model Centre. Instead, One consequence of the expense devoted
John Leeson threw himself into the part, to both K9 and the model effects was
eventually crawling about on all fours in that the costume budget was very tight.
place of the dog he would voice. Although Working from the scripted description
they were very different people in taste - a prawn - costume designer Raymond
and temperament, Leeson and Baker hit Hughes purchased a pint of prawns from
it off and rapidly established a rapport a fishmonger’s, which he kept in a freezer
partially because of their passion for the while completing his design sketches (he
crossword puzzle in The Times, much to and his team later ate them). Hughes
the relief of Jameson as this improved opted to use fibreglass for the main body,
DOCTOR WHO | THE COMPLETE HISTORY —
THE INVISIBLE ENEMY =» sor s3
The prawn-
inspired
Nucleus.
which enclosed an operator kneeling
on a wheeled trolley. A body cast was
accordingly taken of actor John Scott
Martin at a model studio in Highgate,
over which Hughes crafted the Nucleus.
The costume’s six arms were linked by
wires and operated by Martin placing
his arms in the top set. Its articulating
tail would not be seen properly in the
finished programme. A number of
fibre-optic filaments, illuminated by
bulbs, were placed inside the costume,
which made it particularly hot and
uncomfortable for Martin. In studio, the
monster - referred to by the crew as “the
pregnant prawn” - was difficult to move,
and its arm mechanisms rattled noisily. It
was also noticed that shards of fibreglass
were coming adrift and sticking to the
camera lenses. In addition, they caused
health problems which necessitated those
working with the Nucleus to be issued with
masks covering the nose and mouth.
Titan Base
ecording, generally in story sequence,
continued with the Part One scenes
set on Titan Base, with the three
relief crewmen entering the refuel station
to hear another taped greeting from
Rowlands, this time playing a crewman.
The sequence in which Supervisor Lowe
is pursued from his office through the
rotating ‘Imurjinsee Egsit’ (Emergency
Exit) was recorded next; the supervisor’s
office incorporated monochrome monitors
which could relay either film footage (the
hatching, for example) or shots from other
sets. The Visual Effects Department also
provided the door lock which Meeker and
Silvey cut through. For the scene in which
the TARDIS materialises in the corridor,
the usual roll-back-and-mix effect was
employed. The windows of the base were
constructed with a cyclorama some way
behind them, so that Lowe could be seen
on the Titan surface outside. The final
recording of the evening was the sequence
leading up to Lowe hiding in the ‘Kryojenics
Sexshun’; the control panel beside the door
to this had featured in the film Live and Let
Die as well as earlier Doctor Who serials such
as The Ark in Space {1975 - see Volume 22]
and Planet of Evil [1975 - see Volume 24].
The blaster weapons ‘fired’ a superimposed
red diamond - a time-consuming effect
which needed to be carefully lined up by
electronic effects expert AJ “Mitch” Mitchell.
The second day, Monday 11 April, was
afforded an afternoon recording session,
from 2.30 to 5.30pm, in addition to the
evening’s work. Work began with Part
One’s mess room massacre sequence, and
continued into the subsequent scene in the
supervisor’s office. Sheard then went to
make-up to have ‘frost’ added to his face |
while the remaining Part One Titan Base
scenes were recorded. Animated lightning
was superimposed and flashed over the
main picture as Safran and Meeker made
‘contact’ with the Doctor. The infection
make-up was added to Baker’s hand during
a recording break prior to the last scene.
Work continued into Part Two with a
pre-recorded mental conversation between
Baker and Leeson as the Doctor and the
Nucleus respectively. During another
recording break, Baker’s hand make-up
was removed, this time during a locked-off
camera shot to make the infection appear
to fade away. Sheard was now similarly
made-up for his remaining scenes, starting
with those at the airlock.
The Part Four Titan scenes, which saw
the first use of K9, were recorded next. The
K9 material was minimal - fortunately,
as it was soon discovered that if the dog’s
radio control operator was too close to
the cameras or their cables, the signal not
only distorted the picture but also sent the
Production
Left:
Trapped in the
Doctor's mind.
prop out of control. Harding and assistant
Andy Lazell found that the transmitters
interfered with the cameras if their
aerials were extended. Consequently they
attempted to control K9 at very close range
with the aerials down. When Tom Baker
pulled K9 along with his scarf he sheared
the gears on the prop and bent the axle.
Harding spoke to production unit manager
John Nathan-Turner about improvements
he had in mind for the K9 prop should it
become a regular feature of the series.
With the actor seated in the corner
of the studio and watching proceedings
via a monitor, Leeson’s voices were
recorded ‘live’. At first, Williams sought
a small, clipped voice for K9; this Leeson
attempted to achieve by making each
word sound separate. However, this was
deemed to sound menacing after the
dialogue had been modulated by sound
supervisor Michael McCarthy. Leeson
was asked to perform the Nucleus voice
in the manner of an ‘over-rich, gone-off
Christmas pudding’.
The blasts from K9’s nose gun proved
time-consuming for Mitchell. It was also
discovered that it was not possible to
show K9 entering the TARDIS properly,
and that clever camera angles would
have to disguise this fact;
the prop also had difficulty
negotiating sill irons on sets.
Furthermore, Baker found
the K9 prop difficult to act
with, demanding a low
eyeline or him having
to kneel which risked
aggravating housemaid’s
knee; he grew to dislike it,
often kicking it when it failed
to work in camera rehearsals.
Recording overran by 55
minutes, mainly due to the
large amount of material that
Connections:
En garde
® While verbally sparring
with the Nucleus, the
Doctor exclaims “Touché!”
This is a traditional fencing
term in which an opponent
acknowledges a hit by his
adversary and is commonly
used during discussions
to acknowledge a strong
point of counter-argument
by another person.
J
DOCTOR WHO | THE COMPLETE HISTORY se ‘
THE INVISIBLE ENEMY
Connections:
Finglish
® All the signage on the
had to be recorded. The main
problem with production
had been the break-up in
fibreglass material used for
the Nucleus costume which
meant that the studio had
to be cleared and ventilated
for safety reasons. The
ventilation then made the
preparation of smoke effects
more time-consuming
than anticipated.
Recording on the
afternoon and evening of
Tuesday 12 April involved
only Baker, Jameson, Sheard
and Martin, and included
all the scenes featuring the
clones inside the Doctor’s
body. The first shot was
the CSO-effected Part Two
cliffhanger showing the Doctor and
Leela’s clones spinning away; the shot
was placed over film of a water vortex.
This was followed by more CSO scenes
featuring the clones in the Doctor’s neural
pathways, placed over caption graphics;
for many of these scenes, the artistes
wore radio mics so their voices could be
modulated and echoed in studio.
The sets for the interior of the Doctor’s
brain were constructed from gauzes
spaceships, Titan Base,
and the Bi-Al Foundation
is written in ‘Finglish,
a phonetic version of
English adapted by Bob
Baker and Dave Martin
and specified in the
script. These included
‘Kazyulti’ (Casualty);
‘Entruns' (Entrance);
‘Eqsit’ (Exit); ‘Wimin’
(Women), ‘Senta’ (Centre);
‘Ordnans' (Ordinance); and
‘Kryojenics Sexshun’
(Cryogenics
Section).
Right: ;
oy, draped over hoops, with arteries made
himself in Jablite and accompanying foliage
at home.
hired from Greenery. Four white weather
balloons sprayed with ‘angel hair’ were
thrown from out of shot by stagehands
to simulate the phagocyte attack on Leela
- an attack repelled when the Doctor
touches two ganglia together, requiring
a superimposed white star effect. More
CSO was used for scenes showing the
clones at the mind/brain interface; a wind
machine was used to give the impression
of a bracing breeze during the scene,
se DOCTOR WHO | THE COMPLETE HISTORY
which Baker and Jameson decided to
play in the manner of Noél Coward’s
1930 comedy Private Lives. With studio
time running out during recording of the
concluding brain scenes - in which the
clones confront the Nucleus, and Leela
attacks Lowe - there was little time to
record the end of the confrontation scene
as it had been planned, and consequently
the broadcast version would be heavily
trimmed. The intention was to have the
Leela clone cradling the dying Doctor
clone in her arms; this would then fade
into nothing more than a pile of dusty,
skeletal old clothes. The Leela clone
would then go into convulsions on the
floor and fade away itself, leaving only its
knife and a lock of its hair.
Rehearsals recommenced at Acton on
Wednesday 13 April. Joining the cast for
the second recording block was the serial’s
main guest star, Frederick Jaeger, playing
Professor Marius; this German-born
actor had featured in The Savages [1966
- see Volume 8] and in Planet of Evil. Roy
Herrick, playing Parsons, had featured in
The Reign of Terror [1964 - see Volume 3]
and been a voice artist for The Face of Evil
[1977 - see Volume 26].
Very shortly before recording, a number
of Part Two lines between Doctor 2 and
JX AR. 4.28 |e
Leela, written to explain the clones’
nature (including the pun “I am the Doctor
too”), were rewritten and given to K9. On
Saturday 16 April, over the first weekend
of rehearsals, Baker and Jameson travelled
to the Longleat Doctor Who exhibition as |
part of the Radio 1 Roadshow.
he second recording block began
T with an evening session in TC6 on
Sunday 24 April. The TARDIS scenes
for Parts One and Four were recorded
in sequence first, using a new TARDIS
control room set; Williams had felt that
the Victorian control room introduced in
The Masque of Mandragora had not been
visually exciting enough and had asked
designer Barry Newbery to create a new
version, reverting to a ‘futuristic’ look
and retaining the column which rose and
fell at the centre of the console. Outside
the main doors a set of black drapes were
hung, suggesting a void between the
interior and exterior doors; the scanner
screen was now a CSO panel behind two
manually operated, vertically sliding panels
onto which images could be placed. The
new set (which was meant to be smaller to
take up less space in studio) was dressed
with a carved wooden chair taken from
the BBC’s prop store which had been seen
in the series’ earliest episodes, and also
a blackboard on which the right-handed
Jameson wrote her character’s name using
her left hand, to make it appear as though
Leela was not used to writing.
The original TARDIS console was taken
out of storage and refurbished slightly.
Columns were also added to link the
roundelled wall sections together.
Upon the Virus’ entry into the TARDIS,
a flash charge on the console was
detonated and a purple halo superimposed
around Baker; the effect of ‘contact’ was Above:
achieved by defocusing the camera and Marlusiarms
himself.
zooming in and out on Baker. After the
Part One scenes, Jameson was made up
with a fake ‘infection’ rash for early Part
Four scenes. The CSO screen showed the
infected Marius in the Bi-Al Reception
area and later model footage of Titan
Base exploding.
The next set to be used was the
Bi-Al Centre reception area. The nurse’s
monitor screen used CSO to
show a triple profile of the
Doctor alongside the data
she types in. Once again,
Jameson needed infection
make-up added for the scene
early in Part Four where
Leela rescued the Doctor
from Lowe and the infected
medics. The evening’s
recording concluded with
the scene in which K9 joined
the Doctor at the end of the
serial. With the production
team still undecided over K9’s
future, this scene would only
be included if they elected to
continue using the dog in the
series; if not, the serial would
Connections:
Emerald Isle
® When checking the
unconscious Doctor in to
the Bi-Al Foundation, Leela
correctly gives the Doctor's
place of origin as “Gallifrey’.
The receptionist enquires
if Gallifrey is in Ireland, and
Leela tells her that she
expects it is. This was the
reuse of ajoke that Bob
Baker and Dave Martin had
inserted in their preceding
Doctor Who adventure, The
Hand of Fear [1976 - see
Volume 25].
DOCTOR WHO | THE COMPLETE HISTORY 7
THE INVISIBLE ENEMY
end with the TARDIS scene in which Leela
tells the Doctor that they should now
return K9 to Marius. By now, it was fairly
certain that K9 would continue; the prop
had been too well-built and expensive not
to use again, and Williams favoured a non-
human regular which could split storylines
in different directions as required.
25 April concentrated firstly on all
the isolation ward (or isolayshun
ward) scenes; publicity shots of the cast
and K9 were taken on this day. Problems
developed when Newbery asked to have
the Perspex probe on the overhead
analysis machine cut, since it was blocking
out a CSO screen; when this was not
undertaken, Newbery did the job himself,
causing a minor demarcation dispute.
Taping began with Baker in full infection
make-up for scenes at the end of Part
Two and throughout Part Three. The set
incorporated a sliding examination bed,
a cloning booth and several CSO screens,
including one large version on which an
image of Lowe threatening Marius was
placed; smaller screens showed a digital
clock counting down the clones’ 10-minute
lifespan, stock film of blood cells under
analysis and the Doctor’s hospital record.
During a recording break, Jaeger was given
infection make-up for the closing scenes
of Part Three; CSO was used to make the
Nucleus appear to grow in size inside the
cloning booth at the climax of the episode.
The cloning of the Doctor and Leela in
Part Two was also recorded at this point,
with a split screen roll-back-and-mix used
to show both versions of the Doctor.
As recording began on Part Four, Baker’s
infection make-up was removed during a
roll-back-and-mix shot with a locked-off
T he afternoon and evening of Monday
se DOCTOR WHO | THE COMPLETE HISTORY
camera to show the Doctor being cured;
a similar shot with Jaeger was recorded
shortly afterwards. Recording then jumped
back to Part Two, for all the scenes where
the Doctor is not infected. A CSO plate
was added to K9’s screen so that the output
of an oscilloscope could be placed on the
prop’s side as the dog scanned the Doctor.
To simulate the shuttle’s impact with the
Foundation, the camera was shaken and
Baker fell off the examination couch onto
an out-of-shot mattress. CSO was again
used for the miniaturisation of the Doctor
and Leela clones. After this, the final Part
Four scene in the isolation ward was
recorded. The rest of the evening was then
spent on the scenes set on Level X4 (also
inconsistently referred to as 4X),
just outside the ward. These included
Lowe’s infected party on Level 2X in Part
Two; Leela holding off Lowe’s men on
4X in Part Two and finally a Part Four
corridor shot in which the disguised Leela
sets about rescuing the Doctor. Recording
overran by 15 minutes due to minor
technical difficulties.
Both afternoon and evening recording
was scheduled for the final studio day,
Tuesday 26. However, the afternoon
appears to have been spent picking up
on earlier material, meaning that the
planned recording did not start until
the evening, and ended up severely out
of sequence. With studio time running
short, the Part Three battle sequences
at the X3/X4 corridor intersection had
still to be recorded, beginning with
K9 firing at a section of wall to create
a barrier; this had apparently been
attempted in the afternoon, but problems
had developed with the K9 prop. For this
reason, the shot was hurriedly remounted
PRODUCTION
6; Experimental session
Mon 28 Mar - Fri Apr 77 Bray Studios:
Model filming Studio 6: Doctor's Body - Bloodstream/
Sun 10 Apr 77 Television Centre Brain; Doctor Who's Mind
Studio 6: Shuttle; Refuel Station/Titan;
_ up-ended from the rear so that its probe
Mon 11 Apr 77 Television Centre
Tue 22 Mar 77 Television Centre Studio Studio 6: Mess Room; Supervisor's Office;
Refuel Station/Titan; Corridor
Tue 12 Apr 77 Television Centre
Sun 24 Apr 77 Television Centre
Corridor; Supervisor's Office Studio 6: TARDIS; Bi-Al Centre Reception
without sufficient time for Newbery’s
scenic crew to hide the pre-cut section
of wall. Three more attempts were
made; on one occasion, the wall
‘collapsed’ before K9’s beam ‘fired’.
For the scene in which K9 scanned the
recovering Leela, the prop had to be
could extend down far enough. John
Leeson was now very much at home
with the character of K9, and would
deliver asides to the studio floor in the
robot’s voice, such as “a very good try!”
when consoling Jameson after one of
several takes of the scene in which Leela
I
met Marius’ nurse (intended to be the The Nees i
final scene recorded) went wrong. Some ventures ¥
; ithi into the F
inserts of the Nucleus writhing were then
macro world.
recorded, following which work doubled
back for scenes in the eye section for Part
Two where the ophthalmologist and
medic were ‘contacted’; actors Jim
McManus and Pat Gorman had now
had their make-up removed.
Next, Roderick Smith and Kenneth
Waller likewise performed their first
corridor scene minus infection, followed
by the crash scenes in the wrecked Level
X3 corridor for Part Two. Recording
ended shortly before 10pm with a shot
of K9 moving along the corridor - and
running straight into the camera. The
crew applauded the prop’s performance,
and Goodwin indicated that he had
got enough on tape.
Area; Corridor on Level X4
Mon 25 Apr 77 Television Centre
Studio 6: Isolation Ward X4; Corridor on
Level X4; Corridor on Level X2
Tue 26 Apr 77 Television Centre
Studio 6: Eye Section; Corridor; Corridor
onLevel X2; Corridor on Level X3; Corridor
Junction X3/X4
DOCTOR WHO | THE COMPLETE HISTORY se
THE INVISIBLE ENEMY
Below:
The Doctor
needs a doctor.
Post-production
art One was edited on
Friday 29 April, Part Two
on Saturday 30 April, Part
Four on Monday 2 May and
Part Three on Tuesday 17 May.
A few cuts were made to the
finished episodes.
Part One lost Safran reprimanding
Meeker for costing them three minutes
on the shuttle journey. “Going to be there
six months, aren’t we?” asked Meeker,
“Three minutes... Sorry, but you know
Titan.” “What’s wrong with it? Easy life,”
remarked Silvey.
Part Two over-ran notably, even after
a scene of the shuttle crash had been
removed; in this, Parsons said that he can
hear people screaming, but Marius insisted
that the rescue operation was over and
that the section should be cryogenically
cocooned with helium pumps. This scene
introduced the medic, played by Pat
Gorman, who is sent to get the pumps -
which is what he is doing at the end of
the episode when taken over by Lowe and
m1 DOCTOR WHO | THE COMPLETE HISTORY
the others. There was also material with
the Doctor talking to K9 and explaining
to the robot that the more he attempted
to think, the quicker he would succumb
to attack from the virus - therefore he
needed the computer to do his thinking
for him and asked for a rundown on
cloning techniques.
art Four ran very short, but
i nevertheless a few trims were made
to it. After the Nucleus was removed
from the Doctor, Marius attempted
to reafhrm contact with him, but the
lightning bounced back into his own
eyes; the infected men then decided to
take the Doctor back to Titan. A further
cut was a small amount of material in
which the recovered Marius attempted
to recall recent events. Graham Williams
also requested the removal of a couple of
frames of a knifing at one point.
Incidental music was provided, as
usual, by Dudley Simpson; Simpson was
also working on Target, for which Philip
Hinchcliffe had requested his services.
Simpson and six musicians recorded the
music for Parts One and Two at the Lime
Grove Television Music Studios between
2.30pm and 5.30pm on Tuesday 17 May.
The music for Parts Three and Four was
recorded at the same times and venue on
Wednesday 1 June. In total, approximately
33 minutes of music was recorded for
the story.
First edits of the episodes were
transmitted, apart from Part Three which
was a second edit.
Publicity
» Promotional material for The Invisible
Invader listed the story’s selling points
as ‘some of the most ambitious model
filming Doctor Who has ever achieved’
for the 5000 AD setting, and also
the introduction of ‘one of the most
imaginative assistants to the Doctor
ever - a robot computer in the shape
of a dog called ‘K9’, who will feature in
other stories throughout the season’.
By the time the Drama Early Warning
Synopsis was issued, the title had
become The Invisible Enemy, but a
transmission date had yet to be set.
® News about K9’s arrival on Doctor Who
was leaked and an article by Stafford
Hildred appeared in the Birmingham
Evening Mail on Friday 10 June 1977;
Post-production | Publicity
The Doctor and Leela are
; a joined this week by a y
helping them in the fight against The Invisible Enemy <4 Who: es
this indicated that the dog was a
closely guarded secret. Similarly, no
photographs of the ‘electronic dog’ had
been released when Colin Willis’ story
Who's a Good K-Nine Then! appeared in
the Sunday Mirror on 4 September.
» The main press activity came during
the production of Underworld [1978
- see Volume 28] in early October,
while The Invisible Enemy was on air.
Tom Baker and Louise Jameson took
part in a publicity session around the
BBC’s Acton rehearsal rooms with
K9 on Thursday 6 October, two days
in advance of the dog’s début on
BBC1. John Leeson then went on to
provide K9’s voice (without the ring
modulator) during an edition of Blue
Peter on Monday 10 October in which
K9 met both presenter John Noakes
and very excitable, flesh-and-blood
DOCTOR WHO | THE COMPLETE HISTORY &
Above:
Radio Times
reveals K9,
Left:
K9 meets
John Noakes
and Shep on
Blue Peter.
’
.
h
w
a
THE INVISIBLE ENEMY
A hug for K9—Dr. Who's computerised
dog!
mem~-—
ber of the time-travelling ©
team yesterday—a moving, |
talking, thinking, com-
puterised dog.
the BULC. say be be ne
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in exces tee and 6 oer
yellous sense of humour,
Popular
im. Ue is tikely, im my view,
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Dr. Whe, actor Tom Baker,
sald ; “KS ts @ great addition |
| to the series, He may be
mechaniral, bat he's very j
man toe.
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=
Above:
Louise Jameson
introduces
K9 tothe
press in the
Daily Express
on Friday 7
October 1977,
Right:
Crosse &
Blackwell's
Doctor Who
promotion
from 1977.
dog, Shep. The Radio Times cast list
for Part Two was accompanied by a
publicity shot of the Doctor, Leela and
K9. The serial was promoted on BBC1
by a 21-second trailer of clips at
6.39pm on Saturday 24 September,
following Horror of Fang Rock Part Four;
a similar version was aired at 10.43am
on the day of The Invisible Enemy Part
One’s transmission.
® A picture of the Nucleus - AKA ‘the
pregnant prawn’ - appeared in the
Daily Mail on Saturday 1 October.
® On Tuesday 4 October, Graham
Williams wrote to visual effects
designer Ian Scoones to break the bad
news that Radio Times would only allow
one credit for visual effects, and he was
allocating this to Scoones’ colleague
because of his work on K9.
» The Daily Mail ran the item Heaven
scent... Dr Who’s K9 companion on Friday
Gas DOCTOR WHO | THE COMPLETE HISTORY
7 October, printing one of the publicity
shots of Tom Baker and Louise Jameson
with the robot taken the previous day
and introducing the Doctor’s ‘new best
friend’; the item Top Posers also noted
that K9 had an IQ of 300 and that
John Leeson had set questions for the
BBC1 high-brow quiz show Mastermind.
Meanwhile, The Guardian offered a shot
of the cast ‘peering anxiously round
alamppost’ and a similar item of ‘Dr
Who’ and ‘Leeza’ appeared under the
title K-9 Ps2 in the Daily Mirror.
¥ Concurrent with the serial’s
transmission in October, the food
manufacturer Crosse & Blackwell
ran a promotion using Doctor Who in
association with its baked beans; a cut-
out cardboard TARDIS activity book
was available to customers.
tegether with Dr Whe - ame sat up a wper tame wgneea “4 —
thee Mery yow'e he heer der — wre Hare aca! Crome ® Styhews Sr Whe’ ata
7
{TOR fet B08 oun phe on Appticacion Form oo wih thave pp lone SU
SSSA AA.
Publicity | Broadcast
Broadcast
® Ratings for The Invisible Enemy saw a
slight drop on those for Horror of Fang
Rock. A changed time slot put the show
up against a variety of competition on
ITV. In London, LWT, Southern and
Yorkshire it was placed against quiz
shows like Masterspy, Mr & Mrs and
the talent show New Faces; ATV and
Granada ran fantasy movies like Escape
from the Planet of the Apes and feature-
length episodes of a new American
science-fiction series, Man from Atlantis.
® Stanley Reynolds of The Times
commented on the serial on Monday 10
October, with specific reference to how
the ‘sex symbol’ of Leela was immune
to the virus due to her savage nature;
he also noted that the character was
not striking a blow for Women’s Lib but
was fulfilling the same function for the
dads as the dancers on Top of the Pops.
On Thursday 13, Time Out found Part
One to be a disappointing start - and
on Thursday 27 indicated the serial was
one of ‘the weakest for a long time’.
» Tom Baker was interviewed in The
Sun by Liz Prosser on Monday 17
October and discussed his tours of
Blackpool and Preston and various
visits to children’s hospitals. These were
increasingly important for the star who
commented: “Doctor Who has brought
me so much, the least I can do is make
this romantic hero useful where it really
matters.” K9 then made an appearance
at a Winalot event on Friday 21
October and appeared on LBC Radio.
i ae eations <==
® The Doctor Who Exhibitions run by Above:
BBC Enterprises were promoted by TipnBipme
a caption slide and announcement at
the end of Part Two, while the BBC
Records single of the theme tune was
similarly featured after Part Three. Part
Four was given only a 20-minute slot
as opposed to the usual 25 and was
followed by a trailer for Image of the
Fendahl [1977 - see page 82].
