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THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO
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STORIES 150-152 “=

SILVER NEMESIS,
THE GREATEST SHOW IN THE GALAKY
AND BATTLEFIELD

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VOCTOR

WHO

THE COMPLETE HISTORY

SILVER NEMESIS
THE GREATEST SHOW IN THE GALAARY
BATTLEFIELD

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DOCTOR

WHO

THE COMPLETE HISTORY

EDITOR MARK WRIGHT

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 PETERWARE

ORIGINAL PRODUCTION NOTES ANDREW PIXLEY

ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON,
ALISTAIR McGOWN, TOBY HADOKE
WITH THANKS TO JOHN AINSWORTH, MARK AYRES, RICHARD
BIGNELL, ANDREW CARTMEL, SHEELAGH CASSTLES, PAUL CONDON,
JAMES DUDLEY, MARCUS HEARN, DAVID J HOWE, NIC HUBBARD, BRIAN
MINCHIN, STEVEN MOFFAT, KIRSTY MULLEN, MATT NICHOLLS, JUSTIN
RICHARDS, JULIE ROGERS, EDWARD RUSSELL, GARY RUSSELL, JIM
SANGSTER, JO WARE, BBC WALES, STEPHEN JAMES WALKER, MARTIN
WIGGINS, BBC WORLDWIDE AND BBC.CO.UK

MANAGING DIRECTOR MIKE RIDDELL
MANAGING EDITOR ALAN O'KEEFE

BBC Worldwide, UK Publishing:

DIRECTOR OF EDITORIAL GOVERNANCE NICHOLAS BRETT
DIRECTOR OF CONSUMER PRODUCTS AND PUBLISHING
ANDREW MOULTRIE

HEAD OF UK PUBLISHING CHRIS KERWIN

PUBLISHER MANDY THWAITES

PUBLISHING CO-ORDINATOR EVA ABRAMIK
[email protected]

www. bbcworldwide.com/uk--anz/ukpublishing.aspx

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& Marketforce,

PrintedinSpain ISSN 2057-6048 ALLRIGHTS RESERVED

Ee] hachette

PARTWORKS LTD

BBC, DOCTOR WHO (word marks, logos and devices), TARDIS, DALEKS,
CYBERMAN and K-9 (word marks and devices) are trade marks of the
British Broadcasting Corporation and are used under license. BBC logo ©
BBC 1996. Doctor Who logo © BBC 2009. Dalek image © BBC/Terry Nation
1963, Cyberman image © BBC/Kit Pedler/Gerry Davis 1966. K-9 image ©
BBC/Bob Baker/Dave Martin 1977. Allimages © BBC. No similarity between
any of the fictional names, characters, persons and/or institutions herein
with those of any living or dead person or institutions is intended and
any such similarity is purely coincidental. Nothing printed within this
publication may be reproduced in any means in whole or part without

the written permission of the publisher. This publication may not be sold,
except by authorised dealers, and is sold subject to the condition that

it shall not be sold or distributed with any part of its cover or markings
removed, nor ina mutilated condition.

Contents

SILVER NEMESIS

8 10 13 24 36

INTRODUCTION STORY PRE-PRODUCTION PRODUCTION POST-PRODUCTION
PUBLICITY BROADCAST MERCHANDISE CAST ANDCREDITS PROFILE

THE GREATEST SHOW IN THE GALARY
30 u2 36 66 80

INTRODUCTION STORY PRE-PRODUCTION PRODUCTION POST-PRODUCTION
PUBLICITY BROADCAST MERCHANDISE CAST ANDCREDITS PROFILE

1989 SERIES
90

OVERVIEW

BATTLEFIELD
102 104 108 124 130

INTRODUCTION STORY PRE-PRODUCTION PRODUCTION POST-PRODUCTION

132 133 135 136 138

PUBLICITY BROADCAST MERCHANDISE CAST ANDCREDITS PROFILE

140

INDEX

DOCTOR WHO | THE COMPLETE HISTORY (3)