» On Monday 24 October, Shaun Usher
of the Daily Mail thought the final
episode to be ‘positively crammed
with incident’, praising Tom Baker’s
approach to the role, mentioning the
authors’ debt to Fantastic Voyage and
including comments from Williams
about K9.
® The Thursday 27 October edition
of Radio Times included a letter from
reader Amanda Jones who asked how
the clones of the Doctor, Leela and
DOCTOR WHO | THE COMPLETE HISTORY (es)
fe >
THE INVISIBLE ENEMY
Lowe had been fabricated, complete
with clothes. Williams responded by
emphasising the line of dialogue in Part
Two which stated that the ‘Kilbracken
technique’ was not ‘true’ cloning, but
a three-dimensional photograph (the
line had apparently been inserted
into the script precisely to get around
Right: this problem). The production office
The Doctor received a considerable amount of fan
free mail for K9, which made Tom Baker
of infection.
somewhat jealous.
® The Invisible Enemy was sold to many
_ } Ian Scoones was amazed to discover broadcasters in other territories,
that the establishing shots of the including New Zealand, Mexico,
undamaged hospital were not used Nicaragua, Honduras, Costa Rica,
in the broadcast edit of Part Two Australia, and the United States. In
and presumed that the film had been Australia the story was passed for
unusable in some way. screening with a G rating only once the
knifing of Meeker by Leela had been
® The Invisible Enemy was one of two removed from Part One.
serials selected for a repeat on
Thursday evenings the following » UK Gold transmitted the serial in
summer. Viewing figures for the episodic form from February 1994,
reruns, opposite the popular soap with compilation broadcasts from
opera Crossroads and the sitcom March 1994. BBC Prime screened the
Leave It To Charlie, were generally low. story in November/December 1998.
ORIGINAL TRANSMISSION
EPISODE DATE TIME CHANNEL DURATION RATING (CHART POS) APPRECIATION INDEX
PartOne Saturday 1 October 1977 6.15pm-6.40pm BBC1 23'09" 8,6M (40th)
Part Two Saturday 8 October 1977 6.05pm-6.30pm BBC1 25'13" 7.3M (55th)
Part Three Saturday 15 October 1977 6.10pm-6.35pm BBC1 23'28" 7.5M (65th)
Part Four Saturday 22 October 1977 6.10pm-6.30pm BBCI 2122" 8.3M (50th 60
REPEAT TRANSMISSION
PartOne’ Thursday 13 July 1978 7.00pm-7.25pm BBCI 24'59" 4.9M (60th
Part Two? Thursday 20 July 1978 7.00pm-7.25pm BBC1 24'57" 5.5M (76th)
PartThree! = Thursday 27 July1978 7.00pm-7.25pm BBC1 24'57" 5.1M (81st)
Part Four’ Thursday 3 August 1978 7.00pm-7.25pm BBC1 24'57" 6.8M (35th
‘Not broadcast by BBC Cymru. Heddiw scheduled instead
= SE = = 7
am DOCTOR WHO | THE COMPLETE HISTORY
Merchandise
ick Mills’ sound effects of the
cloning and miniaturisation
booth and the Doctor’s mind
appeared on a May 1978
BBC LP and cassette, Doctor
Who Sound Effects; this was
later reissued on CD by AudioGO in
February 2012 and on vinyl in April 2012
by AudioGO and Discovery Records as
part of Record Store Day. The shuttle
landing sequence could be heard on the
July 1993 CD Doctor Who: 30 Years at the
Radiophonic Workshop
while the sound effect
of the Doctor’s mind
reappeared on the
11-CD set Doctor Who:
The 50th Anniversary
Collection from Silva
Screen in September/
November 2014.
Terrance Dicks
novelised the scripts
wee as Doctor Who and
SM the Invisible Enemy,
3) which was published
=~ simultaneously as a
Target paperback and
a WH Allen hardback in March 1979, with
a cover painting by Roy Knipe; latterly it
would be numbered Book No 36 in the
‘Target range.
The sound effect of the Swarm hatching
was included on the BBC Sound Effects
LP and cassette No 16: Disasters in 1977.
Harlequin Miniatures issued a Nucleus
figure in 2000.
Postcards of K9 from The Invisible Enemy
were issued by Larkfield Printing in 1978.
Prints of paintings based on BBC visual
TERRANCE DICKS
| original design work for
_ The Invisible Enemy were
Broadcast | Merchandise
effects designer Ian Scoones’
available from Spacescapes
in 1994. A limited number
of 2,000 signed A2 prints
were issued. A stamp cover
featuring the Dalek stamp
and showing a collage of images ron
The Invisible Enemy were signed by Louise
Jameson. A limited 1,000 covers were made
available by the Stamp Centre in May 2002.
The Invisible Enemy was released on BBC
Video in September 2002. The BBC DVD
box set entitled K9 Tales was released in
June 2008. The set included The Invisible
Enemy. The accompanying extras were:
» Commentary with actors Louise Jameson and
John Leeson, visual effects designer Mat Irvine
and co-writer Bob Baker
» Dreams and Fantasy: Making
The Invisible Enemy - artistes
and production crew recall the
making of this story With actors
Louise Jameson and John Leeson,
director Derrick Goodwin,
co-writer Bob Baker, visual effects
designers Tony Harding and Mat
Irvine, KS operator Nigel Brackley,
and journalist Gary Gillatt
» Studio Sweepings -behind
the scenes on the recording
of the story, courtesy of a
timecoded Shibaden videotape
recorded for production use
» Visual Effects: The Modelwork of The
Invisible Enemy - visual effects designer
Mat Irvine meets up with lan Scoones at Bray
Studios to talk about the visual effects for The
Invisible Enemy and other stories
7:
wr
”
¥
ys
:
DOCTOR WHO | THE COMPLETE HISTORY 6
Above
and below:
Video and
DVD covers for
The Invisible
Enemy.
Ph S
@) :
The TOM BAKER Years 1974-814
Far left:
Roy Knipe's
cover for
the Target
novelisation.
THE INVISIBLE ENEMY =» stv
Right:
Denys Fisher's
K9 toy.
» Blue Peter - K9 meets John Noakes and Shep
in this extract from the long-running children’s
magazine show from Monday 10 October 1977
) CGI Effects - this gives the viewer the option
to watch the story with many of the original
video effects sequences replaced by
CGI versions
» Trailers and continuity
» Photo gallery
) Easter Egg - Larry Grayson’s Generation Game
with K9 from Saturday 14 October 1978
} Radio Times Listings in Adobe PDF format
») Subtitle production notes
Initial copies of the DVD contained
an authoring error which affected Part
Three - the final scene and the end titles
played in the wrong order. As a result, a
replacement disc was swiftly produced.
The two different versions can be identified
by the catalogue number on the artwork
side of the disc, to the right of the central
hub. The original is ‘BBCDVD2799’, while
the corrected version is ‘BBCDVD2799 - A’.
GE Fabbri’s Doctor Who — DVD Files featured
Far right:
Corgi’s 30th
Anniversary
K9 model.
Below:
Palitoy’s Talking
K9, and Dapol's
infamous green
model,
76 QOCTOR WHO | THE COMPLETE HISTORY
The Invisible
Enemy in issue
133 in February
2014.
Many models, toys
and miniatures of K9 have been made
commercially available since his début in
The Invisible Enemy. As part of its range of
Doctor Who action figures, Denys Fisher
Toys released a scale model of K9 with
friction action drive wheels in 1978. Also
released in 1978 was a talking K9 from
Palitoy, which played different K9 phrases
(voiced by John Leeson) when the control
panel on the model’s back
was depressed. A metal
miniature of K9 was
released in 1984 by Fine
Art Castings, and a further
metal miniature, this
time from Citadel Miniatures,
was released in 1985. In 1988, Dapol
released a K9 action toy. However, due to
a mistaken interpretation of the lighting
on the reference photographs used to
craft it, the toy was coloured dark green.
A more correctly coloured grey version
was released later the same year. In 1996,
further colour variations were released by
Dapol - blue, gold and silver, as well as a
new grey version with ‘20th anniversary’
written on its side. Further variations were
released by Dapol in subsequent years.
Sevans Models released
a K9 model kit in 1987, and
a full-size replica K9 was
available from This Planet
Earth in 1995. Genesis
Products released a K9
garage kit in 1996.
CAST
Frederick Jaeger................ Professor Marius [2-4
Michael Sheard.
Anthony Rowlans............::.c
Roy HeEmnick nomennoomsamumnnan
Elizabeth Norman............005 Marius’ Nurse [
Nell CuUrraln........ccccccssses Reception Nurse [2
JOHN LEO@SON Qin Nucleus Voice
JOHN LEE@SON ccs K9 Voice [
Jim McManus... Ophthalmologist
Roderick SMITH. Cruikshank
Kenneth Waller
Pat GOP MAN siisisiescrcovnaacinsine
John Scott Martin............0.cn
Also appears in Part Two, uncredited
Merchandise | Cast and credits
Cast and credits
| UNCREDITED
| Anthony Rowland6.............005 Computer Voice
Leela Stuart Myers, Harry Fielder.............05 Crewmen
Alan Clements, Derek Hunt, Leslie Bates,
Kenneth Sedd, Cy Town, Margot Gordon........
PRETO iii sncicanirernon Bi-Al Members
CREDITS
Written by Bob Baker and Dave Martin
Incidental Music by Dudley Simpson
Special Sound: Dick Mills
Production Assistant: Norman Stewart
Production Unit Manager: John Nathan- Turner
Lighting: Brian Clemett
Sound: Michael McCarthy
Visual Effects Designers: lan Scoones,
Tony Harding
Film Cameraman: Nick Allder
Costume Designer: Raymond Hughes
Make-Up Artist: Maureen Winslade
Script Editor: Robert Holmes
Designer: Barry Newbery
Producer: Graham Williams
Director: Derrick Goodwin
BBC © 1977
Left:
Cast and crew
prepare on set.
DOCTOR WHO | THE COMPLETE HISTORY &
THE INVISIBLE ENEMY
Right:
John Leeson
with Sally
Thomsett
in Comedy
Playhouse:
Marry the
Girls in 1973,
Profile
KS voice
eeson - real name John Francis
Christian Ducker - was born
16 March 1943 in Leicester
into an ecclesiastical family.
His father Reverend (later
Canon) Eric Ducker was vicar
of St Margaret’s Church, Leicester and his
grandfather had been a Derbyshire vicar.
Mother Barbara (née Payne) had married
his father in 1932 and her father had in
turn been a Canon.
Sister Alison was nine years his elder. The
Duckers had also housed Elise Richter, a
five-year-old refugee from Nazi-occupied
Austria, from 1939-43 but she was reunited
with her family the year John was born.
Raised in St Margaret’s reputedly haunted
vicarage, on leaving school Leeson worked
in a bookshop. His father was hospital
chaplain at Leicester Royal Infirmary and
found him a hospital porter’s job.
After exploring his acting ambitions with
the amateur Leicester Dramatic Society
based at The Little Theatre, he plucked up
courage to successfully audition for RADA,
where he studied from 1962-4. He adopted
the stage name Leeson after a wealthy
godmother he suspected was paying him
through his studies.
On graduating he found rep work
with a summer season at Frinton-on-
Sea, enjoying later stints at Colchester,
Birmingham, Newcastle and Nottingham
Playhouse. His first London stage work
came at Westminster Theatre, where he
met his future wife while appearing in Toad
of Toad Hall.
DOCTOR WHO | THE COMPLETE HISTORY
LSPS NS
More London work included Baptista
in The Taming of the Shrew (1966, Lincoln’s
Inn Theatre), Eric Swash in Flint (1970,
Criterion) and Norman in Don’t Start
Without Me (1971, Garrick Theatre). For
Neil Simon’s Plaza Suite (1969, Lyric
Theatre), a three-play comedy, he played
a bell-hop in the opening play and a
bridegroom in the third. During its run he
married Judith Griffiths, a BBC producer’s
assistant, on 2 August 1969. As Judy
Ducker, she became a BBC props buyer
and is now a movie production buyer.
Leeson had meanwhile made his TV
début in Sunday Godslot musical Meeting
Point, aired 21 February 1965. Subsequent
roles came as French hippy Henri de
Burgoyne in Crossroads, from December
1967-January 1968, and in BBC2 WWI
serial The Spanish Farm (1968). He was also
an occasional BBC continuity announcer.
Small TV drama parts followed in The
Doctors (1970), Take Three Girls (1971) and
costume piece Private Affairs (1975) but
he made greater inroads in sitcom roles
. AA REN
in Dear Mother... Love Albert (1969), Dad’s
Army (1969), On The House (1970), My Wife
Next Door (1972) and two Comedy Playhouse
entries Marry the Girls (1973) and The
Reverent Wooing of Archibald (1974).
Voice work included historical
documentary Pioneers of Photography
(1975) and reading Radio 4’s Morning Story
(1975). One early television narration job
perhaps signposted Leeson’s future; a BBC
countryside documentary entitled One Man
and His Dog (1972).
The same year, 1972, Leeson assumed
an iconic TV animal role as the original
Bungle bear in pre-school lunchtime
classic Rainbow. The original, rather
startled-looking Bungle outfit proved a
sweltering experience. He was Bungle for
a year, without being seen and thus
avoided being typecast, while Judy took
time off to have a child. Son Guy Ducker
arrived autumn 1972, and would become
a film-maker and movie editor.
The resourceful Leeson also found work
question-setting for TV quiz Mastermind,
devising over 20,000 questions. A keen
photographer, he also took studio portraits
for actors’ directory Spotlight.
TV work in 1977 included Headmaster,
The Foundation and Crown Court but for his
most famous role he would not be seen on
screen at all.
Leeson came to Doctor Who via Derrick
Goodwin, a pal from his Nottingham
Playhouse days. Leeson bumped into
Goodwin, who was filming episodes of
Z Cars, in a pub in Ealing and went for
drinks. After angling for work, Leeson
later received a phone call from his agent,
offering him two voice parts in The Invisible
Enemy, playing both the Swarm and a
robot dog. Leeson explained to Doctor Who
Magazine’s Matt Adams in 2015 how he
saw the character: “I had always envisaged
K9 as an updated version of the commedia
dell‘arte model of the
loyal but wily servant who
knows more than his
errant master.”
Producer Graham
Williams provided one key
steer, as Leeson recalled
to Philip Newman of 4 r
Doctor Who Magazine in 1995: “Graham eS
had this idea that he wanted this amazing ’
computer, which could bat out all sorts of
information in a nanosecond, to have a
little voice that sounded as if it came out
of an elliptical speaker in a Woolworths
transistor radio!”
He provided K9’s voice live into studio
recordings, watching relayed monitor
pictures off set. He used a clipped
phrasing, with his voice treated by a
ring modulator device, although the
modulation lessened as time went on. The
actor was even more involved at rehearsals,
"scurrying round on all fours to take K9’s
DOCTOR WHO | THE COMPLETE HISTORY a
Above:
John Leeson
in The Spanish
Farmin 1968,
Right:
Guest starring
as Toisein
the Blake's 7
episode Gambit
in1979,
place. This helped bring the character to
life and created a rapport with co-star Tom
Baker, who loathed K9 but was very fond
of Leeson.
Leeson summed up K9’s appeal in
2015: “He was an equivalent of a cuddly
toy that is strange and remote and
unpredictable - which kids love, so
I assumed that he was kept on simply
to draw in a younger audience.”
Soon feeling he had done all he could
with the part, Leeson left after the 1978/9
series, concerned that his face being off the
screen made it seem he was out of work.
This was not before he played the more
visible Dugeen in The Power of Kroll [1978/9
- see Volume 30], a role taken as part of his
K9 contract.
r SS ee
A busy ‘gap year’ saw him play Toise in
Blake’s 7 episode Gambit (1979) (he had
briefly appeared in earlier Blake’s 7 episode
Mission to Destiny in 1978) and provide the
voices of Jigg, Pterry the Pterodactyl and
Biggum the giant in children’s puzzle show
Jigsaw (1979). Other TV appearances came
in sitcom Rings on Their Fingers (1979) and
costume drama Prince Regent (1979). There
was a film role in Tarka the Otter (1979)
and stage play See How They Run (1979/80,
Taunton Brewhouse).
Replaced by David Brierley as the voice
of K9 for the 1979/80 series, Leeson was
invited to return for the 1980/81 series,
with the proviso that the character would
now be written out. Leeson’s K9 returned
in The Leisure Hive [1980 - see Volume 32]
before departing in Warriors’ Gate [1981
- see Volume 33]. K9’s celebrity saw a
number of promotional TV appearances,
voiced by Leeson, including Blue Peter
(1977), The Generation Game (1981) and
Pebble Mill at One (1981).
Despite being written out of Doctor Who,
K9 quickly returned to screens in pilot-
cum-Christmas-special K9 and Company:
A Girl’s Best Friend (1981) but despite good
ratings, no series was forthcoming.
A further K9 cameo came in The Five
Doctors |1983 - see Volume 37]. Leeson was
even roped into PA announcer duties at
1983’s massive Longleat Doctor Who event.
Leeson provided one other voice to the
series, playing the Dalek battle computer
in Remembrance of the Daleks {1988 - see
Volume 44].
Other TV work in the 1980s included
comedies Sorry! (1981), Whoops Apocalypse
(1988) and “Allo ‘Allo (1989), schools
programme Up and Down the Hill (1982),
game show The Great Egg Race (1985),
and dramas The Barretts of Wimpole Street
(1982), The Brief (1984), Wilde biopic Oscar
(1985), Tucker’s Luck (1985) and Shadow of
the Noose (1989). He was part of the team
of improvising pranksters duping the
public in stunts on both Game For a Laugh
(1981-5) and Beadle’s About (1986-96). He
also became a Channel Four continuity
announcer for a decade from 1987.
More recent roles have included The Bill
(1993), Minder (1994), Bugs (1995), Vanity
Fair (1998), Longitude (2000), Doctors (2001)
and ChuckleVision (2007).
He branched out into writing,
collaborating with Anthony Marriott
on stage comedies Under the Bench and
Nipped in the Bud and drama What'll the
Neighbours Say?
Thinking by the mid-80s
that K9 was a thing of the past,
Leeson soon found himself
reprising K9 for both schools
programme Search Out Science
(1990) and Doctor Who 30th
anniversary Children in Need
sketch Dimensions in Time (1993).
Elsewhere in the worlds of Doctor
Who, Leeson also appeared as a DJ
in independent video production Downtime
(1995) and as the Prosecutor in charity
stage production The Trial of Davros (2005S).
K9 finally returned to the revived series
in School Reunion [2006 - see Volume 52}
and cameo’d in The Stolen Earth/Journey’s
End [2008 - see Volume 60].
te ee DOCTOR WH
JOHN"
LEESON
TWEAKING THE TAIL
An Antobirprapy
Profile
Left:
Leeson
appeared in
person in The
Power of Kroll
in 1978/9
K9 also featured regularly in The Sarah
Jane Adventures (2007-10), although his
appearances were limited since another
K9 show, outside of Doctor Who canon,
was also in the planning stages. Children’s
series K9 was made in Australia in 2010.
Utilising a new CGI K9, Leeson used a
slightly modified electronic treatment
and performance. For all these post-2005
credits, Leeson’s contributions were dubbed
in post-production.
Leeson’s K9 guested on Blue Peter (2006),
The Weakest Link (2007), Pointless Celebrities
(2013) and Stargazing Live (2013/14). He
also cameo’d in 50th anniversary comedy
The Five(ish) Doctors Reboot (2013).
K9 appearances in the audio medium
began with two BBV plays alongside ‘the
Mistress’ (Lalla Ward) entitled Adventures in
a Pocket Universe (1999) and he also featured
in an Eighth Doctor webcast version of
Shada (2003). His first Big Finish audio
was Zagreus (2003) and since then Leeson/
K9 have featured in the Gallifrey series
(2004-6, 2011, 2013) and a run of Fourth
Doctor adventures since 2013. He also
contributed to CD readings of the 1980s
Adventures of K9 books (2013).
' Leeson has developed a second
career as a food writer and
educator. He is an accredited
lecturer for The Wine Education
Service, speaking at corporate
events and on cruise liners. His
third career was as a magistrate,
having served as a Justice of the
} Peace for 25 years since 1990.
Leeson twice stood unsuccessfully
for election to Ealing Council, standing
for the Liberal Democrats in the Perivale
constituency in 2002 and 2010.
His autobiography The Flight of the
Budgerigar (2011, Hirst Publishing) was
revised and republished as Tweaking the Tail
(2013, Fantom Films). Mf
Left:
Leeson's
autobiography,
published
in 2013,
DOCTOR WHO | THE COMPLETE HISTORY as
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IMAGE OF
THE FENDARL
> STORY 94
Arriving at Fetch Priory in the English
countryside, the Doctor and Leela discover
that dark forces are gathering. Attempts to
unlock the secrets of a SRull that predates the
birth of man release the Fendahl, an ancient
evil that could destroy the world.
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n The Talons of Weng-Chiang [1977
- see Volume 26] the Doctor
promised Leela that he’d teach
her a bit about her ancestors.
Perhaps this is why the stories
from the 1977/8 series that are
covered in this volume show such great
interest in our own solar system. In quick
succession, The Invisible Enemy took us to
Saturn’s moon Titan; Image of the Fendahl
revealed that there was once a planet
between Mars and Jupiter; and The Sun
Makers took us into the future where the
downtrodden human race have ended up
at the edge of the solar system on Pluto.
For the most part, however, Image of the
Fendahl is set on late twentieth-century
Earth. It’s a spooky tale that centres on
what seems to be a 12-million-year-old
human skull. The skull eventually turns
scientist Thea Ransome into the Fendahl
Core, and she turns others into Fendahleen
- giant, writhing, snake-like creatures that
feed on the life force of others. The Doctor
describes the Fendahl as “death itself”.
The Fendahl originated on a missing
planet beyond Mars. It posed such a
threat that the Doctor’s own people
destroyed the planet and set up a time
loop that concealed any sign of the planet’s
existence. When the Time Lords were first
introduced in The War Games [1969 - see
Volume 14] we discovered that this kind of
intervention was a terrible crime in their
society. They did concede, however, that
there might be some cases were action was
needed. In a cynical move, they then used
the Doctor to do their dirty work - most
ly when they plotted to erase the
in Genesis of the Daleks
| [1975 - see Volume 23]. In State of Decay
i [
1980 - see Volume 33] - a story originally
planned for the 1977/8 series - the Doctor
describes how the Time Lords thought
they'd annihilated the Great Vampire. So
the action they took against the Fendahl
wasnt totally out of character. The Trial
of a Time Lord [1986 - see Volume 42]
expands on the Time Lords’ interest in our
solar system. Not only did they attempt to
remove any trace of the Fendahl’s planet,
but to protect their own secrets they
would eventually move Earth and its entire
constellation billions of miles across space.
Image of the Fendahl could easily stand
on its own as a gripping horror story,
but it also contributes to the series’
broader mythology. &
Left:
The Time Lords
frown upon
interfering in
the affairs of
other worlds.
DOCTOR WHO | THE COMPLETE HISTORY ©
IMAGE OF THE FENDAHL 9» sr 4
PART ONE
namanor house, three scientists,
Adam Colby, Thea Ransome and
Max Stael, discuss a mysterious skull
that was buried eight million years before
the human race existed.
Outside, night has fallen. A hiker walks
through the woods.
Max meets Doctor Fendelman in his
laboratory and together they begin
atest. In the geology room, the skull
begins to glow. Thea falls under its spell...
and outside, the hiker is attacked by a
slithering monstrosity. [1]
In the TARDIS, the Doctor is busy
repairing K9. The control room suddenly
lurches as the ship is dragged towards a
hole in time created by a time scanner.
The Doctor traces the source of the
scanner to Earth; he has to stop it being
used or the planet will be destroyed.
The next morning, Adam discovers the
body of the hiker. Fendelman dissuades
DOCTOR WHO | THE COMPLETE HISTORY
him from calling the police - they don’t
need the publicity. [2]
The TARDIS lands and the Doctor and
Leela are greeted by cows in a field. [3]
Max tells Fendelman the results of
the post-mortem on the hiker. He can’t
identify the cause of death but the body
is decomposing rapidly.
Leela accosts Ted Moss, a man employed
by the council to cut the verges. [4] He tells
the Doctor about “strangers” at the Priory.
Mitchell, the security team leader, tries
to prevent old Martha Tyler, the cook,
from coming into the Priory. [5] He
informs Adam and Thea that nobody
can enter or leave without Fendelman’s
authorisation. Adam enters Fendelman’s
lab and is surprised to see it is packed
with advanced computers.
As night falls, the Doctor and Leela
are separated in the woods. Fendelman
activates the time scanner and a slithering
entity advances towards the paralysed
Doctor. Leela approaches a cottage and
is fired at with a shotgun... [6]
PART TWO
eela ducks to avoid the shot and
grabs the gun from its owner, Ted
Moss. It turns out she has found her
way to Martha’s cottage. But then Leela is
disarmed by Martha’s grandson Jack. [1]
The Doctor wills his legs to move and
escapes the slithering monstrosity.
Adam discovers Thea in Fendelman’s
laboratory in a trance-like state. Hearing
a scream, Adam rouses Thea from her
reverie and they run to the kitchen,
where they find Mitchell lying dead.
Thea collapses. The Doctor appears
and warns Adam not to touch Thea, as
some embryonic Fendahleen manifest
on her body before fading away. [2]
Fendelman and Max arrive with some
security guards and lock the Doctor in
a storeroom.
Leela elbows Ted in the ribs and he
leaves. Jack thinks Ted is a nasty piece of
work and involved in “the old religion”.
The Doctor is surprised when the
storeroom door swings open.
Adam tries calling the police but finds
the line has been disconnected. He tells
Fendelman he thinks he is mad. “In that
case, you are hardly behaving in a manner
conducive to your own safety,’ Fendelman
replies. He explains that he believes the
skull is extraterrestrial in origin, the alien
ancestor of the human race. [3]
Martha returns to her cottage in a state
of shock. She tells Leela and Jack she saw
something in her mind that was “hungry
for my soul”. [4]
Ted sneaks into the Priory and confirms
to Max that the coven is prepared.
Fendelman takes Adam to his laboratory
and shows him an x-ray of the skull, which
contains a pentagram, which he believes is
storing a vast amount of energy. [5]
Max overpowers Thea, calling her “the
chosen one”.
The Doctor enters the geology room
and places his hand on the skull - and is
paralysed in agony! [6]
DOCTOR WHO | THE COMPLETE HISTORY
87
IMAGE OF THE FENDAHL =» sr x
PART THREE
eela has entered the Priory and saves
the Doctor by kicking his chair out
from under him. The Doctor realises
the skull is trying to recreate itself. It is
the Fendahl, which “eats life itself”. [1]
A chapel has been prepared in the cellar
beneath the Priory. There, Max tells Thea
she is the medium through which the
ancient power is to be focussed, then he
drugs her to send her to sleep. [2]
The Doctor and Leela enter Martha’s
cottage to find the old lady in a trance.
Max enters the laboratory and orders
Fendelman at gunpoint to turn off the
scanner. He is not yet ready, his followers
are not yet here.
The Doctor brings Martha round with
a nonsensical recipe for fruit cake. [3]
Max ties Adam and Fendelman to
pillars in the cellar.
The Doctor and Leela return to the
TARDIS. They travel back in time and
DOCTOR WHO | THE COMPLETE HISTORY
discover that the fifth planet of the solar
system was destroyed and placed in a
time loop by the Time Lords. [4]
Back on Earth, it is sunset again. Max
places the skull on an altar in the cellar
and connects it via a cable to the scanner.
The Doctor realises that the skull is
absorbing the energy released when the
time scanner damages the time fissure.
He sets the TARDIS to return to the
present day.
Ted’s coven gathers in the chapel and
Fendelman becomes hysterical, realising
that his family has been used. “Mankind
has been used!” [5]
Jack and Martha enter the Priory.
They hear a gunshot coming from the
cellar - Max has killed Fendelman! In
the cellar, Thea wakes up, spread-eagled
in a pentagram on the floor.
The Doctor and Leela meet Jack and
Martha in a passageway.
Suddenly they are all frozen to the
spot as a Fendahleen lurches towards
them! [6]
PART FOUR
he Doctor takes Jack’s gun and
fires at the Fendahleen. It retreats
in pain, enabling the four of them
to escape.
In the cellar, Thea transforms into the
Fendahl Core. [1] She turns the members
of the coven into Fendahleen.
The Doctor spots the power cable and
follows it down to the cellar. There, Leela
releases Adam while the Doctor speaks to
Max. It is too late for him - he has looked
into the eyes of the core. The Doctor
hands him a revolver [2] and a gunshot
rings out as he leaves.
Leela and Adam find Jack and
Martha in a passageway. They enter the
laboratory and the Doctor switches off
the scanner, then explains to the others
that the Fendahl is a gestalt, a group
creature. It consists of twelve Fendahleen
and a Core, and as Max killed himself, it
is not yet complete. [3]
Leela and Jack are menaced by the
wraithlike form of the Fendahl Core. Leela
aims the shotgun at it without looking
into its eyes and hits her target. [4]
The Doctor sends Jack and his gran
to their cottage and tells Adam to switch
on the scanner once he and Leela are in
the cellar.
Then, after two minutes, he must
switch it off and run because he will
have three minutes before it sets off a
controlled implosion.
The Doctor and Leela return to the
cellar. While the core is disorientated
by the scanner, the Doctor grabs the
skull and puts it in a radiation box. [5]
Upstairs, Adam switches off the scanner
and runs. The Doctor and Leela flee
through the Priory, running through
a projection of the Core, and shelter
in the woods as the Priory implodes
and vanishes. [6]
Back in the TARDIS, the Doctor
tells Leela he will dump the skull in
a supernova.
DOCTOR WHO | THECOMPLETE HISTORY 83
er,
zg
ae
riter Chris Boucher
was asked by script
editor Robert Holmes
to provide a third story
for Doctor Who in early
1977, on the strength
of his first two serials: The Face of Evil
[1977 - see Volume 26], which introduced
the new companion, Leela, and The Robots
of Death [1977 - see Volume 26]. By now,
Graham Williams had taken over the post
of producer from Philip Hinchcliffe, with
a directive to remove the horror elements
from the show in the wake of complaints
about The Deadly Assassin [1976 - see
Volume 26] where the BBC had admitted
to over-stepping the mark. Consequently
Boucher’s story, Image of the Fendahl, was to
be the only adventure of the 1977/8 series
to uphold the Gothic horror tradition that
Holmes had established over the previous
two years.
Formally commissioned to write
the four-part story on Monday 2 May,
DOCTOR WHO | THE COMPLETE HISTORY
PYE-DT OC duction
y
~ | :
with a delivery deadline of Tuesday 31
May, Boucher delivered his scripts on
Wednesday 4 May (Part One), Tuesday 31
May (Part Two), Wednesday 8 June (Part
Three), and Friday 17 June (Part Four).
Boucher’s script was partially inspired
by a science-fiction story he had read, in
which extraterrestrial life interfered with
the development of humanity, bringing
them up to a high level of sophistication
simply to provide the alien with a means
of escaping from the planet. This formed
the basis for the Fendahl’s purpose.
The eventual script had many parallels
with Quatermass and the Pit, a BBC serial
written by Nigel Kneale in 1958 and
remade as a movie, which Boucher was
particularly fond of, by Hammer Films
in 1967. Both stories concerned not only
a dormant alien intelligence surviving in
the subconscious of mankind through
the millennia, but also began with the
discovery of a human skull far older than
had previously been believed possible.
LARA
Image of the Fendahl was also Boucher’s
attempt to do a ghost story. The writer
had great fun with the names such as Fetch
Wood, Fetch Priory and Fetchborough,
since ‘fetch’ was a supernatural figure in
folklore, often a spectral double of a person
- living or dead. The use of the skull was
a cliché from horror movies, and the
inclusion of rock salt as a weapon against
the Fendahl again came from legend and
superstition. Boucher’s intention was that
the Fendahleen monsters should lurk in
the shadows and never appear fully, as
in the 1963 supernatural horror film The
Haunting, which he found very effective.
to be edited by Robert Holmes, who
had agreed to work with Williams for
an extra six months as the new producer
found his feet on the show. Williams,
who felt that Image of the Fendahl was the
best script of the 1977/8 series, did not
want Holmes to leave, seeing him as the
greatest asset the series had. Holmes,
however, had now held the post for four
years, which was two years longer than he
had intended. Although Hinchcliffe and
Williams had both previously persuaded
him to stay on, he was now keen to return
to freelance writing.
Holmes had been suggested for the job
of script editor on the new science-fiction
series Blake’s 7, but not wanting to move
on to a similar job he suggested Chris
Boucher for the post. Therefore, Boucher
was finishing off his scripts of Image of the
Fendahl while editing Terry Nation’s early
scripts for Blake’s 7 and helping to establish
the format of this new series.
Boucher’s work on Blake’s 7 meant that
the bulk of the rewrites required on Image
of the Fendahl had to be performed by the
I mage of the Fendahl was the final script
new script editor, Anthony Read, who was
trailing Holmes for a couple of months.
Having joined the BBC as a script editor
in 1963, Read had been a senior producer
at the BBC, handling major dramas such
as The Troubleshooters and The Lotus Eaters
before leaving the Corporation to return
to freelance writing in 1973. He was
contacted by Graeme McDonald, the head
of drama serials, who asked him to return
to the BBC. Read indicated that he was
not interested in a staff role as a producer,
but when McDonald said, “That’s a
shame, I was thinking about Doctor Who,”
the writer replied, “Ah well... now that’s
different...” Having always enjoyed Doctor
Who, Read agreed to take on the role of
script editor since Robert Holmes was due
to leave in July. He already knew Graham
Williams who had been script editor on
several of his scripts for Z Cars since 1975;
Williams had also commissioned Read for
a contribution to the abandoned series The
Zodiac Factor in 1976.
Read’s work on the script included
restructuring the opening and closing
TARDIS scenes to include K9, as it had not
been certain if K9 would become a regular
fixture of the series following its initial
appearance in The Invisible Enemy [1977 -
DOCTOR WHO | THE COMPLETE HISTORY a
Pre-production
Below:
The Doctor
fails to notice
that Leela has
anew outfit.
IMAGE OF THE FENDAHL $=» stor
Right:
The Doctor
chews the
fat witha
Fendahleen.
Connections:
Daily bread
® Although no
given via dia
setting of th
script and BBC publicity
stated that it takes place
over 30 and
and is the fir
festival of th
from th
reinforced by Martha
claim in Part
“tis Lammas Eve” Lammas
Day falls on 1 August,
itis customary to bring
to church aloaf made
see page 44]. Holmes left Doctor Who in July
1977, and although both he and Read were
credited on the scripts, only Holmes was
given a credit on the transmitted episodes
- Read taking full control as script editor
with the subsequent serial Underworld
[1978 - see Volume 28]. Read very much
enjoyed working with Holmes who, like
himself, was an ex-journalist.
The director assigned to Image of the
Fendahl was George Spenton-Foster.
Starting off under the name George
Spenton, he had joined the BBC as a call
boy in 1948 and was an experienced BBC
director and producer on programmes
such as Doctor Finlay’s Casebook, Boy Meets
Girl, Thirty-Minute Theatre, Paul Temple, The
Man Outside, Sutherland’s Law and Z Cars.
Williams had worked as a script editor
on Sutherland’s Law and had specifically
selected Spenton-Foster for Image of the
Fendahl as he was aware that Spenton-
Foster had experience of the night filming
that Boucher’s script required. Boucher
had only included this
expensive shooting due to his
inexperience as a writer, but
the production team thought
that it would be appropriate
and so accommodated it.
In the camera scripts, Thea
Ransome was described as
‘in her late twenties, dressed
in a lab coat’, Ted Moss
was ‘a labourer... holding a
bicycle on which are slung a
bill-hook and sickle’, Martha
Tyler was ‘a formidable lady
of advancing years’, Mitchell
was ‘a powerfully built
security man’ and Jack Tyler
was ‘a tall, thick-set, dark
date was
logue for the
e story, the
31 July. This is
Tyler's
Three that
st harves
e year when
e new crop.
‘Lammas is derived
from ‘loaf-mass:
g2 DOCTORWHO | T
young man’. The “TARDIS
Wonderful” material was an
unscripted ad-lib; likewise
HE COMPLETE HISTORY
much of the material at the end of Part
Four with the Doctor referring to K9
as “him” was a late addition. When the
embryo Fendahleen appear in Part Two,
‘two broad, flat ribbons of what appears
to be black silk materialise across, but
not attached to, [Thea’s] body... As they
disappear one of them, shockingly, begins
to move. It humps itself up in the middle
like a large, lethargic, tape worm.
so attarRhlUUtUtt~™
‘The attach Qvahe
he scene in Colby’s lab where Colby
T was persuaded not to call the
police was a late addition, and the
penultimate scene of Max confronting
Thea in Fendelman’s lab was expanded
from the original. Most of the Doctor’s
dialogue to the skull at the end of Part
‘Two was unscripted. In Part Four, the
Fendahleen attacking the Doctor was ‘like
a snake striking... the waving tendrils of
the feeding hole’ created a howl like ‘a
furious sort of quadrophonic keening’.
The transformed Thea was ‘dressed in
shining robes... radiantly beautiful... Her
eyes are opaque black blanks.’ During
the transformation scene, it was noted ‘a
dark, bloated grub-like thing is writhing
sluggishly on the floor’. After the attack
on the Fendahleen in the corridor, it was
noted ‘the skin appears to have burst and
slime has oozed out’.
On Monday 27 June, having read
the scripts for Image of the Fendahl,
Graeme McDonald commented in a
memo to Williams, ‘I find the incident on
Page 13 in Episode 4 where Stael raises
the gun to his mouth unacceptable. May
we discuss?’ The same day, Williams
replied: ‘I agree entirely with the point
you have raised and I believe we have
already found an alternative.
Alan Dobie, Colin Blakely, Alfred Burke,
Michael Gough (who had guest starred in
The Celestial Toymaker [1966 - see Volume
7), Robert Hardy, Alan Badel, William
Lucas and Charles Kay were all considered
for the role of Fendelman. On Monday 27
June, Anthony Bate was cast as Fendelman,
but was no longer available for the
production by Tuesday 12 July when the
role was vacant. Director George Spenton-
Foster cast Denis Lill in the role having
first worked with him on the BBC1 period
drama The Regiment in 1971 prior to their
work together on Survivors.
‘
j
,
Image of the Fendahl was originally
planned, and made, as the fourth story of
the 1977/8 series, entering production a
fortnight after The Sun Makers {1977 - see
page 110] had finished recording in studio.
However, because of problems caused by
the loss of The Vampire Mutations at the
start of the series, the transmission order
was amended and the Earth-bound Image
of the Fendahl would be brought forward
to split up the two futuristic stories, The
Invisible Enemy and The Sun Makers.
Make-up was handled by Pauline Cox;
Amy Roberts designed the costumes while
} Anna Ridley supervised set design. All were
new to the programme. One old hand on
the show was Colin Mapson who handled
the visual effects as he had previously done
on The Green Death [1973 - see Volume 20}
and The Hand of Fear [1976 - see Volume
25]. Dick Mills was assigned to Image of
the Fendahl to create special sounds for the
' ; : It
serial at the BBC Radiophonic Workshop aap:
in July. at Fetch Priory,
DA DIFFERENT HAIRSTYLE
“LEELA SPORTE
oe
E HAIRDRESSER
ee INESON
JT HER HAIR TOO SHORT.
da hl took pl on 16mm
colouffilm from Mas 1
iday 5 August, 1977.
were based
els near bury and
ry. For this new storyJLeela
rted a different cee - with her
air gathered u her head. This was
ause the BBE hairdresser attending
sJameson ad pinta LY cut
¢ 4 41% Wi illiams was
«@
Producti
7
;
—
4
initially unhappy with this look until he
was shown how short Louise’s hair had | \
been trimmed. Costume designer Amy
Roberts also provided Leela with a new
costume, a lighter outfit made of chamois
leather by Vicki Mear, with input from =
Jameson herself. This replaced the original ¥
animal skin that Louise had worn since The qm
Face of Evil which was now worn out. After a
considering having a replica of the old
costume made, Graham Williams instead -_
told Roberts to give Leela a sexier new
DOCTOR WHO | THE COMPLETE HISTORY ©
Pa
IMAGE OF THE FENDAHL =» sors
Connections:
Shakespeare
® At the end of Part Two the
Doctor encounters the
skull, proclaiming “Alas,
poor skull.” This ad-lib from
Tom Baker (one of many
in this story) is a deliberate
Below:
Fendelman
takes control.
parody of the famous
line from Shakespeare's
Hamlet: "Alas, poor Yorick!",
spoken by Hamlet
when holding
the skull of the
king's jester.
look. The costume, which
incorporated armbands and
a belt for Leela’s dagger, was
very cold for the actress to
wear during the night shoots
on the serial, although it
did allow her to wear shorts
under the skirt.
The Doctor’s costume was
also altered for the story.
Tom Baker adopted a long
burgundy coat in place of
the grey one which he had
worn in The Sun Makers, and
with it came a new, wider
17-foot scarf.
In addition to Jameson and
Baker, the other cast members required
on location were Edward Evans, Edward
Arthur, Geoffrey Hinsliff, Graham Simpson
and a few extras as acolytes and a patrol
guard. In the case of Arthur and Hinsliff,
they were required to perform only one
brief scene each; Arthur had arrived with
a cold sore on his face and so George
Spenton-Foster decided to shoot him
mainly in long-shot to hide this fact.
The principal exterior for the story,
Fetch Priory, was the former mansion
residence of rock star Mick Jagger; a
Grade II listed house called Stargroves,
6 DOCTOR WHO | THE COMPLETE HISTORY
5 ee
in Hampshire, not far from Newbury.
The sprawling house and its grounds
had previously been used by the Doctor
Who team as the priory owned by Marcus
Scarman, while filming Pyramids of Mars
[1975 - see Volume 24] in April 1975.
Permission to film Image of the Fendahl at
Stargroves was only granted on Tuesday
26 July, less than a week before filming was
due to start.
Nighitshoots
ilming began on Monday 1 August
at 10.30am with the scene of the
Doctor and Leela meeting Ted Moss
in the lane, followed by Adam walking
Leakey, the Doctor and Leela seeing the
guard at the gates to ‘Fetch Priory’ (mock-
ups erected by the BBC) and finally Jack
seeing Moss and his cohorts arrive at the
priory. A Doberman and a Rottweiler
were supplied by David Goodie to act as
Leakey and the guard dog. A photocall,
featuring Baker and Jameson outside the
priory gates, was also held on this day and
shooting was scheduled to wrap at 4.30pm.
The remainder of the location filming,
from the Tuesday onwards, was mainly
devoted to night shoots with the days
spent preparing for the filming. The scenes
of the Doctor and Leela in the woods,
which ran through the rose garden of the
manor house, were filmed on this night.
Jameson was badly bitten by insects during
the night shoot.For these scenes visual
effects provided some atmospheric mist,
and lighting contributed an eerie green
glow. Unfortunately, many re-takes were
required for these scenes due to the mist
being either too thick or too light. For the
end of Part One, film cameraman Elmer
Cossey used the camera to show the point-
of-view of the unseen Fendahleen closing
in on the Doctor.
Filming was disrupted when
generator being used for lighting caught
fire. At around midnight the crew made
frantic phone calls to the electrics company
in London, who supplied a replacement
generator by 4am allowing the sequence
to be completed before dawn. However,
the estate manager of Stargroves received
a complaint from an angry neighbour
who had been disturbed by the noise from
the vehicles and activity surrounding this
minor disaster. This was passed to the BBC
and ultimately Spenton-Foster wrote a
personal letter of apology to the resident
on Wednesday 10 August.
The second day of night filming, on
Wednesday 3 August, comprised scenes
at the priory including establishing shots
of the building. Graham Simpson also
filmed all his scenes as the hiker on this
evening. These scenes had originally
been scheduled for the previous day’s night
shoot, but because time had been lost
due to the generator fire, they were
rescheduled for the Wednesday. Several
FS
4e 7 ®
?
Production
> ;
other planned shots were never actually
: Adam tries
filmed, presumably also due to the time to convinee
lost on the generator incident. These Thea that
included a shot of the hiker’s body on the Fendelman’s
“flipped his lid’.
ground in front of the priory; two long-
shots of the exterior of the priory; and a
shot of the Doctor and Leela leaving the
priory from the start of Part Three. As with
work in Bristol on The Sun Makers, Baker
wrapped Jameson in the Doctor’s scarf
when she was freezing during
the night location work.
On Thursday 4 August,
the scenes of the Doctor
and Leela with the TARDIS
(which was missing its lamp
housing assembly on the
roof) were filmed in a field
of cows behind the manor
house; this was originally to
have been filmed on Monday
1 August but was rescheduled
for the Thursday. Two further
sequences for Part Three
had been planned, with the
Connections:
Named after...
Colby's dog was named
Leakey by author Chris
Boucher after the eminent
archaeologist LSB Leakey
whose finds in Africa had
proven that mankind had
been on Earth for longer
than expected. It also has
the double meaning of
Suggesting that the dog
may have a weak bladder.
DOCTOR WHO | THECOMPLETE HISTORY 37
IMAGE OF THE FENDAHL 9» sows
Right:
The full-size
Fendahleen
manifests
itself.
Connections:
Doctor and Leela returning to, and then
departing from the TARDIS (intended to
be shot as day for night), but the second
of these was not filmed. A reaction shot of
the Doctor and Leela seeing the burning
priory was also filmed. The last scheduled
sequence was of Leela approaching the
Tylers’ cottage, filmed at the back of
Stargroves’ stable block. Previously utilised
in Pyramids of Mars, these buildings had
been used as Laurence Scarman’s home.
Friday 5 August was reserved for ‘pick-
up’ shots of anything that it had not been
possible to achieve on the preceding days.
<Implosions and explosions
small amount of model filming took
A place for Image of the Fendahl. This
concerned the destruction of the
priory by implosion at the end of Part
Four which had originally been planned
to be filmed on location on Thursday 4
August, but had to be abandoned. For
the model shot, a photographic blow-up
of Stargroves was constructed and gas
jets ignited behind its cut-out windows.
During editing a red filter would be placed
over this footage, which was also reflected
off a rippled sheet of Mirrorlon. The
model, which exploded in slow motion,
was intercut with film of the real house to
achieve the desired effect.
The implosion was then the
Entertaining
® While walking through the
woods, the hiker keeps his
spirits up by whistling The
Entertainer, composed by
Scott Joplin in 1902. The
piece became well-known
as the theme tune to
the 1973 film,
The Sting.
same film run in reverse over
which Dudley Simpson’s
organ score was also played
in reverse. The sound effects
of a thunderstorm were
dubbed over this material.
Rehearsals for the first
studio recording session ran
from Friday 12 August to
Friday 19 August, kicking
off on the first day with a
ss} QOCTORWHO | THE COMPLETE HISTORY
readthrough of the script in Conference
Room 1257 at Television Centre. Chris
Boucher was in attendance at the
readthrough and found it a horrendous
experience. Spenton-Foster had taken
the rest of the team (apart from Boucher
who was busy on Blake’s 7) out for lunch
to get them in a good mood for the
afternoon’s rehearsal. This left Tom Baker
in a particularly playful mood and he
proceeded to ridicule the script in front of
the author, with other members of the cast
following suit. Louise Jameson was glad
to be working on a Boucher script again,
feeling that the writer scripted particularly
well for Leela, as he had created the
character in the first place. Aware of
Boucher’s discomfort with the reading,
Jameson ensured the writer was not too
upset afterwards.
Rehearsals continued for the rest of
the week in room 202 at the BBC’s Acton
rehearsal rooms. The guest cast for Image
of the Fendahl included Wanda Ventham as
Thea Ransome and Scott Fredericks as Max
Stael. Ventham had previously featured as
Jean Rock in The Faceless Ones [1967 - see
Volume 10]; Fredericks had played Boaz in
Day of the Daleks [1972 - see Volume 17].
Joining Geoffrey Hinsliff in supporting
NN NN roctuction
roles were Derek Martin and Daphne
Heard. Derek Martin was a stuntman and
fight arranger on earlier Doctor Who stories
including The Ambassadors of Death [1970 -
see Volume 15], The Mind of Evil [1971 - see
Volume 16], and The Claws of Axos [1971 -
see Volume 16].
The first studio recording session took
place on Saturday 20 and Sunday 21
August, in studio TC6 at Television Centre.
Originally, it had been planned that the
first studio session would take place on
Monday 22 and Tuesday 23 August, but
on Thursday 5 May, this was moved back
a day to 21 and 22 August. Just four days
later, on Monday 9 May, it was moved back
a further day to 20 and 21 August.
The location film work had been
processed by the BBC’s film laboratory so
that it could be played onto the video tape
during the studio recording, allowing for
the whole serial to be edited on video in
post-production. However, as had been the
case with the filmed material for Horror
of Fang Rock [1977 - see page 12], the
processed film was of very poor quality,
even after several different attempts.
Unfortunately, the original negative was
damaged in the final round of processing
and there was no other
choice but to use a print
that was still considered
unsatisfactory, as it would
now be impossible to create
any further prints from
the negative. Williams was
extremely unhappy with this
apparently recurring problem
and wrote a strongly worded
memo on the subject.
On the first studio day,
recording took place from
7.30pm to 10pm and was
devoted to Part One, starting with the two
TARDIS scenes and then recording the rest
of the episode in sequence, including the
opening titles to the remaining episodes
and the closing credits for the entire serial.
The TARDIS featured the K9 prop. The
mechanical dog had its right-hand body
panel removed and a fake circuit board
inserted. Reference was made to the
robot’s creator, Professor Marius, from
The Invisible Enemy. During the scenes
when the TARDIS was dragged off course
towards the hole in time, the camera
was tilted, levelling out again only as the
Doctor brought the ship out of the time
scanner’s effect.