VOLUME 485 |» stoxesisoise So Ge COOGS G2 rt *

Welcom

here’s a celebration in the air for nemesis - but it asks us to think about the
this issue of Doctor Who — The Doctor, and really question his origins.
Complete History as we go behind Silver Nemesis looks back over the previous
the scenes on Silver Nemesis,[see quarter of a century, while encouraging
page 6] the story that marked us to look ahead to the next 25 years. And
Doctor Who's 25th anniversary. what a 25 (and a few more) years it’s been!
Unlike The Three Doctors [1972/3 - see The others stories in this volume - The
Volume 19] and The Five Doctors [1983 Greatest Show in the Galaxy [see page 48]
- see Volume 37], which celebrated the and Battlefield [see page 100] - celebrate
10th and 20th anniversaries, Silver Nemesis Doctor Who in different ways. They are
avoids bringing past incarnations of the a mark of how the series instills a great
Doctor back for the party. At the time I sense of loyalty in those who work on it,
remember being disappointed, encouraging cast and crew to go above
sad that I wasn’t getting to see Sylvester and beyond the call of duty in service
McCoy’s wonderful Seventh Doctor to a Time Lord.
trading banter and barbs with the Sixth The Greatest Show in the Galaxy is a perfect
Doctor, or discussing the finer points of example of how the behind-the-scenes
jelly babies with the Fourth. Seeing Doctors § story of Doctor Who is often as fascinating
together is always such a thrill, and it felt as the Doctor’s on-screen adventures,
like there were some people missing from something we celebrate in every volume
the celebrations. of Doctor Who — The Complete History. Turn
In the years since Silver Nemesis was to page 48 to find out how cast and crew
broadcast, I’ve come to appreciate the battled to save a story from cancellation.
Below: story for what it chooses to do instead. Battlefield saw the return of Nicholas
Pens Not only is it a fast, furious and fun Courtney as Brigadier Lethbridge-Stewart,
reunited: the ; A :
eyaiigiurned adventure with plenty of action and the one of Doctor Who’s most enduring and
in Battlefield, return of the Cybermen - a true silver loved characters. Courtney adored Doctor

Who, sometimes prioritising it over other
jobs in order to make one more appearance
with that wonderful chap, the Doctor.
Nicholas Courtney’s commitment and
devotion to Doctor Who over the years
highlights just how this one television
drama gets under the skin of those who
work on it, how they can grow to love
it just as much as the fans who watch
it. Along with 25th birthdays, that is
something well worth celebrating.

Mark Wright — Editor

WHO | THE COMPLETE HISTORY

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SILVER

> STORY 150

An ancient Time Lord weapon erashes to
Earth, drawing the Doctor and Ace into a
battle with Cybermen, neo-Nazis and the

sinister Lady Peinforte. Can the Doctor
Reep his darkest of secrets: Doctor who?

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DOCTOR WHO | THE COMPLETE HISTORY @

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Does Lady
Peinforte
have the dirt
on the Doctor?

ER NEMESIS » stox:s0 .

lundering the series’ past -
evoking a nostalgic feeling of
former triumphs - is always

a big part of Doctor Who's
anniversary celebrations. The
Three Doctors [1972-73 - see
Volume 19], as the title suggests, brought
back the first two Doctors to join the third
to mark the show’s 10th birthday. The
Five Doctors {1983 - see Volume 37] also
resurrected the Doctor’s past incarnations
and added returning companions and old
enemies into the mix to commemorate
the 20th. But what direction would the
production team take when the series
clocked up its first quarter-century?

It wasn’t really the right time for another
reunion of old Doctors - the last occasion,
The Two Doctors [1985 - see Volume 41] had
aired only three years earlier. The 1988

~ Introduction

series opener Remembrance of the Daleks [see
Volume 44] started the party early, setting
events back in 1963 - the year the series
kicked off - and including action in the
junkyard on Totter’s Lane, the setting of
Doctor Who’s very first scene. Silver Nemesis,
the official anniversary story broadcast
exactly 25 years after the series’ first
episode, followed later that year and had to
find another way to reassert what is great
about the series after all those years.