Connections:
Sick dog :
® Regarding the broken
K9 in Part One, Leela
comments that “Professor
arius would not be very
pleased” This is areference
to K9's creator who had
gifted the robot dog to the
Doctor in the preceding
story, The Invisible Enemy
[1977 - see page 44].
: Left:
The skull, nicknamed ‘Eustace’ by Leaienente
Colby, was an internally lit fibreglass prop to see if her
powered via the fixed podium on which ee a
it stood. As Thea’s mind was filled with
the power of the Fendahl, Ventham’s face
was superimposed over the skull, aligning
the actress’ eyes with the prop’s blank eye
sockets. At the end of Part Two when the
Doctor offers Eustace a jelly baby, he in
fact offers a dolly mixture.
To make her transformation into the
golden Fendahl Core, in the latter part
of the serial, even more effective, Wanda
Ventham’s blonde hair was hidden beneath
a dark wig for her role as Thea Ransome...
DOCTOR WHO | THE COMPLETE HISTORY oe
IMAGE OF THE FENDAHL =» stor
100°
Right:
A heated
discussion
breaks out
over whose
turnitis to do
the shopping.
having been told that apparently blondes
could not be scientists! Graham Williams
also felt that a dark-haired female scientist
would be taken more seriously than a
blonde one. Ventham was also directed
that Thea should not smile, making a
contrast with the Core’s later rictus of
triumph over Stael.
Fendelman’s secret laboratory, where
the time scanner was housed, included
a variety of stock computer panels with
sequenced flashing lights. There were also
four monochrome monitors, onto which
operating data was fed. The main imaging
screen was a large green oscilloscope
onto which suitably strange patterns were
generated. In Part Two, when Fendelman
shows an x-ray of Eustace to Colby, a
standard x-ray of a skull, seen from above,
was displayed with the pentagram motif of
the neuro-relay added by hand.
Bae SANS Se
T he shots of Ted Moss holding his
shotgun were in fact performed
by armourer Alf Trustrum who,
to the surprise and annoyance of
Williams, on Thursday 22 September,
requested a payment for an in-vision
staff contribution; this fee was agreed on
Tuesday 11 October.
On Sunday 21 August, recording was
scheduled from 3.30pm to 4.30pm and
then from 7.30pm to 10pm. This was
generally devoted to Part Two, which was
recorded largely in sequence, apart from
the scenes of Max confronting Thea. The
short scene of Leela in the priory kitchen
was also recorded for Part Three at the end
of the evening. For the kitchen scene where
Thea collapsed, a golden soft focus halo
was superimposed over Ventham’s prone
form using Colour Separation Overlay
(CSO). Added to this montage, again by
DOCTOR WHO | THE COMPLETE HISTORY
means of CSO, were three puppet embryo
Fendahleen constructed from foam rubber
covered in latex. These were moving figures
with a rocking mechanism and spitting
tendrils, operated by air from an oxygen
cylinder, emerging from their mouths. The
puppets were operated by visual effects
assistants Chris Lawson, Steve Lucas
and Dave Bezkorowajny. Roll-back-and-
mix was used to show the Fendahleen’s
materialisation on Thea’s body.
For his scenes in the studio for Part Two,
Edward Evans sported a different duffle
coat from the one worn in the daytime
location material, and for the scene
immediately following, set at the priory.
Hired for the cottage sequences was an
owl, which featured briefly - presumably as
Martha Tyler’s ‘familiar’. The cottage set was
also decked out with other items indicating
her involvement with the ‘old religion’.
Rehearsals for the second and final
recording block took place at Acton
from Monday 22 August to Saturday
3 September. The three-day recording
session in TC6 immediately followed from
Sunday 4 September.
On the first studio day, recording ran
from 8pm to 10pm and began with the
remaining scenes from Part Two before
moving on to all the scenes for Part Three
with the exception of the material set
in the large cellar after the scene where
Fendelman realises that the security guards
will take their orders from Stael.
Only one full-sized Fendahleen was
constructed by Colin Mapson’s team, using
a bamboo frame covered with foam and
latex. The ribbing on the Fendahleen was a
late addition requested by the production
office to make the creatures appear less
phallic. The creature was operated from
inside by visual effects assistant Peter
Wragg and had air cylinders to move the
polystyrene and latex mouth tendrils.
Because of its size and construction, the
full-size Fendahleen was very cumbersome
in the studio. The tail of the monster was
seen to emit a green slime in a close-up
at the end of Part Three, by dragging the
prop over slime already placed on the
floor. At the beginning of Part Four, as the
Doctor advanced on the Fendahleen, the
creature’s telepathic influence was shown
as a green spotlight bathing his features,
which abruptly vanished as he shot the
creature. At the end of the serial, the priory
corridor was rigged to collapse, shortly
Production
after the sequence of the Doctor and Leela
walking directly through a superimposed
image of the Fendahl Core.
In the TARDIS control room scene
recorded on this day, the TARDIS data
banks were represented by three clear
Perspex panels carried by the Doctor, while
the time-looped fifth planet was given a
green vortex effect placed onto the ship’s
scanner via CSO.
On Monday 5 September, recording was
scheduled from 2.30pm to 5.30pm, after
which there was a photocall, and then
from 7.30pm to 10pm. This recording
was devoted to the scenes in the large
cellar from Part Three, requiring extras
as members of Stael’s coven, and then the
scenes for Part Four set in the corridor and
Fendelman’s lab through to the Doctor
telling Colby about his theory explaining
the dark side of mankind. This completed
all the scenes with Wanda Ventham as Thea
before she became the Fendahl Core.
The large cellar set incorporated a raised
sacrificial area cornered by four pillars, a
triangular altar, and an entrance stairway
at the rear left-hand side of the set. On the
raised dais, a pentagram was marked out
with a material sensitive to Front Axial
Projection - a method by which light is
reflected off a mirror placed
before a camera lens to make
certain objects seen by the
camera appear to glow. To get
the full impression of size for
this set, a high level camera
was used to look down on the
pentagram area.
In the final TARDIS scene
of Part Four, Louise Jameson
wore her original Leela
costume for the last time.
She also regained her original
hairstyle, Jameson’s hair
having now grown back to its
Connections:
Where is he?
® At the start of Part
Three, Leela’s line “Oh
Xoanon...” as she searches
for the Doctor was
unscripted; this was a
reference to the computer
whom her tribe, the
Sevateem, had worshipped
as a deity in The Face
of Evil [1977 - see
Volume 26].
DOCTOR WHO | THE COMPLETE HISTORY 101
IMAGE OF THE FENDAHL =» stor
full length. The story concluded with K9
nodding his head, over which a squeaking
sound was dubbed on. K9’s complete lack
of dialogue for the story meant that John
Leeson did not have to be hired to provide
his voice for Image of the Fendahl.
The final recording session, on Tuesday
6 September, was scheduled to run from
7.30pm to 10pm, and focused on all the
scenes remaining for Part Four.
The transformation of Thea as she lay
inside the pentagram was achieved by a
video wipe across the screen between two
different shots of Wanda Ventham. As the
Core, Ventham had to endure extensive
make-up; her face and hands were painted
gold and she wore a large, ornate wig.
The Fendahl’s hypnotic eyes were painted
in black and white over the actress’ own
eyelids, requiring her to play the part
Below: : ; :
TheTylersgeta With both eyes closed; this was something
surprise visito, which she found very disorientating. As
PRODUCTION (Field/Cottage)
Mon 1 Aug 77 Stargroves Manor, East Fri5 Aug 77 Stargroves Manor
End, Hants (Lane/Wood/Fetch Priory/ (standby day)
Priory Gateway) Sat 20 Aug 77 Television Centre
Tue 2 Aug 77 Stargroves Manor (Wood) Studio 6: Part One
Wed 3 Aug 77 Stargroves Manor Sun 21 Aug 77 Television Centre and Fendelman’s Lab for Part Four
(Fetch Priory) Studio 6: Part Two except final scenes; Tue 6 Sep 77 Television Centre Studio 6:
Thu 4 Aug 77 Stargroves Manor Priory Kitchen for Part Three
102, DOCTOR WHO | THE COMPLETE HISTORY
¥ eee a4
the Core rose, by means of levitation,
Ventham was raised from the ground to
an upright position by lying on a solid
metal plate attached to a compressed air
lever. A photocall was held during camera
rehearsals, with pictures being taken
of Ventham.
hen Ted Moss was turned into
Wi: Fendahleen, a cross fade was
used between Edward Evans,
and one of the puppet creatures. The
small Fendahleen props were CSOed
onto the altar in front of the glowing
skull. A different Eustace prop featured
in Part Four, this one coated in Scotchlite
paint, which was sensitive to Front Axial
Projection. Consequently it could continue
to glow when lifted up off its altar by the
Doctor. The glass flasks of salt hurled
by the Doctor and Leela were made of
plastic for safety reasons. Their off-screen
breaking achieved by sound effects, was
dubbed on later. Leela’s kissing of Colby
was an unscripted addition worked out by
Louise Jameson and Edward Arthur.
There was an overrun of three
minutes due to the attempts to achieve
some very difficult composite effects
of the Fendahl Core moving around the
priory which, through lack of time during
the day, the crew was unable to rehearse
adequately.
Sun 4 Sep 77 Television Centre
Studio 6: Part Two final scenes;
Part Three
Mon5 Sep 77 Television Centre Studio 6:
Large Cellar for Part Three; Early Corridor
Large Cellar and later scenes for Part Four
ALARA ER
Post-pro
s originally scripted, Part One
was intended to begin with
the hiker walking through the
woods, but during editing this
was dropped as the opening
scene. A second scene, of the
hiker walking along the lane, had been
filmed but was cut entirely; the original
opening scene moved back to take its place.
For the scene in the field, there was extra
dialogue as the Doctor explained to Leela
that cows were harmless; “They make milk.
MOO!” “Ts that good?” asked Leela, to
which the Doctor replied, “If you like milk.
1 like milk.” The end of the film sequence
in Part One where the Doctor and Leela
met Ted Moss was cut. This would have
shown that after the Doctor and Leela had
moved off, Moss would have brought out
a metal charm with a pentagram motif
from beneath his shirt and pressed it to
his forehead. This is why Moss nervously
fingered his shirt collar when the Doctor
mentions ghosts in the scene as transmitted.
A cut was made to the end of Part One,
trimming a short sequence where the
Doctor heard a noise in the woods and,
finding he cannot move, said “paralysis?”
In the edited Part Two, the sequence of
scenes in the opening reprise differed from
the end of Part One, with the studio shot
of Leela entering the cottage being absent.
The Doctor getting his legs going again was
trimmed. Also, a seven-second shot of the
Doctor entering the house was cut, along
with a close-up shot of the blister on the
back of Mitchell’s neck.
Part Three lost the opening of the scene
where Stael injected Thea which showed
Stael coming down the cellar steps; the
Production | Post-production
end of the scene where the Doctor began
his recipe recitation; a film sequence of
the Doctor and Leela leaving the Priory to
return to the TARDIS and then entering
the police box which dematerialised; parts
of the coven arriving at the priory in their
van, and the opening shots of Ted Moss
descending the steps into the cellar. Part
Four lost parts of the Doctor and Leela in
the woods, and Leela calling for the Doctor
on emerging from the priory. After editing,
Part Four ran short. The final instalment
included 57 feet of 35mm colour stock
footage purchased from EMI Elstree Ltd; a
spiral effect, superimposed over the Fendahl
Core just before the priory imploded.
Second edits of the first three episodes
were shown and a first edit of Part Four.
Dudley Simpson and six musicians
recorded over six minutes of music for Parts
One and Two at Lime Grove Television
Music Studios on Wednesday 21 September,
and a further 18 minutes for Parts Three
and Four on Monday 3 October. The
serial was dubbed on Saturday 15, Sunday
16, Friday 21 and Saturday 22 October.
On Friday 28 October, Graham Williams
extended George Spenton-Foster’s contract
by four weeks to Friday 4 November.
DOCTOR WHO | THE COMPLETE HISTORY 103,
Above:
The Doctor
takes the
TARDIS ona
quick trip and
discovers the
fate of the fifth
planet of the
solar system,
\
a
t+
OF TEE
a
wo. oe
Ww
ig
ier
»® The Drama Early Warning Synopsis
a
for the serial was issued on Tuesday
16 August. This was a corrected
version of the earlier promotional
material document which listed the
writer as Terrance Dicks. The selling
points for the story were itemised as
guest star Wanda Ventham and her
transformation from Thea Ransome
into the Core of the Fendahl. For some
years, it was believed that a working
title for the serial was The Island of
Fandor as announced in the fanzine
TARDIS, but this was a case of editor
Gordon Blows having misheard the
title over the phone.
» Boffin Wanda announced The Sunday
People on 21 August where it was noted
that ‘Strange things happen to dishy
Wanda Ventham when she plays a
boffin in a four-part Dr Who story in
November. She becomes a victim of
a skull with evil powers.’ The actress
noted that this was a good contrast
to an appearance which she had just
106 DOCTOR WHO | THE COMPLETE HISTORY
D For Image of the Fendahl, Radio Times
recorded for the Thames sitcom The
Upchat Line.
broke with tradition, and on the
programme listing credited the lead
character as ‘The Doctor’ for the first ~~
time, although the on-screen credits
for the episode still read ‘Doctor Who’.
® Image of the Fendahl was previewed
as a 20-second trailer the week before
it began, directly after the credits for
The Invisible Enemy Part Four. This
teaser comprised scenes from Part
One, notably Thea collapsing beside
the glowing skull, as the continuity
announcer told viewers that the
new adventure would be set on
present-day Earth.
® Also to promote the serial, on the day
that Part One was transmitted, various
national papers carried the publicity
shots of the Doctor and Leela at the
gates of Fetch Priory.
LARA
Publicity | Broadcast
Broadcast
® The third episode was reviewed by
17-year-old Elizabeth Page of New
Eltham in the Evening News for which
she won the £10 prize in the Be a TV
critic feature; she decreed that the
instalment was ‘just as pleasantly
terrifying as it always was’ and added
that ‘Dr Who has a kind of ageless
charm, and though to mock the
programme is easy, there is something
very compelling about its old-
fashioned plots.’
® The story received very good ratings,
which rose throughout its run to over
nine million for the final instalment.
In opposition to Image of the Fendahl,
most ITV regions screened Man
from Atlantis.
® The Doctor’s activities with jelly babies
that were clearly dolly mixtures were
the subject of an exposé on the BBC’s
viewers’ comment programme Points
of View in December 1977. After an
extract from Part Two of Image of the
Fendahl, showing the Doctor offering
Eustace a sweet, Graham Williams
explained that the Doctor was offering
one thing while dispensing something
else purely to confuse people!
ORIGINAL TRANSMISSION
EPISODE DATE TIME
Part One Saturday 29 October 1977
Saturday 5 November 1977
Part Two
PartThree Saturdayl2November1977 6.05pm-6.30pm BBCI 24'22"
Part Four
6.10pm-6.35pm BBC1 24'38"
6.10pm-6.35pm = BBC1 2444" : 75
» Image of the Fendahl was broadcast in
many different territories, including:
the United States, Australia,
Rhodesia and Honduras. The story
was marketed to North America by
Time Life in 1978, for which it had
additional narration by Howard
Da Silva. In the 1980s, it was also
syndicated as a TV movie. In Australia,
the story was rated ‘G’ after two
camera shots relating to Fendelman’s
shooting by Stael in Part Three had
been removed.
® The serial was shown on UK Gold from
February 1994 in episodic and omnibus
format. BBC Prime screened the story
in December 1998/January 1999.
Left:
The Doctor
confronts the
Fendahl Core.
RATING(CHARTPOS) — APPRECIATION INDEX
6.7M (70th)
CHANNEL DURATION
Saturday19November1977 610pm-6.35pm = BBC1 20'32" 61
DOCTOR WHO | THE COMPLETE HISTORY 105,
IMAGE OF THE FENDAHL $=» stor x
Merchandise
Right: n July 1979, Terrance Dicks
The video Beers Boucher’
Feat by novelise ris Boucher’s story
Andrew as Doctor Who and the Image of
Skilleter and the Fendahl, with simultaneous
Re evecite. publication in hardback from
Hickman. WH Allen and in paperback from
Target. Throughout the book, Dicks spells
Fendelman’s name as ‘Fendleman’. The
prolific author would later cite the
Doctor Who novelisations. Latterly
the book, which sported a cover
painting by John Geary, was
bered book 34 in the Doctor
In 1984, the book Children and
| Television by Cedric Cullingford,
_ included various comments from
© children interviewed in 1979
which showed the effectiveness
of various images in Image of the
Fendahl. The youngsters could
fae recall the use of the skull and
also Thea’s face merging with
Above: it as elements that had scared them even
ior pet though they could not recall any of the
with a cover plot itself.
by John Geary. The sound effect of ‘Fendahl Shuffle and
Slobber’ was included on the CD Doctor
Who: 30 Years at the Radiophonic Workshop
issued in July 1993 by BBC Enterprises.
earniaht: Jondar International issued a phonecard
The for the serial in 1997, and Harlequin
Underground Miniatures produced a Fendahleen figure
Toys’ collectors’ in 1999.
set.
Image of the Fendahl was released on VHS
by BBC Enterprises in March 1993 with an
artwork cover from Andrew Skilleter. The
DVD release followed in April 2009. The
extras on the disc were:
106 = =QOCTOR WHO | THE COMPLETE HISTORY
YC XNNN
3» Commentary with Tom
Baker, Louise Jameson,
Wanda Ventham and
Edward Arthur
» After Image - making-of
documentary featuring
Anthony Read, Louise
Jameson, Edward Arthur,
Wanda Ventham,
Colin Mapson
» Deleted & Extended
Scenes
® Trailer
» Photo gallery
» Easter Egg - A Very Leela
Christmas
» Radio Times Listings in
Adobe PDF format
» Subtitle production
notes
An Image of the Fendahl
collectors’ set was issued by Underground
Toys in December 2011. The set included:
a Leela action figure with knife, a large
Fendahleen, a small Fendahleen and a skull
with plinth.
Issue 70 of GE Fabbri’s Doctor Who —
DVD Files covered the serial in
September 2011. Mf
The TOM BAKER Years 1974.81
Cast and credits
MOM BAKO ca tersaiere ci ccssencectaiins Doctor Who!
with
LOUISE JAMESON eis Leela
Wanda VenthaM............cccs Thea Ransome
Daphne H@alG .iciiiiisnin Martha Tyler
Denisllinncracnsannooae, Dr Fendelman [1-3
Edward EVaMs wiiicscscssnssssssssn Ted Moss
Scott Fredericks v0... Maximillian Stae
Edward ArthurP uu... Adam Colby
Derek Martin......... David Mitchell [1-2
Geoffrey Hinsliff..............ccuus Jack Tyler [2-4
Graham SIMPSON .........csssssseeen Hiker [1
‘Credited as The Doctor in Radio Times
John Emms, Geoffrey Witherick, David
Elliott, Roy Peasce........cccsssn Security Guards
Alf Trustrum.icsns Double for Ted Moss
Ray Knight, Douglas Stark, Jay McGrath....Men
George Miller, Martin Grant, Joe Phillips,
Mark Holmes, David J] Grahame, John
Delaney, Valerio Martinez, Geoffrey
Pennells, Leela Hoffman............ Coven Members
i
Pe.
Peter WIG... niin Fendahleen Operator
Wanda Ventham Fendahl Core
Written by Chris Boucher
Incidental Music by Dudley Simpson
Production Assistant: Prue Saenger
Production Unit Manager: John Nathan- Turner
Lighting: Jim Purdie
S
ound: Alan Fogg
Cameraman: Elmer Cossey
Recordist: Bill Meekums
isual Effects Designer: Colin Mapson
pecial Sound: Dick Mills
ostume Designer: Amy Roberts
Make-Up Artist: Pauline Cox
Script Editor: Robert Holmes
[uncredited: Anthony Read]
Designer: Anna Ridley
Producer: Graham Williams
Director: George Spenton-Foster
BBC © 1977
Fil
Fil
V
S
C
The cast and
crew of Image
of the Fendahl.
Sy \i3
‘ y
OO
Right:
Chris Boucher
script edited
Blake's 7 and
created
Star Cops.
Profil
CHRIS BOUCHER
Writer
orn Christopher F Boucher in
1943, in the Essex coastal town
of Maldon, he was an only child
and listened keenly to BBC
radio comedy and drama such
as science-fiction series Journey
Into Space (1953-8) and read US science-
fiction pulp magazines, including Amazing
Stories. Raised in the Catholic faith, he was a
choirboy but in later life would vehemently
renounce religion.
After leaving school, Boucher spent a year
in Australia and on returning to England
briefly worked in a ball bearing factory
before his father, who worked at Calor
Gas, found his son a management trainee
post there. He studied A levels at night
school before Calor put him through a BA
Economics course at Essex University.
He had married wife Lynda (née Macklin)
in Durham in summer 1966 and in 1969
she gave up work to have their first son.
tos) =QOCTOR WHO | THE COMPLETE HISTORY
Looking for extra income, Boucher began
writing for television.
Quickie gags he submitted to Saturday
late night review Braden’s Week earned a
then-impressive £5 each. Eventually he won
a weekly £25 contract for its last series in
1971/2. Other early comedy credits came
on The Saturday Crowd (1969), Dave Allen
at Large (1971-6), holiday camp sitcom
Romany Jones (1973/4) and transmitted pilot
Slater’s Day (1974).
His agent John Hayes suggested Boucher
expand his oeuvre with something like
Doctor Who and he submitted a sample
script for a story called The Silent Scream in
early 1975. Robert Holmes was impressed
enough to commission a script from
Boucher that August, which became
The Face of Evil |1977 - see Volume 26].
Advised to incorporate a prospective new
companion into his storyline, Boucher
created Leela, inspired by The Avengers’
Emma Peel and the Palestinian terrorist
Leila Khaled. Holmes asked Boucher to
write the following serial The Robots of Death
[1977 - see Volume 26] and again include
Leela. The two writers subsequently came
into legal conflict over Boucher’s rights
claims to Leela, the BBC later awarding him
a one-off payment. Image of the Fendahl was
his third and final Doctor Who. A mooted
4
Ny
os
t
&
a
i
.
:
>
LAALREET OEE eee ee
fourth script was scotched
when Boucher won a script
editor’s job elsewhere in
the BBC.
Robert Holmes had
passed up an offer to
become script editor on
Terry Nation’s new science-
fiction adventure series
Blake’s 7 (1978-81), and
suggested Boucher in his place. Boucher
immediately resigned from Calor and
remained with Blake’s 7 for its entire
four series. Nation’s influence waned
after the show’s first series leaving
Boucher, and producer David Maloney,
as chief creative forces.
Boucher himself penned nine episodes,
including the series’ shocking finalé, in
which all of the regular cast appeared to
be massacred. This became more fatal than
Boucher intended when the series was not
renewed ~ becoming a bloody end rather
than a thrilling cliffhanger.
Moving into crime drama for a spell,
Boucher penned BBC radio murder mystery
serial A Walk in the Dark (1981). He script
edited a batch of latter second series
episodes of Robert Banks Stewart’s detective
series Shoestring (1980), also supplying
a Christmas episode script.
wOCTOR
WhO’ scheduled on BBC2 in
He then script edited the third series Left:
of police drama Juliet Bravo (1982), also ee
: ; 3 novels by Chris
supplying one script, then the third and Bouchen
fourth series of detective show Bergerac
(1983-85) also writing two episodes.
Boucher created space-age TV detective
drama Star Cops (1987), writing five
episodes of nine made, although he
ae with producer Evgeny Gridneff
over many production
decisions. Carelessly
summer 1987 it failed in
the ratings, although it
found an appreciative cult
audience. Boucher published
mail order novelisations of
five episodes in the mid-90s,
eventually republished in
one volume in 2013.
Moving back into crime drama, he script
edited the third series of The Bill (1987)
and later wrote an episode aired in 1990.
Around this time he also wrote two episodes
of Jim Davidson’s chauffeur sitcom Home
James! (1987-90). Boucher performed some
script editing on Robert Banks Stewart's
Moon and Son (1992) and was set to work
on its second series when the show was
cancelled in pre-production.
Four Doctor Who novels featuring the
Fourth Doctor and Leela were published by
BBC Books; Last Man Running (1998), Corpse
Marker (1999), Psi-ence Fiction (2001) and
Match of the Day (2005).
He approved the Kaldor City audio range
from 2001, produced by Magic Bullet
Productions, which drew on characters
and elements from various Doctor Who and
Blake’s 7 Boucher scripts. Boucher himself
wrote the episode Death’s Head (2002).
Boucher lives in Ascot, Berkshire. He
has three sons; the youngest, Nathan,
provided the name for his Star Cops hero
Nathan Spring.
DOCTOR WHO | THE COMPLETE HISTORY 108
THES
MAKERS
.* > STORY 95
Landing on Pluto in the far future, the Doctor
is surprised to discover it is inhabited.
The human population is subjugated by
extortionate taxation, imposed upon them by
the ruling Company, so the Doctor and Leela
lend their hands to the rebellion.
© DOCTOR WHO | THE COMPLETE HISTORY
DOCTOR WHO | THE COMPLETE HISTORY &
THE SUN MAKERS
STORY 95
Robert Holmes was funny. Even,
the most serious scriptwriters
know that the darkest moments
often have a funny side to them.
It was possibly a thought that
entered Holmes’ head when he got his
tax bill.
The Sun Makers is, broadly speaking, a
political satire. It’s not especially partisan
- it ridicules the kind of excessive taxation
associated with the left, and yet it’s a
capitalist system that is oppressing the
Megropolis workers. Overall, it follows
the well-trodden path of other Doctor
b
society under an evil, dictatorial régime.
Except that in this case it’s peppered vi
wry observations like Leela’s reaction to
Gatherer Hade: “Perhaps everyone runs
from the tax man.”
Humour is often a good way of making
us engage with political ideas. In The
Happiness Patrol [1988 - see Volume 44],
we're certainly meant to be amused by
Sheila Hancock’s impression of Margaret
Thatcher. She portrayed a leader who
crushed her planet’s mining community,
while insisting that everyone has a smile on
their lips. Later the gross, green Slitheen
MANY STORIES.
of A on/World War Three [2005
—see Volume 49] claimed they had massive
Es pons of destruction that could be
deployed in 45 seconds - a joke at the
expense of Tony Blair’s Labour government
that was in power at the time.
Some might argue that Doctor Who
shouldn't be political. Should 2015’s The
Zygon Invasion have featured ‘radicalisation’
as a theme? Should Nightmare of Eden
[1979 - see Volume 31] have put forth
the idea that people can make their own
choice about whether to take drugs? Did
the political basis for stories like The Curse
of Peladon, The Mutants [both 1972 - see
eee
ah.
Introduction
1988's The
_Happines. a
Volume 18] and The Green Deat
see Volume 20] serve the series well?
Political issues will inevitably creep into
y stories, it’s a part of everyday life. «ri .
Rers is certainly very popular. ~~
The unctuous Hade is a delightfully absurd —
example of the kind of bureaucrat we all
hate. And despite his small stature, the
Collector is a larger-then-life villain played
with relish by Henry Woolf.
The BBC, since its inception, has aimed
to inform, educate and entertain. If you
can make a point about something and
raise a smile, then surely that’s not such
a bad thing. “Praise the Company!”
a
—_
~
~ ~~
7
DOCTOR WHO | THE COMPLETE HISTORY 113
114
THE SUN MAKERS =» stowvss
PART ONE
Wl na drab corridor in Megropolis One
| of the planet Pluto, Citizen Cordo
EEE is informed that his father has died
and Gatherer Hade is expecting his death
taxes. Visiting Hade in his office, Cordo
is horrified to learn that he owes 117
talmars. As a D-Grade worker, he has no
hope of paying that. [1]
The TARDIS materialises on a roof
overlooking a vast city. [2] Leela spots
Cordo walking towards the edge. The
Doctor distracts him, enabling Leela to
pull him to safety.
Their arrival is detected by Hade’s
assistant, Marn.
Cordo explains that he can’t afford
to pay his taxes. They hear a siren and
Cordo tells the Doctor and Leela to run.
They descend in an elevator, as Hade
examines the TARDIS which he imagines
is part of a criminal enterprise to
smuggle contraband. [3]
DOCTOR WHO | THE COMPLETE HISTORY
Cordo says that he has heard of outlaws
in the undercity, but he is afraid to go
down there, because there is no light.
There is no darkness in the city because
Pluto has six artificial suns. [4]
Hade and Marn observe on a monitor
as K9 leaves the TARDIS and follow his
progress through the subways.
The Doctor, Leela and Cordo are
ambushed by the outlaws and brought
into their base. [5]
Their leader, Mandrel, tells Cordo that
if he is to stay with them he will have
to earn his keep by stealing from the
upper levels. One of the outlaws, Veet,
forges a “consumcard”, making it out
for a thousand talmars. Mandrel tells
the Doctor to go the “ConsumBank” on
Subway 37 and if he has not returned by
the time a candle burns down, they will
kill Leela.
The Doctor and Cordo go to the
ConsumBank where the Doctor enters
the cubicle and uses the card. The cubicle
slams shut and fills with gas! [6]
PART TWO
ordo hides as two guards wheel the
cr Doctor away.
Hade visits the Collector in his
computer complex and warns him that
he believes that dissidents are fomenting
a rebellion. [1]
The Doctor wakes in the Induction
Therapy Section of the Correction Centre.
His fellow captive Bisham informs the
Doctor he was brought in an hour ago. [2]
Mandrel tells Leela that her time is up...
and Cordo arrives with the news that the
Doctor has been captured.
The Doctor hops around the Therapy
Section in his straitjacket, sabotaging the
equipment. Bisham says he used to work
at a chemical plant in charge of PCM
production, which the Doctor recognises
as an airborne anxiety-inducing agent.
Leela attempts to rescue the Doctor. [3]
Cordo goes with her. Emerging from the
undercity, they meet K9.
An attendant places helmets on the
Doctor and Bisham. When he tries to
switch them on, he is electrocuted.
Marn informs Hade that the Doctor
is in the Correction Centre. Hade has
the Doctor brought to his office and
gives him the thousand talmars as a ploy
to allay his suspicions. [4] The Doctor
leaves, unaware that Marn has keyed the
tracker system to follow him.
K9 leads Leela and Cordo to the Therapy
Section. K9 stuns one of the guards and
they find and release Bisham. But then
the stunned guard wakes up and sounds
the alarm. Hade and Marn watch as
the Doctor descends into the outlaws’
base. He delivers the talmars to Mandrel
and learns that Leela has gone to the
Correction Centre. [5]
Cordo tells Leela they must be daring
and take the P45 return route. But to
their horror they find that the guards
have set up a roadblock - and behind
them more guards are gliding towards
them in a cruiser! [6]
DOCTOR WHO | THE COMPLETE HISTORY
115
THE SUN MAKERS =» stv ss
PART THREE
eela tells K9 to get out of sight. The
L cruiser halts and K9 blasts both the
guards. Leela, Cordo and Bisham
take their guns and ride the cruiser
through the roadblock, but Leela is shot
and falls to the ground. [4]
Mandrel threatens to burn the Doctor
if he doesn’t confess to being a spy. Just in
time, Bisham and Cordo arrive and order
Mandrel to stop.
The Doctor tells the outlaws that the
people in the city would rebel against
the Company if they were given the
chance to breathe clean air. [2] All they
have to do is lower the temperature in
the vapour chambers.
Mandrel recalls that they are all
controlled from the same place.
Leela is hauled in for questioning by the
Collector. [3] She reveals that the Doctor
is a Time Lord. The Collector consults
with his computer, which informs him
LX ANNA
that the Time Lords are the rulers of the
planet Gallifrey.
The Doctor outlines his plan. While he
goes to Main Control, the others should
scatter through the city and remind the
people they are human beings.
The Collector orders Hade to announce
- and pay - a reward for the Doctor’s
capture. He also orders him to arrange
for Leela to be publically executed. [4]
The Doctor, K9, Bisham, Mandrel
and Cordo enter Main Control. The two
workers there, Synge and Hakit, agree to
join in with the revolution.
There is a public bulletin announcing
Leela’s execution. She will be put in a
condensation chamber in the Exchange
Hall. The Doctor suggests they cut the
water supply to the pumps long enough
for someone to crawl in through a vent
and get her out. The Doctor climbs in
and Mandrel gives him two minutes. [5]
In the Exchange Hall, the Collector
watches in glee as Leela is sent into the
condensation chamber. [6]
16 DOCTOR WHO | THE COMPLETE HISTORY
a2 ERG
The Collector returns to the computer
p ART FO U R complex to find the mesmerised guard
and the Doctor. The Doctor asks the
he Doctor rescues Leela and they Collector about the Company and learns
Te it back to Main Control,
where Bisham announces that the
that he is Usurian. They gained control
PCM is clearing from the air faster than
of humanity by offering to move them
from the dying Earth to Mars, after their
expected. The Doctor leaves K9 with the engineers had made that planet habitable.
outlaws while he heads to the Collector’s Then, when Mars’ resources were
palace with Leela. [1] exhausted, they moved them to Pluto. [5]
In one of the dormers, a guard tries to Hearing gunfire, the Doctor tells the
get the citizens to report for work but Collector to wake up and look at the facts
they refuse. [2] - waking up the guard. The Collector
The Doctor and Leela overpower the prepares to implement his contingency
guard in the computer complex. Leela
wants to kill him so that he can’t raise
| plan - killing everyone with a deadly
poison delivered by sprinklers. But Leela
the alarm, but the Doctor hypnotises comes around and overpowers the guard.
him instead. | The Collector becomes agitated by the
Marn informs Hade some workunits | computer’s economic analysis. Cordo ical
have gone to the roof and Hade goes to and Mandrel arrive in time to see the
deal with them. The Doctor opens the Collector go into liquidation, melting
Company vault and Leela rushes in- only J downa plughole in his chair. [6]
to be stunned by a forcefield. [3] Back on the roof, the Doctor and Leela
Hade accosts the citizens on the roof. [4] say their farewells to Cordo, Bisham,
The citizens, led by Veet, throw him off. Mandrel and the other outlaws.
DOCTOR WHO | THE COMPLETE HISTORY a7
THE SUN MAKERS =» stovss
Below:
"High five
anyone? Oh
come on,
don't leave me
hanging.”
Pre-pro
e felt there was room in
the season for a satire,
which in fact was what
The Sun Makers was
by-and-large, on
the whole system of
taxation, at the same time containing
the elements of an adventure-drama,”
commented producer Graham Williams in
the fanzine Gallifrey Issue 7 (spring 1979).
After three-and-a-half years as script
editor of Doctor Who, Robert Holmes
decided to leave the series at the start of
1977. Producer Philip Hinchcliffe, with
whom Holmes had enjoyed a good working
duction
relationship, was being moved on to
inherit a new BBC police film series called
Target; Hinchcliffe’s successor, Graham
Williams, had already been appointed.
Holmes wanted the incoming producer to
have a clean slate, but Williams persuaded
Holmes to remain on the series for another
six months to help bridge the transition
period. Knowing that he would be leaving,
and therefore no longer having to produce
scripts at short notice to plug the non-
delivery of others, Holmes started to
develop an idea for a new four-part serial
just after The Talons of Weng-Chiang [1977 -
see Volume 26] completed production.
NNN Ne es Pre-production
The storyline Holmes discussed with
Williams concerned a world where the
population is being exploited by a colonial
power; this would play on facets of
Britain’s Imperial past, something Holmes
had drawn upon in earlier scripts. The
means by which the colonial rulers would
wield power presented itself to Holmes
when he read a factual scientific work
entitled The Iron Sun: Crossing the Universe
Through Black Holes by Adrian Berry;
published in April 1977, this discussed
various ideas including the concept of
man-made stars and the practicalities
of the physics involved. The Doctor would
find himself caught up in an anti-colonial
rebellion by a group of freedom fighters as a freelance writer. Disliking both Above:
seeking independence. officialdom ‘prying’ into his affairs and pe pee
: pe artist.
the ‘ludicrous’ rules he had encountered,
\satireoftak Holmes elected to have the rulers of his
repressive colonial state operate like tax
iven the go-ahead to develop his officials; having never seen himself as a
G idea, Holmes set to work. By the serious writer, he saw how the Revenue’s
time Holmes’ serial had entered ‘absurd’ regulations could be used to
production, his successor, Anthony Read, humorous effect. Slowly, his new serial,
was starting to trail him as script editor. The Sun Makers (often erroneously referred
Read, who had known Williams from to as The Sunmakers in
both The Troubleshooters and Z Cars, and publicity material), evolved Connections:
Holmes from various previous projects, from being an anti-colonial Alice
had originally approached the Doctor Who tract to a full satire of the ® In Part Two of the
office with a prospective storyline; it had tax and financial worlds. story, when Mandrel tells
been Holmes who suggested that Read And since a plutocracy was a the Doctor he better have
should take over from him in spring 1977. society controlled by a small a good story, the Doctor
Williams had already commissioned Read minority comprising the replies (in a line ad-libbed
for a script for the unmade BBC/American wealthiest people, the planet by Tom Baker), “Once
co-production The Zodiac Factor the of Pluto - then referred to as upon a time there were
previous year. the furthest planet from the three sisters..." Thisis a
Holmes’ ideas had taken shape by early sun in the solar system - was paraphrase from Alice's
April, and the formal commission for the an ideal setting. Adventures in Wonderland
writer came retrospectively on Monday In plotting his story, by Lewis Carroll. The Doctor
30 May; the target delivery date was set as Holmes took into account had previously begun
Friday 27 May. However, since his initial the fact that the working telling this same story in
discussions with Williams, Holmes had relationship between the The Android Invasion [1975
become engaged in a battle with the Inland } show’s two leads - Tom Baker - see Volume 24]
Revenue over the taxation of his earnings and Louise Jameson - had
DOCTOR WHO | THE COMPLETE HISTORY ua
THE SUN MAKERS
Connections:
Checkmate
® The camera script for
he story specified that
he chess moves played
by the Doctor and K9
in the opening TARDIS
scene should replicate
the endgame of the
eal-life Spassky-Fischer
confrontation, which took
place on Sunday 16 July
1972, Fischer won
he contest and would later
come in to conflict with
he US government
over a tax
® STORY 95
not been at its best over the
spring of 1977; consequently,
he separated the characters
of the Doctor and Leela for
much of the story to reduce
interaction between the
uneasy co-stars.
Holmes delivered his
four scripts over the next
few weeks, and well ahead
of target: Parts One and
Two were delivered on
Friday 13 May, Part Three
on Wednesday 18 May and
the concluding script on
Friday 20 May; these were
all accepted by Friday 20.
By now, Holmes’ desire
to lampoon the British
tax system had become
the story’s driving force: the characters
included a Gatherer who worked for a
Collector; the state’s main enforcers,
the Inner Retinue, took their collective
title from the Inland Revenue; and
when the Collector finally succumbed
Below:
Cordo tells the
Doctor of his
tax woes,
to an ‘inflationary spiral’, he went into
‘liquidation’, like any other unsuccessful
business. These elements caused Williams
0 DOCTOR WHO | THE COMPLETE HISTORY
NANNRRS
some concern, who had still been
expecting the anti-colonial piece Holmes
had outlined; the producer was particularly
worried about possible allegations of left-
wing indoctrination in a children’s show.
In the script for Part One, as Citizen
Cordo - who ‘wears the drab clothes of a
D-Grade citizen’ - prepared to jump off
the parapet, he ‘takes his shabby coat off’;
he was afflicted by a nervous tic, rubbing
himself anxiously. By comparison, Hade
occupied ‘a fine room, almost sumptuous in
the sombre way befitting Gatherer’s status’;
when Cordo approached him, Hade ‘opens
a bill the size of a tabloid newspaper’.
The Megropolis was described as a
‘glittering, futuristic place of sweeping
lines’; production paperwork gave the
setting as a ‘city on the planet Pluto in the
year 7 million AD’. Holmes noted that the
‘ConsumBank’ seen at the end of Part One
would be situated in the same corridor
where Cordo had been seen earlier, ‘but
now with a ConsumBank cubicle at one
end’ When the Doctor entered the cubicle,
the machine hummed and a photo-electric
eye clicked open, emitting ‘choking
yellow vapour’.
Hade’s method of transport was a
‘beamer’, the term being derived from
business world slang for a BMW, a car
associated with success; its approach
would be heralded by a ‘hooting, like a US
coastguard boat’. At the end of Part One,
the Doctor attempted to withdraw money
using a ‘consumcard’, after ‘consumer
card’. The Gatherer of Megropolis Three,
who looked after the Ajacks, was named as
‘Gatherer Pyle’ in Part Two.
The Company management used
business phrases when running the
Megropolis, such as “issue invoice for
erasure before close of business today” and
“the account will be settled swiftly”.
The headquarters of the Others was
the pump room: ‘A black underground
chamber. The only light comes from a
small brazier and a few smoking candles.’
Mandrel’s gang was described as ‘the raggle
taggle Others, holding bludgeons and
makeshift weapons... mainly men, but two
or three slatterns among them’. Originally
Mandrel cracked his whip rather more. One
of the Others was ‘Veet, the forger, [who is]
working with an air-stylo on a consumcard.’
One of Holmes’ favourite touches was
the suggested means of escape for Leela’s
party in Part Two - the ‘P45 return route’
(‘P4S’ being an official form listing annual
earnings following the termination of
Pre-production
employment); similarly, the PCM gas used Far =
: : Gatherer
to keep the population subjugated came rade
from the abbreviation for ‘per calendar
month’ used on tax forms. This long
his assistant
Marn enforce
subway was the venue for the Part Two cee a
cliffhanger, in which Leela’s party would without pity
encounter a Megro guard cruiser carrying
men using carbines and machine guns
firing electron blasts.
n Part Two, writer Robert Holmes
I outlined the Collector and his
computer complex in some detail:
‘Nerve-centre of the palace. The Collector
is crouched over a desk that is itself built
into the computer line. Paper spews
occasionally from the machine on his left.
After scanning it, he frequently carries out
computations of his own on the calculator
within the desk top. The resulting cards
he feeds into the machine on his right. ee
Apparently myopic, he works two inches K9 (not so)
from the desk surface and rarely raises quietly goes
his eyes from the flow of paper even a
when - as now ~ he is conversing. The helping to
visitor thus talks mainly to an enormous, save the day.
hairless, bullet-shaped dome. There is
presumably some blood in
the Collector somewhere
but it doesn’t show. He is
grey as far as the eye can
see. His voice, contrasting
oddly with his saggy bulk,
is thin and febrile’ In
Part Three, the Collector
was shown to get around
by ‘sitting on an electric
mobothrone’; in a draft of
Part Four, Leela was to tell
the Doctor that the alien
‘sits on his mobothrone’. In
the final instalment - after
the Collector ‘speeds into
Connections:
Ninth planet
» KS explains that Pluto
was believed to be the
outermost body in Earth's
Solar System until the
discovery of Cassius.
Presumably named after
the Roman philosopher and
soldier Cassius Longinus,
who was one of the men
who assassinated Julius
Caesar in 44 BC, Cassius is
a fictional celestial body.
DOCTOR WHO | THE COMPLETE HISTORY ce
Above:
Tom Baker and
Henry Woolf
rehearse their
confrontation
in Part Four.
the room in his mobothrone’, the Doctor
identified him as a Usurian from Usurious,
describing the fungi lifeform’s appearance
as ‘like sea-kale with eyes’. When the
computer’s nine zero nine data caused
the Collector to liquidate, the seat of the
chair was now revealed to be ‘rather like a
circular, stainless steel sink. In its base is a
plug hole down which a final few pints of
green liquid are gurgling’
The script for Part Three originally
indicated that there had not been a
public steaming in years. In preparation
for her execution, Leela was ‘strapped
into a plastic container’; once inside
the condensation chamber, the ‘echoing
rumble is appallingly loud and close -
like water hammer magnified a hundred
az2_ DOCTOR WHO | THE COMPLETE HISTORY
times’. The device which stunned Leela in
Part Four was referred to as an Autoguard
Shield; a plan to ‘kill off’ Leela at the end
of the serial had apparently been very
briefly considered. Holmes specified that
the Megropolis video screens should
show the Company image, a ‘rotating sun
symbol’. When Hade prepared to meet his
doom, the angry crowd’s dialogue included
the lines: “Shut up, rubber-guts!”; “String
the old swine up!”; “Chuck him over the
edge!”; and, “Let’s see if old rubber-guts
bounces...” In the closing scenes, Leela’s
knife was meant to pin the sleeve of the
Doctor’s guard to a cabinet, as opposed
to hitting him in the back.
The robot dog K9, recently introduced
at short notice in Bob Baker and Dave
Martin’s The Invisible Enemy [1977 - see
page 44], was still finding its place in
Robert Holmes’ The Sun Makers scripts.
There were numerous references to K9’s
‘antennae wagging’ (such as when he wants
to leave the TARDIS). Later, Hade watched
on a monitor as the metal dog ‘butts
through the door’. At one point during
the subway scenes, K9’s ‘dynamo emits a
doleful whine’ - and when carrying out a
task for the Doctor in Part Three, the robot
originally observed: “It was a bagatelle,
Master.” Notably, in Part Four, Holmes
indicated that: ‘K9’s blaster juts from his
chest and his antennae wags [sic].
In the opening TARDIS scene, where
the Doctor was losing to K9 at chess,
Holmes originally indicated that the
Doctor ‘pulls his scarf irritably around
him and succeeds in toppling several
pieces. He replaces them.
20 January to work on the serial was
freelancer Pennant Roberts, who had
directed The Face of Evil [1977 - see Volume
26] the previous autumn; since then,
Roberts had been working on the BBC
Scotland series The Mackinnons. Roberts
felt that he was very much in accord with
the new producer, and was particularly
delighted with the dry humour in Holmes’
scripts. In association with Holmes,
Roberts suggested some changes, adding
jokes such as the Doctor offering Gatherer
Hade a humbug (the word also meaning
a fraud or a sham) and - following the
‘P45 return route’ gag - changing Part
One’s ‘Subway 46’ to ‘Subway CT1’ (CT1
being the Inland Revenue’s Corporation
Tax Return form). Holmes tended to write
for men, and Roberts thought that there
would be a better contrast between the
T he director contracted on Thursday
Pre-production
characters if Hade’s assistant
Marn were female; likewise,
the role of Rashif, another of
the male gang members who
attacked Leela in Part One,
was amalgamated into that
of Veet.
Williams was concerned by
the ‘jokey’ air that Roberts
brought to Holmes’ already
slightly comedic scripts.
Holmes had originally stated
that the alien Collector’s race
was known as the ‘Userers’,
derived from the Latin term
for one who lends money at exorbitant
interest rates. Williams disliked this - and,
although Holmes and Roberts both fought
to retain it, the name was changed to
Usurians, to make the origin less obvious.
(For a while, they were ‘Saurians’, and
referred to as such in the Synopsis for the
Deaf issued for the serial late in 1977.)
Make-up and costumes for The Sun
Makers were designed by Janis Gould and
Connections:
Low market
value
® When Leela reveals to the
Collector that the Doctor is
a Time Lord, the Company
computer correctly
identifies the Doctor's
people as “oligarchic rulers
of the planet Gallifrey’, and
claims that the planet's
potential for market
development is low,
Christine Rawlins respectively; although Below:
' ; The Usurians
Gould was new to the series, Rawlins Company
had worked on the 1970 series. Peter technicians.
DOCTOR WHO | THE COMPLETE HISTORY a
THE SUN MAKERS
Connections:
Twisted pr:
® Hade recites what he
claims is an
saying; “There's one
acorn in every barrel.”
correct Sayi
the fourteenth century, is:
‘There is on
in every ba
the story, H
to the Doctor by saying
“To er
correct orig
err is human, to forgive,
divine,’ has
in Alexander Pope's
eighteenth-century
work, An Essay
on Criticism.
Right:
In the depths
of Megropolis
One.
rel,’ Later in
is computer.” The
® STORY 95
Day was the original visual
effects designer assigned to
the serial, but he was then
promoted to being a design
manager, and the work was
completed at short notice
by his design assistant Peter
Logan. This was Logan’s first
formal credit, having been an
effects assistant since Inferno
[1970 - see Volume 16].
The guns for the story were
designed by Logan and made
by Logan’s assistant, Rhys
Jones. The helmets worn at
the Correction Centre were
made from items such as an
oil container, old earphones
and salt and pepper shakers.
The set designer was
Tony Snoaden, who had
previously worked on The
Sea Devils {1972 - see Volume 18]. Taking
the idea of the Company suns, Snoaden
looked at Aztec-inspired work by a trio of
Mexican propagandist artists, David Alfaro
Siqueiros, Diego Rivera and José Clemente
Orozco. Unfortunately, the budget
allocations on the show did not allow
Snoaden the full range of Aztec styles, and
Roberts had changed his mind about the
look of Pluto’s Megropolis One during
pre-production. Instead, Snoaden drew
inspiration from the spartan, economic
work of a 1920s Dutch designer.
The main location required was the
Megropolis One rooftop where the
TARDIS materialises in Part One;
Roberts had opted to shoot these scenes
on film, even though Holmes’ script
had suggested that they should be
recorded in the studio. For two weeks,
the production team considered various
high roofs in London - atop the newly
constructed Barbican Centre, for example
overbs
old Earth
otten
The
ng, dating from
erotten apple
ade apologi
inal saying, ‘To
its origins
12h DOCTOR WHO | THE COMPLETE HISTORY
NSANNRRAS
- but found it impossible to find a venue
where the city skyline would not be seen.