Because it was the show’s silver
anniversary, the Cybermen (looking
more chrome than ever before!) were
drafted in, but writer Kevin Clarke had
some other interesting ideas that he felt
suited the celebratory theme. He decided
to re-establish the mystery about the
Doctor’s origins. There had already been
intriguing hints about the Doctor’s past
in Remembrance of the Daleks when he
vaguely implied he’d been involved with a
prototype of the Hand of Omega - a device
of awesome power that dated back to the
earliest days of Time Lord history. Silver
Nemesis followed up on this, suggesting
that the Doctor had some dark secret. It
reminded us that we don’t even know his
name. “Doctor Who?” says his rival, Lady
Peinforte, “Have you never wondered
where he came from, who he is?”

In 2011, this mystery was resurrected
as “the question that must never be
answered” in The Wedding of River Song
[see Volume 70]. Although we never
found out what it was, the Doctor’s name
was eventually revealed to be the key to
opening his tomb in The Name of the Doctor
[2013 - see Volume 74] as the series geared
up for another anniversary celebration.

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| Ie “HAVE YOU NEVER WONDERED
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mM "WHO HE 1677) he

1 i a

omewhere in South America, a
S German called De Flores gathers

his troops and raises a toast to the
Fourth Reich. He takes a silver bow and
leaves for his private aircraft.

Out in space, a meteor containing a
statue approaches the Earth. [4]

In Windsor, 1638, Lady Peinforte
and her servant Richard visit an elderly
mathematician. He calculates that the
comet Nemesis will strike the Earth on
the 23 of November, 1988.

On that date, the Doctor and Ace are
enjoying some jazz. The Doctor’s alarm
goes off but he can’t remember what it
signifies. They are shot at by two men
wearing futuristic headsets, but evade
them by jumping in a river. The Doctor
uses Ace’s tape deck to check his alarm;
the Earth faces imminent destruction.

Peinforte and Richard drink a potion
which transports them to 1988. [2]

'
so;
£ . - .

The Doctor and Ace search the vault of |
Windsor castle for a silver bow - which
has mysteriously disappeared.

The meteor crashes near a derelict
warehouse [3] and a police car halts a
short distance away.

The Doctor and Ace travel back to
1638, landing in Lady Peinforte’s house.
The Doctor explains that Peinforte made
the statue out of a living metal called
validium with one purpose - destruction.

Peinforte and Richard watch as the
policemen examine the meteor. Nozzles
emerge from the ground and kill the
policemen with poison gas. [4]

The Doctor lands the TARDIS in
Windsor Castle in 1988. He and Ace hide
from a regal lady walking her corgis. [5]

De Flores’ troopers secure the meteor.
The TARDIS lands nearby. The Doctor
tells De Flores that for the statue to
activate, it must have the bow and the
arrow. De Flores is about to have Ace shot
when a spaceship lands and Cybermen
emerge! [6]

e Flores’ troopers start shooting at
a the metal giants. The Doctor grabs
the silver bow from its case [1]

and escapes with Ace in the TARDIS.

_ De Flores orders his men to retreat.
Peinforte and Richard explore Windsor
while the Cybermen cut the statue free
from the meteor.

The TARDIS lands in a park. The
Doctor uses the bow to lead them to the
statue, which the Cybermen have placed
in the crypt of a tower.

Peinforte and Richard are confronted
by two thugs - and leave them dangling
from a tree in their underwear. [2]

Ace’s tape deck picks up the Cybermen’s
signals. The Doctor plays a jazz cassette
to jam them. [3]

Peinforte and Richard enter the tower
but there is no sign of the statue. The
Cybermen attack but Richard deters them
with a gold-tipped arrow.

The Doctor and Ace find the Cybermen
spaceship being guarded by the two men
with futuristic headsets. The Doctor
lures the guards away so Ace can throw
her rucksack containing Nitro-9 inside.
The spaceship is destroyed in a massive
explosion. [4] Suspecting betrayal, the
Cybermen destroy the men left on guard.

De Flores greets the Cybermen and
proposes an alliance. He offers to remove
Peinforte for them. [5]

The Doctor tells Ace that every 25
years the comet’s orbit brought it closer
to Earth, causing both World Wars and
President Kennedy’s assassination.

Peinforte finds the Nemesis statue in
her tomb - as De Flores enters with Karl.
Richard tells them that they can have the
statue and the arrow and he flees with
Peinforte through a secret passage. De
Flores is pleased - he now has the statue,
the arrow and the bow. But then he
realises the bow case is empty.

The Doctor discovers there is an entire
Cyber Fleet in orbit. [6]

T: the crypt, the Cybermen have fitted

De Flores and Karl with futuristic

headsets. The Doctor and Ace enter
and the Doctor places the bow in the
hands of the statue to reactivate it, then
snatches it back and runs out. The statue
blazes into life. [4]

The Doctor and Ace return to
Peinforte’s house to collect some gold
coins, then land the TARDIS in the
derelict warehouse by the meteor.

Peinforte and Richard thumb a lift from
an American, Mrs Remington.

The statue returns to the meteor. It
tells Ace that “Lady Peinforte called
me Nemesis, so I am retribution”. The
Cybermen attack and Ace repels them
with gold coins fired from a catapult.

It turns out that Peinforte poisoned
one of Mrs Remington’s ancestors. [2]

Ace is cornered by three Cybermen on
a gantry with only one coin left; [3] she

fires at one of the Cybermen then ducks
so the other two shoot each other.

The Doctor instructs Nemesis to
destroy the Cyber Fleet. Two Cybermen
advance on the Doctor as Ace returns.
The Doctor places the bow on the ground
by the meteor’s rockets then pulls Ace out
of the way as the rockets fire, destroying
the Cybermen. [4]

De Flores and Karl arrive and take
the bow - only to be shot by the Cyber
Leader. Peinforte and Richard walk
in, Peinforte threatening to reveal the
Doctor’s secrets. The Doctor calls her
bluff and gives the bow to the Cyber
Leader. It orders the Doctor to prepare
the Nemesis for launch.

Peinforte screams as she is absorbed
into the statue. It takes off and wipes out
the Cyber Fleet. [5] The Cyber Leader is
about to shoot the Doctor when Richard
stabs it with a gold-tipped arrow.

The Doctor and Ace return Richard to
1638. Ace asks the Doctor who he is, but
he doesn’t reply. [6]

Pre-production

y 1987, former guitarist and
drama teacher Kevin Clarke
had written two stage plays,
scripts for three unmade BBC
series, and contributed to

the new ITV wartime drama
Wish Me Luck, soon to enter production
for broadcast in early 1988. Clarke had
attended the first BBC TV Writers’ Course
and had been attempting to write for
Casualty. BBC producer Caroline Oulton
told him that Doctor Who was looking

for writers and - although Clarke was
reluctant - made him contact script editor
Andrew Cartmel. Searching for new
writers, Cartmel was impressed by Clarke’s
script The Score (for a prospective series)
and asked to meet him in March 1987,
despite the fact that Clarke had no interest

in science-fiction and had only seen two
episodes of Doctor Who.

Busy attempting to write for Rockcliffe’s
Babies and The Bill, Clarke had no further
contact with Cartmel for six months, and
found himself out of work. Calling Cartmel
in September, he was again invited to
discuss story ideas. His initial suggestion
was a traditional Doctor Who tale, which
Cartmel did not want, and instead the pair
talked about jazz. Clarke was sent away
with videotapes of old serials to study,
and found that he particularly enjoyed
the black-and-white episodes from the
1960s in which the Doctor was a more
mysterious figure.

Clarke secured work on The Bill
while continuing his story discussions
with Cartmel.

om Shs © Left:

° a = Say cheese!
John Nathan-
Turner with

Sophie and

Sylvester.