Roberts then realised that what was
needed was not a high roof, but simply
a large one; the scale itself would form
the horizon for the viewer. The impression
of height could then be given by the use
of models.
he problem was solved by
T production assistant Leon Arnold,
who discovered an ideal site in The
Architectural Review: the WD & HO Wills
Tobacco Factory, Hartcliffe Way, Bristol
which had opened in 1974. Roberts looked
into the site some more, and discovered
that the premises also had a 300-yard
corridor linking the main factory and the
office block suitable for various scenes
bridging Parts Two and Three. Because the
venue was so ideal, Roberts - a Welshman
familiar with the area - was able to make
a strong case to take his cast and crew
out to the West Country for several days,
rather than shoot in or around the more
convenient Home Counties, as was
the norm.
Auditions for The Sun Makers were held
in mid-May, with Roberts seeing actors
including Bill Wallis, Carl Forgione, Peter
Benson, Penelope Horner and Geraldine
Moffat. The main guest star was Dublin-
born Richard Leech as Gatherer Hade:
Leech, whose films included A Night to
Remember, had undertaken less television
work since his stint as Dr Roger Hayman
in the BBC1 soap The Doctors because
of problems with deafness (which he
overcame by lip-reading). Qualified in
medicine and a regular columnist in World
Medicine, he had never seen Doctor Who, but
knew that Roberts was a nephew of writer
and actor Emlyn Williams and accepted
the role, playing Hade like Poobah from
the Gilbert and Sullivan opera The Mikado.
Leech got on well with Tom Baker and
interviewed him for one of the medical
journals that he contributed to.
For Goudry, Roberts cast Michael
Keating, a member of his informal
‘repertory company’ since a 1972 episode
of Doomwatch; shortly after The Sun Makers,
Roberts successfully recommended Keating
to producer David Maloney for the role of
Vila in Blake’s 7 which started production
Pre-production
in September 1977 with Roberts as one of
the directors. Keating got on very well with
Tom Baker, being particularly grateful to the
show’s star for pouring him into a taxi to
get him home one night after rehearsals...
The part of Marn went to Icelandic
actress Jonina Scott (born Jonina
Olafsdéttir) whom Roberts knew having
directed her husband, David Ashton, in
an episode of the BBC1 drama Sutherland’s
Law and also in an episode of BBC
Scotland’s The Mackinnons. Cast as Bisham
was David Rowlands, whom Roberts
had directed in Depot, an episode of The
Regiment screened in 1973. Louise Jameson
was also delighted to be reunited with
Australian actress/journalist Adrienne
Burgess who was playing Veet; the pair had
shared a flat together when working in rep
in St Andrews in 1972.
Tom Baker and Louise Jameson had
finished recording Horror of Fang Rock
[1977 - see page 12] at the BBC’s Pebble
Mill Studios in Birmingham early in June;
they were now rejoined by John Leeson,
who had voiced K9 in The Invisible Enemy
in April and was contracted to do the
same for The Sun Makers
on Monday 30 May 1977.
Roberts found that since Sunshine
he had last worked on the » Learning that t
series, Baker had become
even more demanding and
proprietorial about both
the show and the Doctor’s
character. Jameson was
delighted both with the
scripts - which she thought
had genuine Marxist political
motivation and allowed Leela
to drive the action - and to
be working with Roberts
again. Leeson was similarly
delighted with the witty
scripts for the serial.
been impresse
astronomer Ga
mathematician
a major contrib
DOCTOR WHO | THE COMPLETE HISTORY as
Left:
The Doctor
does not like
hearing what
Bisham has
to say about
the Correction
Centre.
Connections:
1
nere are
six artificial suns providing
perpetual daylight to Pluto,
the Doctor comments
that “Galileo would have
d" Italian
ileo Galilei
1564-1642) was an Italian
astronomer, physicist,
engineer, philosopher and
who made
ution to the
scientific revolution of the
seventeenth century.
Above:
“My dear old
thing, all you
need is a wily
accountant!"
Producti
he three-day shoot in Bristol
began on Monday 13 June,
with the crew travelling in
the morning to film in the
afternoon from 1.30pm through
to a projected wrap of 8pm.
Rooftop scenes were scheduled for the
first day, with a strict warning being issued
to everyone involved that the roof was a
suspended structure with no supports,
and they should not run, jump or hop on
it: ‘Should you fall through, the ground
126 DOCTOR WHO | THE COMPLETE HISTORY
is approx. 3 floors below and we are only
taking elastoplasts!!!’ Roberts hoped
that the British summer would give him
the sunshine he required; however, the
crew were rewarded with three days of
fine drizzle. Instead of shooting four
scenes on the roof for Part One, interiors
showing the Doctor, Leela, Cordo and K9
in the lift were filmed, along with some
material showing the Doctor’s party hiding
in a roof vent. The evening was spent
shooting scenes inside the factory itself
which had been originally planned for the
Wednesday: the Part Three scene showing
the Doctor’s group in the subway (filmed
in the Power House Tunnel), plus a Part
Two scene filmed in the ‘dog bone’ tunnel,
in which the Doctor evades two Megro
Guards. When one of the extras was taken
ill, Ron Rogers, a member of Wills’ training
staff, donned a guard’s outfit and took his
place. The arrival of the Doctor Who cast
and crew caused great interest among the
factory workers, with the unit bus being
mobbed by people trying to get Tom
Baker’s autograph.
D team shot the two Part Four
sequences showing Hade’s demise
and the Doctor’s departure, the following
afternoon when work had been planned to
run from 1.30pm to 11pm. The Gatherer’s
costume had been fashioned after a
humbug, emphasising the Doctor’s joke
in Part Two; a dressed dummy was used
for the shot of the Gatherer being hurled
off the roof. The crew were in turn filmed
by a team from the BBC regional news
programme Points West, which broadcast
coverage of The Sun Makers in production
in the BBC Wenvoe area at 5.55pm that
day. Simple ‘pyjama suit’ costumes,
each bearing the ‘sun face’ emblem of
the Company, were worn by the walk-
ons playing workunits. That evening,
the crew moved to inside the HO Link
Tunnel: a short Part Two scene in which
Cordo dodges two Megro Guards was
abandoned, and the crew concentrated
on the P45 Corridor barricade sequence
running over Parts Two and Three. There
were problems getting the Megro Guards’
buggy (a redressed golf cart) into the long
passageway, which had been dressed with
Production
Snoaden’s sun feed props. Leela’s dialogue
was changed slightly so that she referred
to a “barrier”, not a “checkpoint”. The
Megro Guards’ guns incorporated flash
charges, meaning that each could only fire
once in any given shot. Disregarding the
script, Pennant Roberts did not ask Louise
Jameson to perform a stunt fall from the
moving buggy.
All the Part One rooftop scenes put
back from the Monday were filmed in
the semi-mist from 11.30am to 5.30pm
on Wednesday 15 June, the final day at
Bristol. Where the Doctor offers Cordo, as
scripted, a jelly baby, Baker in fact held out
a liquorice allsort. This was a bitterly cold
location because of its exposed nature,
and Tom Baker used the Doctor’s scarf
to help wrap up the scantily clad Louise
Jameson to keep her warm;
unfortunately on another Connections:
occasion at the factory, Snacking
her costume had in fact ® Offered a raspberry
fallen off...
leaf by Hade, the
Above:
Model design
sketches for
Megropolis
One.
The presence of the Doctor
Who crew continued to cause
great excitement among
Wills’ workers; filming
coincided with the company’s
annual Family Sports Day,
Doctor identifies it by
its Latin proper name as
“Rubus idaeus” - and the
ignorant Hade attempts
to correct him.
DOCTOR WHO | THE COMPLETE HISTORY a
THE SUN MAKERS
Connections:
Choice words
® Hade tells Marn that he
has formulated a plan -
“I call it Morton's Fork,
in honour of one of my
illustrious predecessors.”
‘Morton's Fork’ is a term
used to describe a piece
of misleading reasoning
in which two seemingly
contradictory observations
ead to the same
conclusion, The term has
its origins with John Morton
c1420-1500), the Lord
Chancellor of England from
1487 to his death, who
argued that everyone could
\ afford to pay taxes,
regardless of their
circumstances.
® STORY 95
and Baker spent time signing
autographs. Pictures from
the shoot were printed in the
Thursday 23 June edition
of the company newspaper
Wills World, in which Baker
promised that employees’
children who had not
managed to get an autograph
on the day could have one
if they wrote to him c/o
the BBC.
Shooting from 10.30am to
5.30pm on Thursday 16 June
took place in the network of
service tunnels forming the
Camden Deep Tube Shelter,
Camden Town, London.
Early in 1976, Roberts had
used this location for The
Lights of London Part Two,
an episode of the BBC’s
post-apocalyptic drama
Survivors, and once again
won the co-operation of the Property
Services Agency to use the tunnels as the
underground of Megropolis One in all
four episodes of The Sun Makers. Shooting
commenced with the scene where Cordo
talks to the Others at a crossroads, moving
to an area designated ‘F1’ for the Part One
monitor screen shots showing K9. Work
continued in the Sump, where the Part One
scene in which the Doctor and Cordo meet
up with K9 and the Part Two scene in which
Leela and Cordo rejoin the dog were filmed.
Friday 17 June began at the North
End of the tunnels, where shots of the
Doctor in the subways, as seen by Hade
in Part Two, went before the cameras.
With shooting by now running late,
two corridor scenes due to be filmed at
the ‘T1 Lower Deck’ were abandoned
and rescheduled for studio; these were
the Part Three scenes set beside the sun
128 DOCTOR WHO | THE COMPLETE HISTORY
feeds, where the Doctor sets up his video
loop. Instead, filming for Part One took
place on the lower deck’s main staircase,
which was where Cordo tells the Doctor
and Leela about Pluto’s suns, before their
subsequent encounter with the Others was
filmed in area T1’s ‘Min Tunnel’. The Part
Four strike scene was also filmed on this
day, the only day that Tom Kelly’s Guard
was required (Roberts had previously used
Kelly as a guard in The Face of Evil). Baker
then had a busy weekend, making personal
appearances at Rotherham Miners’ Gala
on the Saturday and at the Blackpool
Doctor Who Exhibition on the Sunday.
The troubled shooting schedule was set
to conclude with more Part Two tunnel
scenes at Camden on Monday 20 June,
but only one of the sequences planned was
completed on the day (a scene showing
Leela, Cordo and K9 in a subway, which
was shot in the ‘Al’ area); three other
scenes, largely covering K9’s stunning of a
gate guard, were abandoned - as was a plan
to film a limited number of model shots
establishing the Megropolis One cityscape
at the Visual Effects Workshop in Acton
on the Monday afternoon. In total, some
19 minutes of The Sun Makers had been
captured on 16mm film over the six days.
Studio rehearsals began at the BBC’s
Acton rehearsal rooms around Saturday
25 June.
Recording of The Sun Makers got
underway in Studio 3 at the BBC’s
Television Centre on Monday 4 July; the
first evening’s work ran between 8pm
and 10pm. Recording began with the
two TARDIS scenes for the first and final
instalments, after which Part One was
recorded almost entirely in sequence,
with the lengthy film inserts played
back on cue. Colour Separation Overlay
(CSO) inlay was used to add the image of
Megropolis One to the TARDIS scanner.
For the sudden lurch of the TARDIS in
Part Four, the camera was jerked and the
hatstand rigged to fall over on cue. The
Gatherer’s office set had a huge sun face
symbol suspended above a raised area at
the rear (a surviving remnant of Snoaden’s
early ideas about Aztec-inspired design);
' the set also included colour monitors on
which film sequences involving K9 and
the Doctor were shown. For the scene
where the Doctor and Leela look out
across Megropolis One, a colour caption
slide was inserted into the film sequence
to give their point of view. The largest and
most complicated set was the pump room,
where the Others lived; this was a multi-
level structure entered via manhole tubes
and ladders built on scaffolding.
Cosy, OS
he material set in the corridors
T around the ConsumBank was
recorded at the end of the evening,
with a small amount of resequencing being
used to redress the set. Williams felt that
the humorous elements had gone too far
when he saw that the ‘consumcard’ which
Roberts wanted to use looked like a large
Barclaycard; the producer was concerned
that this could be interpreted as an act
of product placement on BBC Television,
and so differently coloured tape was added
to the prop in an attempt to disguise the
similarities. Closing titles for
Part One and opening titles
for Part Two were taped next.
Tuesday S July began
with a morning recording
session between 11am and
noon, covering the corridor
scenes in Part Two. It was
Connections:
Marnist claim
® When the Doctor
rallies Mandrel's Others in
Part Three, he deliberately
misquotes Karl Marx's
nineteenth-century work
Production
Left:
The Gatherer's
office.
discovered that the Megro The Communist Manifesto
Guard stunned by K9 would by suggesting that the
need to crouch down so that only thing they have to
a convincing red stun beam lose is "your claims” The
effect could be superimposed full original quote is: ‘The
onto the picture. The bulk proletarians have nothing
of the day’s recording took
place between 7.30pm and
DOCTOR WHO | THE COMPLETE HISTORY ro
to lose but their chains.’
THE SUN MAKERS =» stoves
Right:
Having no hair
himself, the
Collector is
fascinated by
the Doctor's
curls.
Connections:
Colony world
® In amark of continuity
to her début story,
The Face of Evil
[1977 - see Volume 26],
Leela refers to her tribe,
the Sevateem, when
talking to the Collector,
ich the Company's
nputer identifies as a
generate unsupported
colony” Author
Robert Holmes had
previously used the term
‘Tellurian’ to identify
human beings in Carnival
of Monsters [1973 - see
urian
Volu
me 19]. The
literal meaning is
‘of the Earth’
10pm, beginning with all the pump room
scenes for Parts Two and Three, in which
stuntman Max Faulkner (a Doctor Who
veteran) played the Other who attacks
Leela in Part Two and the Doctor at the
start of the next episode; for her scene with
Faulkner, Jameson was taught moves using
the techniques of the Japanese martial art
aikido. Cameras moved to the Gatherer’s
office set for more Parts Two and Three
scenes, and recording concluded with
the corridor scenes for Parts Three and
Four; here, Baker again ad-libbed dialogue
(about the order that the Doctor’s party
should proceed in). For the Part Four
scene in which Marn sees the revolution
announced, an inlay using both the
Megropolis caption card and a rotating sun
symbol (akin to the BBC’s ‘globe’ ident)
was placed on a wall screen.
Rehearsals for the second studio began
on Wednesday 6 July, when the cast was
joined by Henry Woolf as the
Collector. Woolf, one of the
first actors cast, had enjoyed
a career ranging from Harold
Pinter plays to Frost’s Weekly
to Rutland Weekend Television;
Roberts had wanted to
work with him since seeing
him appear in Max Frisch’s
play The Fire Raisers at the
Royal Court in London in
1961/2. Woolf's casting as
the Collector went directly
against the script, which
described the character as
‘enormous’. Holmes had in
mind a ‘Sydney Greenstreet’
type character, referring
to the large actor who had
played a sinister character
in the 1941 movie of The
Maltese Falcon. Also joining
the cast was Derek Crewe, a
0 DOCTOR WHO | THE COMPLETE HISTORY
~ NANANNNRRAS
semi-regular in the first series of Thames’
The Tomorrow People, as Synge.
The Collector scenes were built upon
in rehearsals, with Roget’s Thesaurus being
used to expand upon the many fawning
titles with which Gatherer Hade was
to address the Collector - for example,
“Highmost”, “Hugeness”, “Amplification”,
“Voluminousness”, “Globosity”,
“Sublimity”, “Sagacity”, “Omniscience’,
“Monstrosity”, “Omnipresence” and
“Grossness”. If a large actor had been
cast as the Collector, as suggested by the
script, some of Hade’s comments would
have referred to his size rather than just
his status. Henry Woolf suggested that,
since his character would be bald, the
alien should be envious of the Doctor’s
hair; he would therefore run his fingers
through Tom Baker’s curls in Part Four’s
prospectus-reading sequence.
Recording recommenced on Sunday 17
July, and for the following two days, from
7.30pm to 10pm in TC6 at Television
Centre. The evening was spent taping the
Part Three scenes in the Exchange Hall,
followed by the Parts Three and Four
scenes in the condenser and then the
remaining Part Four Exchange Hall scenes.
Wearing a flesh-coloured skullcap to give
the impression of baldness, Woolf made his
first appearance as the Collector; inspired
to cross the images of a City businessman
and a wealthy Middle Easterner, Rawlins
had given the Collector a sort of pinstriped
kaftan, complete with handkerchief. The
Collector’s ‘mobothrone’ was realised as
a converted electronic wheelchair. The
steaming sequence required numerous
specially recorded inserts, such as the
shot of Leela entering the condensation
chamber along a railway track. The sound
heard by the audience was originally
to have been ‘sexaphonic’, but this was
changed to ‘duodecaphonic’ on recording.
All of Mandrel’s radio dialogue had been
pre-recorded.
T he next day, Monday 18 July, the
London Evening Standard carried a
story (Tardis trip to future film meets
setback) about how Baker had been sent
around 8,000 contributions of money
towards the proposed movie Doctor Who
Meets Scratchman after commenting about
the problems the would-be producers had
experienced in financing the film in the
Sunday Mirror some time previously: all
the money sent in was being returned
(it transpired that the British Board of
Film Finance had offered half the money
for the proposed feature, but various
City banks had subsequently indicated
that they would only be interested in
a three-film package).
That evening’s recording
session ran from 7.30pm
to 10pm, starting with the
computer complex scenes
in Parts Two and Three; this
set made use of enlarged
diagrams of printed circuit
boards provided by the
American company AMT.
John Leeson provided the
‘zero zero five’ and ‘nine
zero nine’ computer voices.
The Therapy Section scenes
in Part Two were recorded
next; these had been subject
to a last-minute rewrite, so
that the Doctor leaves his
jelly babies behind with
Bisham, giving evidence of
his presence which Leela and
Cordo find later on. Scenes in
Production
Connections:
Going mad
® The Doctor accuses
the Collector of being “mad
as ahatter’ This phrase
seemingly has its origins
in Lewis Carroll's Alice's
Adventures in Wonderland,
which features a hatter
who is indeed quite mad.
However, prior to the
publication of Carroll's
work, it was believed in
Georgian and Victorian
times that the chemicals
used by milliners caused
mental instability, giving
rise to the phrase ‘mad as
a hatter’
Part Three required Leela to be confined in
a straitjacket, an experience which Jameson
disliked... even more when the crew left
her suspended and helpless on the wall
during a recording break! A fuzzy grey
video effect referred to as a ‘Hairy Ready
Brek’ (after a warm glow seen surrounding
figures in contemporaneous television
commercials for the breakfast cereal Ready
Brek) was added to a shot of the attendant
who falls foul of the Doctor’s tampering.
The film bridging Parts Two and Three was
transferred next; the reprise for Part Three
had an extra opening shot, plus different
material where the cruiser approaches
Leela’s party; red inlay was used where K9
Left:
Mandrel has
“no conviction”
in his eyes.
fires his gun. Part Three’s Therapy Section
scenes followed; a plan to open one of
these with a zoom in on the Megropolis
caption was abandoned. Taping concluded
with the closing titles for Part Three.
Tuesday 19 July was the final studio day
with an evening session from 7.30pm to
10pm. Part Four’s titles and film transfers
DOCTOR WHO | THE COMPLETE HISTORY a
Above:
Leelais taken
to the Collector
inascene
rehearsal,
were recorded first, followed by scenes set
in the computer complex early in the final
episode. Stuntman Stuart Fell played the
guard attacked by Leela in the complex,
and an inlay of green lines played around
Jameson in the scene where Leela runs into
the Company vault. Baker changed the
Doctor’s scripted line “You'll live” to “Why
don’t you girls listen to me?”
All the Part Three and Four scenes in
Main Control were recorded next. These
used a taped computer voice, plus several
inlay effects; images of electronic static,
‘mug-shots’ of the Doctor and Leela and
scenes recorded on the Exchange Hall set
were all seen on the monitor screens. By
now, K9 was firmly established as part
of the line-up, with Leeson ad-libbing
comments such as “Good luck, Master” in
CNANNANAS
Part Three; the brief search for K9 at the
start of Part Four had been a late addition.
Recording the scene where Cordo enters
and fires his gun in delight, actor Roy
Macready found that the prop refused to
‘fire’ - and his many attempts to make
the gun work were preserved on the BBC
VT Engineers’ 1978 Christmas tape White
Powder Christmas.
The last scene recorded was the Doctor’s
confrontation with the Collector in the
computer complex for Part Four, which
necessitated a run-on to imply Leela
hurling her knife at the guard played by
Fell. Originally, the Doctor was supposed
to call the Collector “You infinite nothing!”
In the closing minutes of a recording which
had already over-run, video effects designer
AJ “Mitch” Mitchell battled to pull off the
shrinking and liquidation of the Collector
successfully, using a combination of inlay
and CSO effects: Woolf crouched on a set
covered in CSO cloth, with the camera
focused on him zooming out to make the
Collector appear to shrink when the image
was laid over a shot of his mobothrone;
a green glow was placed over Woolf as the
Collector fades away, becoming a green
blob. Mitchell was unhappy with this
rushed effect, which had been crammed
into the end of the studio session; it was
this experience, in fact, that persuaded him
to leave the BBC and go freelance. Ml
PRODUCTION
Mon 13 Jun 77 WD & HO Wills Tobacco
Factory, Hartcliffe, Bristol (Lift Landing/
Lift/Roof Vents/Subway)
Tue 14 Jun 77 WD &HO Wills Tobacco
Factory (Roof)
Wed 15 Jun 77 WD SHO Wills Tobacco
Factory (Roof)
Thu 16 Jun 77 Camden Deep Tube
Shelter, Camden Town, London (Subway)
132 DOCTOR WHO | THE COMPLETE HISTORY
Fri 17 Jun 77 Camden Deep Tube Shelter
(Subway/Main Staircase)
Mon 20 Jun 77 Camden Deep Tube
Shelter (Subway); BBC Visual Effects
Workshop: Model filming
Mon 4 Jul 77 Television Centre Studio 3:
Part One; TARDIS for Part Four; Corridor
and Subway for Part Two
Tue 5 Jul 77 Television Centre Studio
3: Part Two; Pump Room for Part Three;
Corridor for Part Four
Sun 17 Jul 77 Television Centre Studio
6: Exchange Hall; Condenser; Computer
Complex for Parts Two and Three
Mon 18 Jul 77 Television Centre
Studio 6: Therapy Section; Computer
Complex for Part Four
Tue 19 Jul 77 Television Centre Studio 6:
Main Control; Computer Complex for
Part Four
SAN NN.
Production | Post-production
Post-production
arts One and Two were edited
on Monday 25 July. Part One
required only one minor timing
cut: this came at the end of a
scene where Hade, watching
K9 and eating a raspberry leaf,
remarked upon how the ‘lawbreakers’ are
very clever to use machines as carriers. Two
consecutive scenes were removed from Part
Two: the first was the short film sequence
in the subway where the Doctor saw two
Megro Guards (one of which was the one
played by WD & HO Wills employee Ron
Rogers); the other was a corridor scene
showing Leela’s party on its way to the
Correction Centre. In the latter, Leela
turned a corner and ducked back, having
seen three workunits standing silently in a
line. Cordo explained that they were waiting
to be erased: “It’s their deathday... When
workunits become too sick or old to meet
their output quotas their body material is
redeployed. It is called business economy.”
“T call it murder,” said Leela; Cordo said
these people would not bother them.
‘special soundeffects
ie art Three was edited without cuts on
Wednesday 27 July; the reprise at the
start of the episode was different to
the action seen at the end of Part Two. A
few trims were needed on the final episode
on Wednesday 24 August. Some material
showing the workunits filing out of the
Exchange Hall was shortened, and then a
corridor scene was cut: here, Cordo and
the rampaging workunits caused Marn to
flee and collide with Hade; she warned him
to get back as electron bolts ricocheted past
them, explaining that the workunits had
killed her two guards. The air conditioning
had been sabotaged, she continued, and the
rebels had taken over Main Control; Hade
went to notify the Collector.
First edits were broadcast of all except
the final episode, where a second edit
was used.
Regular Doctor Who composer Dudley
Simpson provided around 25 minutes’
worth of incidental music for The Sun
Makers; this was recorded by six musicians
around August. The organ was played by
Leslie Pearson, while percussionist Tristan
Fry struck railway tracks for the scenes
where Leela enters the ‘steamer’. Dick
Mills, the BBC Radiophonic Workshop
sound effects expert usually responsible
for Doctor Who, was away on holiday, so his
colleague Paddy Kingsland created all the
special sounds for the serial; Kingsland had
been assigned to the serial (then referred
to as The Sunmakers) in May and undertook
the work during August.
DOCTOR WHO | THE COMPLETE HISTORY a
Below:
“Show me
the money!"
THE SUN MAKERS =» stxvss
Publicit
Right: ® The Sun Makers was promoted on
ea BBC1 by a 39-second trailer broadcast
Makersis at 6.34pm on Saturday 19 November,
promoted by directly after the final episode of Image A new adventure for Dr Who when }
eines. of the Fendahl [1977 - see page 82]; in eset hacia a
Radio Times, the programme listing monochrome photograph of Tom
for Part One was accompanied by a Baker taken during the Camden shoot.