Connections:
Drama student

Clarke's first draft

all Richard and Lady
Peinforte's dialogue
iambic pentameter, a
commonly used form

® As astudent of English
theatrical history, Kevin

attempted to present

metrical line in traditi

drama, The form was

Right:
Asilver
nemesis.

of
onal

English poetry and verse

used in the works of the
‘ playwright William

hi ‘Go Shakespeare

| ‘ - By (1564-1616),

his meeting. This notion tied up with
Cartmel’s feelings that the Doctor was
more than just a Time Lord. However,
Clarke’s suggestion that the Doctor was an
almost supernatural being with god-like
powers was vetoed by Nathan-Turner who
feared that the central character would be
verging on religious; Cartmel agreed with
this since the series was primarily aimed
at children. Considering the story idea,
Clarke returned next day and asked if the
Daleks could be used in his story (since
they were the most exciting monsters),
but was told that these had already been
assigned to Ben Aaronovitch for Nemesis
of the Doctor (see Remembrance of the Daleks
[1988 - see Volume 44).

Clarke considered the two central themes
for his story: something arriving on Earth
in a meteor which influences events, and
an exploration of the Doctor’s identity
so that the serial ended with somebody
asking the Doctor, “Who are you?” He
wanted to give the Doctor a weird mix of
ingredients - such as his own love of jazz
(notably Louis Armstrong) - effectively

DOCTOR WHO | THE COMPLETE HISTORY

Later in September,
Cartmel rang to offer him
a three-part serial that
would be the series’ 25th
anniversary story. En route
for a story discussion
meeting, Clarke was passing
the Mobil Garage on
Shepherd’s Bush Green,
wondering what secret
he could reveal about the
Doctor. The notion which he
came up with, was that the
Doctor was God - a being
who came among mortals
but was forgetful and allowed
things to get out of hand.
He informed Cartmel and
John Nathan-Turner at

BPR Oat Es Se SQ Y,

combining his persona with that of
Sylvester McCoy. During discussions with
Cartmel, the object from space became a
silver figure carrying a weapon that would
lead evil to its doom, named Nemesis
after the goddess of divine retribution.
A fortnight after Clarke began work,
producer John Nathan-Turner suggested
the inclusion of the Cybermen, as their
silver image was appropriate for the silver
anniversary. Clarke borrowed all the
existing episodes featuring them in a desire
to find out why the creatures had been so
good in their earliest appearances. Clarke
was commissioned for a storyline, The
Harbinger, in October 1987, with the script
for Part One commissioned on Tuesday 17
November for delivery in the New Year.
Clarke attempted to emulate Jacobean
theatre in speed and structure, balancing
humour and drama. He also wanted to
write a black comedy-thriller with parallel
plots, and found that he worked well with
Cartmel as the pair fleshed out the middle

of the serial. Cartmel wanted to add extra
mystery to the Doctor, which Clarke
exploited in a climax where the Doctor has
a choice between exposing his identity or
saving Earth.

All four scripts for the 1988 series
had been decided upon by January
1988 and the three directors booked by
Nathan-Turner. Clarke joined Ben
Aaronovitch, Stephen Wyatt and Graeme
Curry at a party on Wednesday 13
January where they met Nathan-Turner’s
production team, as well as Sylvester McCoy
and Sophie Aldred; Clarke and Cartmel also
went to see McCoy in a matinee of The Pied
Piper at the National Theatre. The director
was to be Chris Clough, who had previously
directed the final six episodes of The Trial of
a Time Lord [1986 - see Volume 42], Delta
and the Bannermen [1987 - see Volume 43}
and Dragonfire [1987 - see Volume 44]. It
had been decided in the autumn that the
25th anniversary series would follow the
same pattern as the 1987 series, concluding
production with two three-part stories
made by the same crew: one on location,
one in studio. Clough had experience of
this tight schedule from the previous year,
and researched the new serial by viewing all
the existing Cybermen stories. He felt the
scripts for the anniversary serial were
over-complicated.