® The serial was broadcast in the usual Following Part Four on Saturday 17
Saturday 6.05pm slot on BBC1, December, no new episodes were
with ITV competition including the aired until Underworld [see Volume
American telefantasy series Man from 28] on Saturday 7 January 1978;
Atlantis in regions such as LWT, ATV the one-off Superpets programme
and Southern; areas like Yorkshire replaced Doctor Who on Christmas Eve
and Granada, meanwhile, opted for (when Underworld had originally been
the popular talent show New Faces. planned to air) and on New Year’s
Eve the first instalment of a two-part
compilation of The Robots of Death
[1977 - see Volume 26] was scheduled
Right: ;
A iyfcne to for 6.25pm, concluding on New Year’s
Doctor Who Day at 4.45pm.
in Buster and
Monster Fun's ; .
comic strip ® The issue of the comic Buster and
Terror TV. Monster Fun dated Saturday 26
November featured a homage to the
series in the strip Terror TV which
featured Doctor Boo and Squeelia
releasing an alien sobbing gas which
caused the Wahleks to rust when they
began crying.
» On average, a million viewers more
tuned in for this serial than for the
ee esau.
‘Anotner terrifying programme on Terror j
136 DOCTOR WHO | THE COMPLETE HISTORY
preceding Image of the Fendahl; the
Audience Appreciation figure was
also strong (although down on the
previous serial’s score, which had
been exceptionally high). An Audience
Research Report on Part Two was
compiled on Tuesday 31 January 1978:
the 199 viewers canvassed generally
preferred a less fantastic story, but
found that the programme was up
to its usual high standards; there
were comments about stereotyped
characters, but praise for Louise
Jameson and a strong following for
K9 among children.
® The serial was repeated on Thursday
evenings in the summer of 1978 (BBC
Cymru, however, displaced Part Four
in favour of an edition of Heddiw,
running Doctor Who the following
evening instead of BBC1’s Young Dan'l
Boone). Screened against the sitcom
ORIGINAL TRANSMISSION
EPISODE DATE TIME
Part One Saturday 26November1977 =6,05pm-6.30pm BBC1 24'59"
6,05pm-6.30pm BBC1 24'57" (
PartThree §Saturdayl0December1977 6.05pm-6.30pm BBC1 24'57" 8.9M (35th) -
6,05pm-6.30pm BBC1 24'57" 8.4M (42nd) 59
Part Two Saturday 3 December 1977
Part Four Saturday 17 December 1977
REPEAT TRANSMISSION
PartOne Thursday 10 August 1978
Part Two Thursday 17 August 1978
Part Three Thursday 24 August 1978
Part Four’ Thursday 31 August 1978
6,.20pm-6.45pm 24'59"
710pm-7.35pm 1 24'57"
710pm-7.35pm 1 24'57"
6.45pm-710pm 1 24'57"
Publicity | Broadcast
Leave it to Charlie and the popular Left:
soap opera Crossroads, the repeat did Fae.
reasonably well with a small audience. Doctorsieiie
up to K9.
® The Sun Makers was marketed for
foreign broadcast and was purchased
by stations in several different
territories, including: the United
States, Australia, Rhodesia, Brazil,
Mexico, Nicaragua and Puerto Rico.
In the USA, the serial was marketed
by Time Life in an edited form from
1978, with a narration by Howard Da
Silva added; it also aired in the US as
a 94-minute TV movie.
» Part Three of the serial was included as
one of the 4th Doctor — Selected Gems at
the National Film Theatre on Sunday
30 October 1983 as part of the event
Doctor Who: The Developing Art. The
Sun Makers was first shown in episodic
form on UK Gold in February 1994,
with a compilation following from
March. It also appeared on BBC Prime
in January 1999 and on the Horror
Channel from October 2014.
CHANNEL DURATION RATING(CHARTPOS) — APPRECIATION INDEX
8.5M (48th)
9,5M (36th) 62
3,2M (117th)
6.5M (50th)
6.5M (49th)
7.1M (53rd)
* BBC Cymru broadcast on Friday 1 September 1978, 7.45pm - 8.10pm
DOCTOR WHO | THE COMPLETE HISTORY 18
THE SUN MAKERS =» sors NN ANNAS
Merchandise
errance Dicks novelised Robert director Pennant Roberts, writer and historian
Holmes’ scripts as Doctor Who Dominic Sandbrook and astronomer Marek Kukula
Blow: and the Sunmakers, retaining » Outtakes
The Target some of the cut scenes; ® Trailer - the original BBC1 trailer for the story
dl published in both hardback » The Doctor's Composer: Dudley Simpson
by Andrew and paperback in November - Part Two: 1970-1979 - the concluding part
Skilleter, 1982 by WH Allen/Target, it bore a cover of the series looking at the career of prolific
painting by Andrew Skilleter. It was composer Dudley Simpson, covering his work on
latterly numbered Book number 60 the show in the 1970s
in Target’s Doctor Who library. Dicks’ » Photo gallery - production, design and
novelisation was later combined with publicity photos from the story
The Face of Evil to be released in May » Radio Times Listings in Adobe PDF format
1989 as one of the Star Books’ Doctor » Subtitle production notes
Who Classics series. A4 prints of Andrew Skilleter’s cover to
The Sun Makers was released on the Target novelisation of Doctor Who and
BBC Video in July 2001. In August the Sunmakers were issued in 2011.
2011, 2|entertain released the story A suite of music from the serial was
on DVD. It included these extras: included in the 11-CD set Doctor Who: The
» Commentary with actors Tom Baker, 50th Anniversary Collection issued by Silva
Louise Jameson and Michael Keating, director Screen in September/November 2014. Mf
Pennant Roberts
} Running from the Tax Man: The Making of
The Sun Makers - a retrospective look at the
d
Below: ; ; Rs
Theukacne making of the story and the science behind it.
DVD covers. With actors Louise Jameson and Michael Keating,
Beas - al a
DOGTOR
WHO!
HERS SCHEIN
wih
136 DOCTOR WHO | THE COMPLETE HISTORY
The TOM BAKER Years 1974-81
SAN NN.
Merchandise | Cast and credits
Cast and credits
CAST
Tom Baker iscsi cssarscasccssctrasceniinients Doctor Who
with
LOUISE JAMESON sess Leela
Richard L@@CH....cccecsin Gatherer Hade
Henry Wolf wc The Collector [2-4]
David ROWIANGG..........ccccsien Bisham [2-4]
JONINa SCOT iiiscienmnannconmmmanaanannnan Marn
Roy Macready... .Cordo
William Simons... .Mandre
Michael Keating... ..Goudry
Adrienne BUIGESS |... Veet
Carole HOpKiIN...........ccccussssssssn Nurse [1]
Derek Crewe .cscscsssssssssens Synge [3-4]
Colin McCormacK...........000008 Commander [3-4
TOM KAY isicsiisicinnnimnanimancnannwnn Guard [4]
JOHN LEGSON is psisissiesiiccrrninmiaomagans Voice of KS
UNCREDITED
John Dryden, Kelly Varney, Alan Crisp................
uaa Megro Guards (Gatherer's Office)
David Enyon, Dave Holland .....Executive Grades
Barbara Bermel, Andrew Lord, David
Downes, Ann Higgins, Jan Shilling, David
Cleeves, Roy Roser, Norman Bacon, Ken
Taylor, Gerald Webb, Adrian Varcoe.......0thers
Jeff Waine, Andrew Lord. Megro Guards (Corridor
Max Faulkner .vnciinin Stuntman/Other
POTER ROY) i icici aerininanimuannun Guard
JAMES MUI occ Death Attendant
Patricia GOFdIN |... Technic
David LUGWIG......cuecn Technic (Hakit
Keith NOPTISH sisi Leela’s Guard
John Leeson... ..Computer Voice
CY TOWN Srtanciaceicmuannunanmniarn: Gate Guard
Nellie Griffiths, George Ballantine“.....................
Peo eer en uuu antares Death Grades
Nick Pendry', Ron Rogers’, David Honeyball,
Robert Lee, Harry Van Engel, David Cleeve...
Pee oniman i anieainnunitneaianiaan manent Megro Guards
David Richens, Alan Thompson..Cruiser Guards
Chris Balcombe, Roy Brent, Ronald Goodale,
Harold Sharples...........ccccess0 Collector's Escort
Stephen Kane, Barry Summerfield.....................
<initilastnnnadetraaaa arcane nes IR Guards in Exchange Hall
Paul BaltO0......ccecnsenen Marn's Attendant
Leonie Jessel, Gill Goldston, Josephine
McEvoy, Keith McDonald, Valerio Martinez,
Harold Sharples, Stephen Phillips, Tony
Northan, Louis Giboin, Clifford Tozer, Peter
Clare, Simon Barratt, Charles Molton, Jennie
Weston, Elizabeth Havelock, Angela Tower,
Marion Veiner Workunits
Malcolm JOR... IR Guard
Stuart Fell........,uc..00teameteee Stuntman/Guard
Cut from finished programme
CREDITS
Written by Robert Holmes
ncidental Music by Dudley Simpson
Production Assistant: Leon Arnold
Production Unit Manager: John Nathan- Turner
Film Cameraman: John Tiley
Film Recordist: Dave Brinicombe
Film Editor: Tariq Anwar
Lighting: Derek Slee
Sound: Michael McCarthy
Visual Effects Designers: Peter Day & Peter Logan
Special Sound: Paddy Kingsland?
Costume Designer: Christine Rawlins
Make-up Artist: Janis Gould
Designer: Tony Snoaden
Producer: Graham Williams
Directed by Pennant Roberts
BBC © 1977
* Credited on Part Four only
DOCTOR WHO | THE COMPLETE HISTORY a7
THE SUN MAKERS =» stxvss
Profile
Below:
The cast for
the Roberts-
directed Tenko
(1981) included
Louise Jameson
(third from
left),
Director
ohn Pennant Roberts was born 15
December 1940 in Weston-super-
Mare to Welsh parents. Proud of
his Welsh roots, he remained a
supporter of Welsh broadcasting
despite his later London successes.
He attended Colston’s School, Bristol
and went on to study physics at Bristol
University. While at university he joined
their drama department, appearing on stage
in The Castle Spectre (1960/1), Love’s Labour's
Lost (1960/1) and The Changeling (1961/2).
Setting out on a broadcasting career,
Roberts turned down a BBC Radio sound
manager's post to join small ITV franchise
Wales West and North (Teledu Cymru)
as a floor manager in autumn 1962. The
company proved financially unsustainable
and went under in January 1964. He
next spent five years as an assistant floor
manager with a new Welsh language service
BBC Cymru, working across all genres.
Roberts’ partner, actress Betsan
Jones, was a native Welsh speaker and
8 DOCTOR WHO | THE COMPLETE HISTORY
OKRA AN
encouraged his own Welsh language skills.
They married in spring 1970 and Jones
occasionally appeared in her husband’s
later television productions.
In 1969 Roberts first came to London,
working as a production manager in BBC
Drama. The next few years were spent
shuttling between production manager
stints in London on shows such as The
Expert and Softly, Softly, and directing
programmes in Cardiff. Eventually he
began directing network dramas including
Doomwatch (1972), Softly, Softly: Task Force
(1972) and The Regiment (1973).
Going freelance in early 1974, Roberts
took credits on Sutherland’s Law (1974),
Oil Strike North (1975) and Angels (1976).
Roberts tackled Terry Nation’s post-
apocalyptic drama Survivors (1975-7) for
which he directed nine episodes including
début The Fourth Horseman (1975).
Survivors led to his first Doctor Who work
The Face of Evil [1977 - see Volume 26] for
which he cast Louise Jameson as Leela,
having auditioned her for Survivors. As
well as The Sun Makers, Roberts directed
The Pirate Planet [1978 - see Volume 29],
Warriors of the Deep {1984 - see Volume 38]
and Timelash [1985 - see Volume 41]. He
later expressed disappointment with the
scripts of the latter two stories.
Even more disappointing had been
the cancellation of Shada (1979), which
remained uncompleted and unbroadcast
due to industrial action. A strike had
previously wiped out Roberts’ episode of
espionage series The Double Dealers (1974)
after location work had been completed.
Erinella, a Doctor Who script he submitted
in late 1978, was developed by producers
Graham Williams and then John Nathan-
Turner but ultimately went unmade.
Other freelance directing commissions
included The Mackinnons (1977), The
Professionals (1978) and ‘Terry Nation’s
science-fiction epic Blake’s 7 (1978) for
which he was heavily involved in casting the
series’ regulars.
He worked on The Onedin Line (1979),
ITV sitcom Mixed Blessings (1980) and
Juliet Bravo (1980) before becoming ‘set up’
director on the first five episodes of female
POW drama Tenko (1981), where he cast
Louise Jameson as Blanche.
After becoming involved in the early
years of S4C, Channel Four’s Welsh service
- his later S4C productions would include
single play The Swimming Lesson (1986) -
Roberts returned to freelancing on BBC
spy thriller serial Cold Warrior (1984), the
glossy Howards’ Way (1985) and shortlived
Granada soap Albion Market (1986).
Roberts directed three episodes of
children’s play strand Dramarama made by
HTV; A Spirited Performance (1987), Playing
for Wales (1988) and Monstrous (1989). He
also produced The Bubblegum Brigade (1989),
a series spun-off from a Dramarama entry.
Staying with children’s entertainment,
he directed and produced HTV Wales
and West’s BAFTA-nominated junior Above:
fantasy serial The Snow Spider (1988) and a.
sequels Emlyn’s Moon (1990) and The Roberts.
Chestnut Soldier (1991). Mainstream credits
meanwhile came on Welsh medical soap
Glenhafren (1992), Crime Story (1992) and
a feature-length Wycliffe (1993).
Roberts taught on the BBC directors’
course in the 1990s but in 1992 relocated
to Penylan, Cardiff to set up his own
production company Penderyn Films Ltd.
While Roberts directed for theatres
in Cardiff and Bristol in the mid-90s,
Penderyn produced and directed four
Bristol Old Vic Plays (1994) for broadcast
on HTV, as well as an extensive run of
The Sherman Plays (1993-7) taped at the
Sherman Theatre, Cardiff and The Frank
Vickery Season (1998).
Roberts was a council member of the
Director’s Guild from 1982 and later chair
of the Directors’ and Producers’ Rights
Society from 1987-2007.
He died of cancer at Velindre Hospital,
Cardiff on 22 June 2010, aged 69.
DOCTOR WHO | THE COMPLETE HISTORY roe
Index
Page numbers in italic type refer to pictures.
TOOLOOO: BC sseivvsscvoeteinccersnnecarisiireanssrcecaneonnennstene yin cenneNntaNeeN 58
LST7HS SSMS waisnvvarssecccevovvesiinrovsvserinscenpveenserenieerpeensiesivinenenieniase 6, 7-11
ABBOLE, [SEN ninvoninonmpmeinmrnsniiveninrmmnnnence 27,29, 30, 38
Acton Rehearsal ROOMS wissen 30, 63, 66, 71,
98, 100, 129
Adams; Doug laStaniinmininsnmonnanvoiminmniandiuninnnniiaien 42
AG@lalde ccsniscaccconimeninnnacamnmnniemmmnnmnians 8,17, 18,19;
24,27,29
AGnew; Dav ld aisiinmcmmmnriucammenninaninanmanmanimmnmnanen 43
Aliens of London... will3
AlGEEANIChasnmmomentyconnmnoemaninnaoumnannaiamosapes 63
AEM PUI: sucnsssencenssonrinsnsnasisscceoer 24, 25,29
AmbaSSadOFSiOf DEH: The isiisrsisiisiriincnninaverosensnevnd 58,99
ANAOdIVGSIONS THE cuss tsinniiieniinininiiedinnianeriiaaunets 119
Ark in SPaC@, THs mn 64
PASEK TA esa cenesepuesceaxovnznnincasesinsanagpbshsapodviansadnasnoaaiyaaeaneiennennaiveancateoign 60
Armeatt, OANikanmnnmmannimnmmmnnmnmmnmminnmenmnnninmninnatTn 9
ANGIE LEO icscnertaneanamnmeniviriomenivanenuvivevcsinaracaanisete 124
ATE Prin tSicninenxnrannmnnnnnccnmannrannnnnininieimdte 38, 75,136
Arthur, Edward... 96, 102, 106
AUdIOO Os amnnenanvmnenneioninnriimmmnnimeeTOY 38,75
Baker. Bo Diiiinionnininieninmninmnannionnin 23, 53, 54,55, 56, 57,
64, 66,67, 75, 122-123
Baket. TOM oiincnsninsguauiiendsnsassiantii 7:8, 9,11 ,21,,22,-29,
30, 31, 32, 34, 36, 38, 41, 42,
53, 55, 58, 63, 65, 66, 67, 68,
71,72, 73, 74, 80, 96, 97, 98,
106, 119, 122, 125, 127, 128,
130, 131, 132, 134, 136
IGG seeregrssesnsnspiteracistin tnnepnanttaseinn a nmnsannanttecie 16,17, 23, 24, 26,
27, 31, 34
BEZKOTOWSII IY, DAVE scssatscoassannnsasesveceereaonssinaxsarvesnsennesunsveiensreesniscann 100
BIsSAl FOUNGAEION ssinvessisnsnnenvenniecnnmaennenred 46, 49, 51,54, 55,
56, 61, 63, 66, 67
BiG) PIAS Dtsiscanmeiaurasnsaoncneenienisnmmnmareneenenmnnnrents 43,81
BiG HGTVEVENITG MGI scorsicssuacosccrvacesssasisesnscsisveeson niversrcaustseevicieanes 71
BiSHalMirsivecuvercrsunsnssuccencavensuenicet recast 1V5,116;.117,.125; 131
TEES chs echuctneyutiuc ees seéndnneevbeveeveivisvewsaitensise 10, 80, 91, 98, 108,
109, 125, 139
BOP ELEN vemsevcsviseviisvvisiavssnasnasersesartniceninstanrnanesaninens 71,76, 80, 81
Design a MOMSter COMPETITION ves 31
BOUCHER CHAS tiinnsncnivmnimninndnanteme 43,90, 91, 92, 97, 98,
106, 108-109
140) DOCTOR WHO | THE COMPLETE HISTORY
BOWilah StEVG: incsccononnimmmarceuninamaTEE 62
Brain of Morbius, The..
Briant, Michael E... 1 D8
Bromly, Alan wees mu 42
BURGESS; AGEING icccoccazamumnnmintmmmninimancantnntian 125
Cafiley: SCAN inusienavacmammananniormennnminnanenen 27,32, 34
GGEIVGl OF MOPISTORS sxcseviveveserevsvevssivsossveravcevavivecsvoecenvcerceninisvisiivessvees 130
Celestial ToyMGker Tie vescnssnianecaansenemnannscecccanwectis 93
City Of DEATH wiser 42,43
ClQWS OF AXOS: TAG wiinnnwonecnseananinontnmninwcacomucnns 99
COMPACT waiisevervecrnvsennnnninnirenctennu 7,9, 86, 87, 88, 89,
92, 96, 97, 99, 100,
101,102
ColleCtog The sinccsnnannmmanamanarmnen 9,1173,115,116,117,
120,121,122, 123, 130,
131, 132, 133
COMMENAES iiisstisnmensancmnmpuannante 38, 75, 106, 136
Company, the 110; 116,177, L2i, 132
CORIO. iovnimnmmiinnmmcniminnnamnniaes 8, 114,115, 116, 117,
120;.126, 127, 128, 131,132,133
COSSEVAE Meh mmomyamemacmngeimeamremmummiteanmane 96
Cotton, Bill...... wn 42
COG PAU MG iwnincavcamnmarmnannedcarecannnai ween rmmennsnnenanty 93
Crewe, De@reK vss 130
Crosse & Blackwell ProMOtion vss 72
(CS Osseciesinvisiasscabasrunincdeansdonrnacoesesbsbescoeepripbenciovestiais 11, 31, 33, 34, 55, 63,
66, 67, 68, 100, 101,
102,129,132
CUMMINS: Jeff insincere
Curse of Peladon, The
Deadly Assassin, The..
DERYSHFISHEF TOYS a cssascssscenanncunineneicenroscinsinnnnaminaaens 76
DESHIAY OF the DOIEKS siscisimecnnpaniannncnninmennamunnasias 42
Dicks, TErraNC@ wees »4,7,9, 14, 21, 22,
23, 24, 25, 26, 27, 38, 41
53,75, 104, 106, 136
DIMENSIONS IN: THM vvccctcircsinivieccenonmmuneonimmnnennmennin 81
Doctor Who and the Warlord (adventure GAME) wns 43
Doctor WAO= DVD FICS vessscnccccscnsineeaimnaceitureresimereres 38, 75,106
Doctor WHO MAGGZINE wissen 4,41, 79
Doctor Who Meets Scratchman..... wol31
BOGOF WAG SOUNG EffOCtS insrcceiviastriveicnsaredciviereninenneniiie 75
Doctor Who: 30 Years at the Radiophonic Workshop..75, 106
Doctor Who: The 50th Anniversary Collection CD ws 75,136
Douglas; Coliniwenv«#»nsnmmmnnnrnnnmnniacere 27,29, 30, 31, 34
PFEGMWGLEN MAGAZINE wccionconimanannimietmnnieonnncen Al
DVD EXtaSiinnancananmnumnacaniancnnn 38, 75, 76, 106, 136
FaliAG Fn StdIOS ccmmcmnmmcennommnmaramnenn 22,29;57
Emmerdale Farm
FremyGFthe WONG: Tieicanccnccmmnonmunenrnenniarmnaen 27
EVENTS EG WIG scccsnstnidvupatssisrenoxteienuiounisinactonsnan 96, 100, 102
EVGninG NEWS remcinwamcenmmnmanncennmmnremnn mie 105
Face of EVI), Th@iscinconnncmunnmnnnanenmnnen 24,57, 66, 90,
95,101, 108, 123,
128, 130,138
FOGEIESS: ONES; DAG veccenmcieirnienavncmenntenterivitarcontiindnninnnntiiie 98
Fang Rock lighthouse wraisimasenrnnincnnvers 12,14, 16,17, 18,19,
25, 28, 30, 33, 36
Fantastic Voyage
Faulkner, MAX
Fell Stuart sciscsssec ?
Fen Gahll GOre tH icc anironninnnsumanctiny 84, 85, 89, 99, 100,
101, 102, 103, 104, 105, 106
Fehdah the ncovimmusnmemienoumanniun 82, 85, 90, 91,102
Fendel man, DOO ssiisesssicsssacessssssvseisie 7,86, 87, 88, 89, 92, 93,
96, 97, 100, 101, 105, 106
FOMCHAlC RM ssssssssssssesssssssssssssssssssssssessessesesesees 85, 86, 87, 88, 89, 91,
92, 96, 98, 100, 101,
102,106, 107
FETCH PRORY inrccninmnnnnnancironmnnnnnennmomriecs 82, 86, 87, 88,
91, 93, 96, 98, 100,
101, 103, 104, 107
FIG AGE CaS EMS vccvssoveesnennsiavevssiscreervenisdaidienneiesiineniieanaitaviteeaiviees 75
Five Doctors, ThE wis MARANA eRUTOMETEMNTANNDTEN 80
FIVG(ISA) DOCLOFS REDOOT, TAG iwinvccivisrseensrrcuanrecairinniers 81
Ford; Carole Anninssnmnsncnannennnncnenanavnniennmnrenamaaiin 14
FICUERICKS; SGOEE, snurisinennaicrainanninnivennnensiienarnianandivin 98
GaLiFreV TANZINE) siiciioncrmmncemmmonmimmnnanremnmnmae 118
Gal EV cusinnntincmnaianannasaian 10, 11, 46, 67, 116, 123
Gatherer Had E onicariip cononenemuaanmmniis 9,112,113, 114,
115, 116, 117,120, 121,
122,123,124, 125,127,
128, 130, 133
GSE Ol xccinnouammanimmninnmmmanimmimnmmemmnnnain
Genesis of the Daleks
COG WIN; DETHIC Kivcsessinmansenisnamarninmanvnses
GS HAMM AT, Pa is sxysnssavorgionstn cent onunanconseusaaasvodvnipivadmtegaenispeconsieivates
GOUGH scsscseccsones
GOUIM, JANIS essen
Green Death, The...
Grellis, Brianunnesun
GUGFION) TAG oworconssesiensniesvcertcncinnecnnasietn
Gunpowder Plot, The (AdVenture GaMe) wissen 14,15
Haid Of F6Gb The ironmunnnnnmmmannanounusenns 56,67, 93
FAGDPINESS: PAUL, Tl ssasasinsivesovsivsaxeovraveassoniasssanszanegivonrbsegeesse 112,113
Harding, Tony a
FHKE scsscsssessssocsnatsrssiaesaa ee
Harlequin Mintatutes ancunnmacancaoumnimmcnmas 38, 75,106
FLAUU KISS [OVCES. vecasuctassienrstacnatesitaitasieracdinanal sinnstiniaainsmaiamasians 24
Hawkins; PAt@Fisnisnanimnerenarimnnamnanncrmionanmntnammnenice 60
FS are, Deities asinasewsaneseservvicnanvvecsssnravivinnenss nivevtarivoiaisionseestnvivvasivecaiits 99
Hereford Evening NEWS wisisiivninvnarmmnmmmsnnneenancenccens 34
F@RTIGK, ROY wsiccasvvcenuirescenmveceeeccciavincenniediinvenitvrerueidisnincainaten 66
Hincheliffe:- PAI Piscean 7,10, 11, 22, 40, 41,
43,52, 62, 70, 90, 91,110
Hinsliff, Geoffrey
Hodgson, Brian......
Hodgson, Jackie......
HIGIMES; ROBGTE iissviteierianecnnscrenamennnscertieny #9; 20,21, 22,23;
26,;41,53;,,57/90; 91, 92,
108, 109, 112, 118, 119, 120,
121,122, 123, 124, 130, 136
HOOF OF FONG ROCK peccissiuccsaseosistvansen 4,7,8,9,10, 12-13,
14, 15, 16-19, 20-21,
22-27, 28-29, 30-31,
32-33, 34, 35, 36-43,
46, 53, 72, 73,99,125
PRO AC COS carccjsancar secetrine oonsaanaamauaniiammuniaiy cen 37
CASTANG CAMHS misancrinccnmnemnennmnnivmanreanenvent atari, 39
ATES L VANES ssenssseacvaassciaicasstencccatssetatsvaeaseoscuntgnstnanepecavanersantinry 38
DOSTPFOdUCT ON nvinicniiimmnmmanomnnommnmemmnenin: 35
pre-production wu. 20-27
production... 28-34
PFOFIE wae 40-43
PUBIC inicninmnnninennenrnennnanmnmnnvinnmonanecnnnt 36
FAL NGS rwsvristenvievasroryadarntsan ntaxiereresrcouvenvenuntoenlinintananianatie 37
read through nitannencnnmnncunmaeraenmnnmaiaiN 29
FENESISAlS sesionesianiiennwense «29, 30,3132
Rocks of Doom (storyline)... 24,53
StO WV iccisanciepticmarararrniunninumaamicammni an 16-19
Hughes, Raymond. 58, 63,64, 84
HUNGUP vansinmamusnmmonnninaniamianmennan 4,9, 41, 112,
123,129
IMage Of the FENCTAL rccsssesseeceeeessnseeeien 4,7,9,10, 82-85,
86-89, 90, 91-92, 93-95,
96, 97, 98-103, 104, 105-109,
134,135
DOB OGASTS ccopsarsiccssnruewinrarniinnrncsisrinaenren eines urinaire 105
CaSTANCICKOAIES nimamnancencnmmmnnncernnenanamenn 107
COSTUMES visser 95, 96,101
CG ITING cccmaiconcronenancaamammnnarannenmninnennmine 103
merchandise. 106
POSE-PFOdUCH ON aniemonnsninnnpansinsancnmmamanecan 103
PRE=PROGUI CH OM arvienscerveniiirrenicerivceresiervenadieniecenertivis 90-93
DIOKUCHON witastincminnneimonaneR RENN 94-102
ProFile vases 108-109
DU DN City anennsienniemmrammmnnimnnnmmminemenienin 104
FAUINGS osinastcarsrentercemnamniaanhonDNU ERNE 105
FEAC THOUGH waminimancanmmanmanamaTER 98, 100
DOCTOR WHO | THE COMPLETE HISTORY a
iatgopemeettt crt cent et entre errr 124
Invasion of Time, The.. 7, 8,9, 11, 42, 43, 46
IAVISIBIE ENEMY TE msanccnnanmancanamnpucoss 7,10; 11,23,,24;
26, 37, 41, 44-45, 46, 47,
48-51, 52, 53-56, 57,58, 59,
60-61, 2, 63-81, 85, 91, 93, 99,
104,123,125
EYP CSTE ccd vsvsecvavervsvcsncvevicissvnvsivepdvensevsteeivicnreneeiaieatiseety 73-74
East and CreditSimaannminnconmecnimnenmmenuennnee va
COSTUMES vives wn 66
SCHINGicacmmnmninen mnie CUTE 70
merchandise....... «75-76
POST=DKOTUCTON encnnvasimmmnnmamincnnmnnmemnaTeY 70
pre-production... 52-61
PrOd UCTION iminisiinmnnannananmanmmnnaiT 62-69
BIOTIC scaenutonmacawasnonsenanesivenmaenienmmaenasng ais 78-81
DUB CY tammenannmminannnimainnnniniiameamatt 71-72
FOUN OS i ncsarnieertenaunineniruumisnnsmmmnenniat 73, 74
REMSASS |S sisisisacienuead auwiraannaasinnuzeniin 56,.61,.63,'65,
In-Vision (fanzine)
IPVING, Matvvvsssvn
JPEG SE FEM SHE cisnsncsssemunmarivancnanmninnmcnmncamnindans
JAGOS Mickiwtineinnnicancnvnenamaniencnnvenimeenaruanarmmrencentt 96
Jameson, Louise Vg OnC Opel ere
30, 31, 33, 34, 36, 38, 53,
58, 63, 66, 67, 69, 71, 72,
75, 94,95, 96, 97, 98, 101,
102, 106,119, 125, 127,130,
131, 132, 135, 136, 138, 139
JGhiivGhhs BOY Meiinmonsmmnanmmanmucantenniine 58
JONES, RAYSa priandcasdnncuumsontinsmmminm orien dull 124
IGHREVSENG csmumnuminiumnnuinanasiom minutus 81
8,10, 11, 24, 26, 46,
47, 49, 50, 51, 56, 57, 58,
59-60, 61, 63, 65, 66, 67,
68,69, 70, 71, 72, 73, 7A,
75,76, 78, 79, 80, 81, 86,
91, 92, 99, 102, 114, 115, 116,
117,120, 121, 122,123,125,
126, 128,129,.131,132,133,
Keating; Michael cnisarnnanscaninanineninnmnnienziian 125,136
KCI Til srrestcouowen win teypned recede nlupeanesbalaaraneeheueinneerncsemneanteliatenvints 128
Key to Time, the... wel, 53
KINGS lahG,. PAGGY wiiinnnmeieummamarennvnuniiananmnananets 133
Knipe; ROVkiniacicnmnmnannmnmmmonamnemanmaniaiee 75
1a DOCTOR WHO | THE COMPLETE HISTORY
L
Lawson, Chris...
LAZE || LANA isnautianarsmaummanatenanamararainaiuneucand 62,65
PEACH «RIERA wnmcinummntonnenmnnamnmeanmmtennain 9,125
LOCA issn wn 4, 7,8, 16,17, 18, 19,
22,23, 24, 26, 27, 29, 30, 33, }
36, 44, 46, 48, 49, 50, 51, 53,
54,55, 57,61, 66, 67, 68, 69,
72,73, 74, 82, 85, 86, 87, 88,
89, 90, 91, 94, 95, 96, 97, 98,
99, 100, 101, 102, 103, 104, 106,
108, 109, 110, 112, 114, 115, 116,
117,119, 120, 121, 122, 123, 125,
126, 127, 128, 129, 130, 131, 132,
133, 138
Leeson; ON ikiitinniiannnmmnninimminnanarann 60, 63, 65, 69,
71, 72,75, 76, 78-81, 102,
125, 131,132
LEISUTE FIVE, TRG iiaisiscnirimnamanonnaniimanandmnncsains 80
LL; DEMIS iiscisaianasiaininaieninmmnninoninnaiieininunsinanaias ‘93
Lite GOVE StUCO ac csnnwpniinwanamanionmarermndn 70, 103
Lively Arts: Whose Doctor WhO, The. 21,31, 41
(Movers dlalaigillduilaisimemmeorenree errr tr tT 11,.22,42, 53, 95,
96,99, 100
Camden Deep Tube Shelter, Camden Town, London......
128, 129, 134
Stargroves, NEar NEWDUTY sess 96, 97,98
WD & HO Wills Tobacco Factory, Hartcliffe Way, Bristol...
124,126,127
LGG SRE wiccinannenirersr ivecinemnnmnennarcdsiwnseisamaiaiinnierl 124
LondonEvening Stangard wicccdinccmmnmnmninimannanin 131
LCOS sivstsecurvsnevees iva roveecitvren dowd veveccens 48, 49, 50, 51, 60, 64,
66, 67,68, 69, 70, 74
LUCAS, SIEVE iininiievnannsininaninnimunnmennnamtED 100
MAGEAGy ROVininccmncsmoninmmnmanommunnniinan 132
MANGE l iciiitcdisummnbsiarmnntommiiayinn 8,114,115, 116, 117,
119, 121,129,131
MapSOn: COIN ccniinanancmnivame onmmnmaminabne 93,101,106
Marius, Professor 49, 50,51, 52, 55,56,
57, 60, 66, 67, 68, 69, 70, 99
MAN nsnentnscnsarccmannienancmmnnrcamie 114115117 eL, eS;
125, 128, 130,133
Martit, DAVE canesmmpennenencemsruncenes 23,53, 54,55, 56, 64,
66,67, 122-123
Martit, DEFER iiinncsnissenmusnenicnmnmineinmanccceetenmsstcenins 99
Maiti, [OMIM SGOT iviinsiiveeisecccrninianraceninndinierniceniensvisiieniiy 64
Masque of Mandragora, The. 58, 60, 67
McCarthy, Michael sssecesssssssssnssosssssceccssecrecensecatcessesscuansvaseenseiessesneseuansaces 65
McDonald) Graeme winnennoscamannnincentnes 23, 24, 41, 53, 60,
61,91, 93
McManus; |iMiagnnsicnunnnncniamannaniaminnamuieamnnans 69
Meeker i ;
64,65, 70, 74
MEGFOBOIS ONG iceoisseericarinnrrnaoersen: 114,120,121, 124,127,
128, 129, 130, 131
Mills; DICKciniimennunomamumannmoniaGs 27,61, 75, 93,133
MUNGO PEW, TiGixicnsnnausndionn nunspeunnapncaeapinin 60, 99
MITCH El lpninecncnamomo mT 86, 87, 92, 103
Mitchell, AJ “Mitch vn 30, 34,64, 65, 132
MORSIEFOF PEGG; ThE onncmnccmmmnnmunnannemanmuan nus 27
IMOOTIDAS},- TING sccacsszccoceancccersurveccevaysicocerveistessonssscevorbesvibedabbisevepesdaanésens 27
MOSS; PEG sicnnemsnnmnnccmnnmananawnnees 86, 87, 88, 92, 96,
100, 102,103
MUSIC stcoscnnomemmmnmmentnnremercmmncnn 30, 35, 70, 103, 133
IMUFEGITES, TAG scscvesneesncesnececceeicevcestigecteveccovsoceecesvevivtecivivvnisvestieteveebavn tit 13
Nathan TUTHeh, OFA drs nnimncornnomminnedeiorinie 24,58, 65, 138
Nations Lenny neanancoonmmonmimanonenmcarinty 91,109, 138
National Viewers’ and Listeners’ Association
Neill; avira necieinamnennninmnun miami
Newbery, Barry
Nightmare Fain Ties iasiutcimnunnsancnnnpnininenanniciansn
NIGHEMGNE OF EGON: sccsncsnmusimenisonsnanscnminanuany:
NUCIEUS Of ThE SWAFM vices 44, 46, 48, 49,
50, 51, 56, 60, 63, 64, 65,
66, 68, 69, 70, 72, 75
OBSCIVER TMC is sensinasearccositranand artisans sitanicinaiauiicnsnisdecnesaniives 37
Open House (BBC Radio 2)
TOTS TIE a aiasiaicnsvaresiencerndanieunavsssereerabieivenvesersennte 121,128, 129, 130
OVESEAS Sal€S vniicnnannnrmeannnnnnnanmnanntnn 37, 74,105,135
Pallitoy siccninmentaneenmmenmnniatinaweincenetiorerareensinisnrdcnivienivonenennnnveonitieetan 76
PALMER SIS: LOG! naeavnaratvenstamveniuenivnacernnrets 8,9,17,18,19
21, 26, 27, 32
ParSONSisnnivonmnummeninaumnnnnmmasiomenasion 49,50, 56, 70
PEDDIE MiILGt ONE isescunmamnenipmmmineaannnmNn 31, 80
PEbbIE Millnuicniminctantimannunicummnmdsaans 23, 24, 30, 33,
34, 41,125
PEG ge Ed MUNG midis nncimommmonninmmaumauamined 63
Pegrum, Peters 25, 28, 30, 34
PGOPIGIE Ui BariasiisesumiieenausssiniiganaiomeninatodsanGensere 138
PIGNEE OF EW hewcconsannsnnnniinnnunatammnmianmnmatan 64,66
PIRITO: i cnocmminansantgmianouingamaarnendl 85, 110, 114, 117,119
120, 121, 124,125,128
PPO AES WM SIS sie sepccesesnaseny cannes nibs avaapsssensnnsvehengansestreesinatirsaaia 127
POISOR: SKY The icciwizcviscnuniannunnnnnsniercavnivemeccenaunnmecniness 14
POWEM OL ROL TIC casisevisiesvcceessavs veistnusasuicnriveaiariseesineiceabea 42, 80, 81
Pyramids Of MOPS) TAG swseseunsnswzsamuateiserenseoeeceecse 22,29, 54, 58,
60, 96, 98
Quatermass and the Pit
QUATEFMASS Hessen
RGOGIO TAMES scxceniteasinsivtrrianvnniueeienntvneweinieenrete
73, 104, 134
RadiGBhoOnic WORKSHOP wimmemnncmmamamaness 27,61, 93, 133
RANSOME, THEA vesssssssessssssnessesssssessssssessssneen 9, 84, 85, 86, 87,
88, 89, 92, 97, 98, 99, 100,
101, 102, 103, 104, 106
Rawlins} CHnStin@rccswsrncammentnnenmanimnemannan 123,130
Read, Anthony
Reignof Terk. THe wcunning: 66
Remembrance Of the DdIKSwscscssssssssssssssesseesssneenies 80
REUDERiviniccnnranesimemeennmenenionnaannn 9,16, 17, 18, 19, 21,
22,:23,-26, 27, 30, 32,
33, 34, 39
REVENGE Of the CYDESMEN vss 60
Ridley Ata invinnnminnnnrarnininreammcenuTANTE 93
Roberts, Amy..... 93,95
Roberts; Pennant vinsiinneninnanmnnnncwaies 123,124,125, 126,
127,128, 130, 136, 138-139
ROO Bisiiiiinaniniiniinsinettennianatnaiianmninanamen 54
RODGES Of DEG. TG sssiciiacscrscseoorusiapassseraue 40,90, 108, 134
ROMAN: sistinuisnmininaumuniunnanianiunanmmunueAN dae 46
ROWE Alaf wannimmonncenmnnunananntmnnnuinanninneintin 27
Rowlands, Anthony.. 63,64
ROWIENGS DAVG sommes 125
RUSSE], PAACY. sesssserrssssessesrecseqessnsnssecernuasuaveacennsqueanays 22, 23,24, 25,27,
29, 30, 31, 34, 35, 38
PROMECU i shataenstassstvaaatoaeentanstecniatcrdratinviarntitieris 4,7,10, 14,15, 16,17,
19,25, 26; 28,31, 33;
34, 38, 46
Saflailaviarniainmiggmmncnanian . 48, 49, 54,57, 60, 65, 70
Sarah fane' Adventures; The wsninnnnncncnunmnmnninacine 81
SGVGGES, THES ossievsisnerisiere ‘i OO
Saward, Eric... wn 43
SCHOO REUNION iisicersnaisisisoonmoniraummumnnaninin 46,81
Scoones, lan ....... 58, 59, 62,63, 72, 74,75
SCOtL, OMI AicsninenmnenmnnumemiinctaERRED 125
SEG DOVIS: THE siaisirasnieniananpanusiinviniiaiianinianniudits 124
Seeds of Death, The mn 24
SCNSONLES: | NGrdomnnncaniannieomnhommnnanaombaa nate 25
SHOU G incincncatnmmenennnmunsntntitenmeeRNre 42, 81,138
Shakedown: Return Of the SONTAIONS wissen
Sheaid, Micha Glisspcncnsiaasnsiranermacat
Silva SCreeN.es
SINE Vicasnccnnsieona
Simpson, Dudley...
Simpson, Graham
SIREGT DOCTOR ssnvercrteteversscsecancorecensavavstinincantapnsnixasensccinieeraniewinenisiiininl
Skilleter, Andrew...
SRAM SACS scsescrisssrceneseioreiavesviceenvninicrvisveeienavanieisbentaares 9,17,18, 19, 24,
25,26; 27; 33:37
SIaLST Bill sieiduasviverusesenvanisiwversinivciocicenmiwvericesmanvesteesinerindy 52, 53,60
Smith; ROGenICKiesiscccenmmmnsrmmewntennamamnimemneteanin 69
Smith, Sarah Jane. 27,46
Snoadeny: TONY wasvcesssveaures 124,127,129
SOntaran EXPEHMe@NE,. THe cccnnasswnineessimenysceressieen 14, 26, 56
SONTAIANS tinanmancnnieannamimnnanan 7,10, 14,19, 26, 56
SPOCE: PIPAteS;. Me siccninncumomiicimnmaminananmmnnnsuas 58
EPIL e TS ast sapna nsssna a zavonapaangtiang pac sianeareiiuaeebintasiapapiaibansIAvonNiNN 62
SPeGhhedd [ront SG CA ses cmscnpatmemmmemapereamnnmmin 24
SPeEntOn-FOStes, GEOG 92, 93, 96, 97, 98, 103
S136 Ma XK cccwercamannmonanns 7, 86, 87, 88, 89, 92, 93, 98,
100, 101, 103,105
Stain p Centre COVEr vansscnssnnmravnmmncnmnmmmmnerntis 38,75
Star Turn
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SEGIGHEGIEN, TAGs wsivveseessvtuscvstainseaiececivniesitvendcecnsscnsvineevencann ecenesinsevenvin 81
Sum MGKERS;, The@wiwevwieansimesnavncnismnienniinttn 78,9; 85/93;
96, 97, 110-113, 114-117, 118,
119-121, 122, 123-125, 126,
127-138, 139
DIA EAS tisismemmeamonmmrnnmnaiianTt 134-135
GASES CROCUS isewrisiecsrenveensiacarevimnnencineimmoneen nie 137
COSWUMES asinine 127
COILING swsinnmeumimmavandunirnemsirricnntnentmennninas 133
MENCHANCISSs ininiinmiimininnsinniermanninnIT 136
POS HPROGUCHOR iicumongineiernmnnnemenane 133
pre-production... 118-125
PIOCUCTION wasaniummonnnnmminecuurmnmansas 126-132
profile wi 138-139
SUBIC opusrenomeummemmnsuneiionnmiN 134
FELIS am snaremenaisuainsamaarnaansuatuamoaen 134-135
(AN GatSalSyccanmnnrnmuntimonmenninarmmtean 125, 129, 130
STOVE spvavssasctdssnnscersvaesnitcestecattciuedsaaiastassneitansiinninieadawuitteies 114-117
SHIM) TAG cescsniweomercasinnnriiacnanmnnannannnenieinninannine 32, 73
SUMO GY IMI OI vs csorsiess spatescesiniavscvdenna ivaveaiainerjers tinipioiareieciartunainiiy 71,131
Sunday: PeODle, THE diiimncmunimncmimmmnmnnaminenRR 104
SRVIV OTS ss vivrcivvsispeseiniennredisbectareorivecivenitatern dsteunenidiunstds 93,128, 138
Swarm, the. 44, 50, 51, 56, 62, 63, 79
SVG vivsvevanivenereienanirnarrriaidiann eau RRC ANITArN TRE 8, 116, 130
Talons Of WeNG-CHIGNG, THE vse 22, 30,;53,;.54;
57,58, 63, 85, 118
The Talons of Greel (WOrkiNg title). 22
TARD Bis saiuaiionsinunsiupaidmunuunmiensmaniay 8,11, 12, 16, 24,
25, 28, 30, 46, 47, 48, 49, 51,
54, 55, 64, 65, 67, 68, 72, 86,
88, 89, 91, 92, 97, 98, 99, 103,
104, 114, 120, 123, 124, 129, 131
Target NOVELISATIONS wissen 21, 22, 28, 75,106, 136
HOE Gs cc ceidGlatanineaninianenancons 40, 41, 52, 53, 70,118
‘LCR DO CIO ismcenmememencnnnasanmeninmnacummmoneats 14, 46
Time Lords wanes 85, 88, 116, 123
TMA OU tsiiccrenvccernionmenavanuneennuaninminamanarnunancrenniaprenes 73
TUM WAKO TAC a veiesinsssccinivevccvnvecscteinnecieeepneinaien 14, 23, 25, 26, 27
TUMICIOSH scecverercomoseerasinserannenn enensncentemicreseuarenednegmnietann 138
HETHIOS), WAR scruvevceesvexyycsenitess ssvarsiaisaiee cebu stssnavesebarha inven eves teuattens 63,73
Tt BaSCimnamencumanmmnienncinmereny 46, 48, 51, 53, 54,55,
56, 61, 62, 63, 64, 65, 66,
67, 70, 73,85
Tlie Cl Sieeceorssiutveivsoescbesstierentantenwinenranieneney 36, 37, 72, 73,104, 134
14 DOCTOR WHO | THE COMPLETE HISTORY
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TWOP O GIONS: TAO isieissiaaissscivas visnaisiosavavnis viscitien eaiitiateaioaaaiaciree 14
WIEE Ja Korcirarcamnenrencancmmenememcac 7,9, 86, 87, 88, 89,
92,96, 98, 102
TWEE Martha nacnunconaarsinnemainannn 7,9, 86, 87, 88, 89,
92, 98, 100, 102
MASK FOUMG TOYS scvnsesssversinsiversasveatnnivveereciieievineavavennwedenniannees 106
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114,117, 121,123,125
canviiivENitaT UTR RraRAnTeRGN 98, 99, 100, 101,
102,104,106
VINO sieniirctenniannnnnsazainiemnrancen 8, 9,16, 17,18, 19, 21, 23,
26, 27, 29, 30, 32, 33, 35
VIOIENCE ANC HOCTOF srsssesssssssesssessssseeesees 7,9, 31, 32, 40, 41, 52, 90
VIFGIN BOOKS i annnisuninsinnnnantanonioanmmnninaennntt 38
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60, 61,67,68
WallGF Kennethixinnsnciniminmmnannntnamiamomaniame 60,69
WallEE KERNEL aniciuncaisacinaasnsaniuiarnninaneniigeaicenuanatian 69
War GaMeS;, Tie iisccaiinimnenimininmiomninenmmanimnnnini 85
WGTEFIONS OF ENE. DED scccavsuvicsivvsivseiviortinwaveisiienrdaeuniniiiiientanivii 138
Warriors’ Gate wis .46, 80
Watson), RABI anni insnuiineciniitniermtocennmuntiannnvininnniiten rah
Web of Fear Theivnninwennonimnnciunnurmanmnmaninumny 27
WH Allens 38, 75, 106, 136
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WiKie, BERNSIG cninnamnnnminny mugen ainanaunatte 58
Williams; Graham tniinnniinnicnnnannnmanm 7,21, 22, 24, 25, 26,
34, 35, 40-43, 52, 53, 58, 59,
61, 62,65, 67, 68, 70, 72, 73, 74,
79,90, 91, 92, 93, 95, 99, 100,
101, 105, 118, 119, 120,
123,129, 138
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Witch Lords, Thé........ el, 22, 41,53
WOOFER: cs anmncmiatiiiannn onaiaminacnonteann 9,118,122;
130, 132
WIGOI ETE AEE re, astsisannintonsonisdniainisariedpnpennduaitaansinns 27,29
WORE: WF THEE cciinnnnnmmnnmmncinninncnmmnmnnaanien 113
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LEGO S vcs eviviwssonsovcives innsesvevevevneceussirissevssccrvstetres 22,27, 40, 52, 58, 60,
79,91, 92,119
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1B |B IC}
DOCTOR
WHO
THE COMPLETE HISTORY
HORROR OF FANG ROCK
On a remote island, the occupants of a lighthouse and the
survivors of a shipwreck fall victim, one by one, to a ruthless
alien that has the ability to transform its appearance.
THE INVISIBLE ENEMY
When the Doctor is infected by a sentient virus, clones of himself
and Leela must journey into his own brain to confront the enemy,
IMAGE OF THE FENDAHL
Attempts to unlock the secrets of a skull that predates the birth
of man release the Fendahl, an ancient evil that could destroy
the world.
THE SUN MAKERS
The human population of Pluto is subjugated by extortionate
taxation, imposed upon them by the ruling Company, so the
Doctor and Leela lend their hands to the rebellion.
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