he first of Clarke’s scripts was due
T for delivery on Friday 1 January

1988, but was actually delivered
on Tuesday 19 January by which time
its title had become Nemesis. The script
was accepted, and on Wednesday 20
January, Clarke was commissioned for
the remaining two episodes with target
delivery dates of Saturday 20 February
and Sunday 20 March. Originally a few

scenes between the Doctor and Ace were Above:
set inside the TARDIS, but these were sae
changed to allow the serial to be made riverbank.

on location. Because of this, Ace’s ghetto
blaster is introduced to remove the
need for the TARDIS scanner, and these
dialogue scenes re-scripted to take place
at exteriors such as the riverbank.

The script for Part One states the
date for the present-day material as 23
November 1988, the anniversary of the
series itself. The attack on the Doctor
and Ace has the two men in metallic
headphones (referred to as
the Walkmen) drive at the
pair in a car and then cutting
them off from the TARDIS.
Clarke indicates that De
Flores’ home in South
America should house ‘a
number of missing paintings.
Van Gogh, Renoir, Monet’.
When Lady Peinforte and
Richard arrive in 1988, her
house was a pub instead of
a tearoom, and was closed
because it was night time.
The area where the meteor

Connections:

Name that villain

® Writer Kevin Clarke's
fondness for Jacobean

theatre influenced the

name of his chief villain,

De Flores, played by Anton

Diffring. The character

was named after the

hired assassin featured

in Thomas Middleton and

William Rowley’s 1622 play

The Changeling.

DOCTOR WHO | THE COMPLETE HISTORY ©

Above:
Fie! Lady
Peinforte
and Richard
take aim...

Connections:

Tortured name

® More evidence of Kevin
Clarke's love of the
Jacobean period can be
seen in the naming of Lady
Peinforte, inspired by the
seventeenth-century legal
torture peine forte et dure,
where weights were placed

on the body. The character
of Peinforte embodies the

Jacobean themes of
madness, murder
and political power.

lands was a building site, and it was hoped
that much of the serial would be set
at night time.

Clarke took eight weeks to write the
three scripts, but was still tinkering with
them seven months after his initial draft.
Cartmel was a demanding editor: Clarke
found himself writing in the mornings
and discussing his work with Cartmel in

the afternoons. However,
the scripts were far too long
when delivered, and Clarke
was unhappy with the cuts
made. On Wednesday 3
February Clarke performed
his own recce at Windsor
Castle, one of the proposed
locations for Part One. The
production team wanted
to start enquiries about a
possible cameo by Prince
Edward, as this would
potentially affect the use
of the castle.

During the writing
process, terms were agreed

8 :. ogkee eae

pe A a TRY,

with Gerry Davis and the estate of Kit
Pedler on Friday 11 March for the use of
the Cybermen.

The script for Part Two was delivered
on Sunday 20 March; in it Clarke refers to
Dragonfire author Ian Briggs in the scene
where Richard prays for forgiveness: “T’ll
return to Briggs his money...” Originally,
Peinforte and Richard came across
lions in the safari park around the crypt
(subsequently changed to llamas).

Two were available by Wednesday 23

March. Originally in Part One there
was a speaking role for the landlord at the
pub where the jazz quartet was playing.
When the Doctor’s alarm sounded, he
explained to Ace that “a preset destination
programme is about to take control of
the TARDIS. Obviously I set it myself
so that at this very moment in time I
would change course...” In this version,
the Doctor and Ace discussing the attack
on them, the subsequent discovery that
the world was going to end, the arrival in
the Windsor Castle vault, and the Doctor
explaining to Ace about the properties of
makarianite were still set in the TARDIS.
Lady Peinforte discovered that her home
had been turned into a burger bar. A large
crowd gathered around the fallen meteor
and were held back by the police. De
Flores and his men were also still in South
America when the meteor fell in this draft.
When visiting 1638, the Doctor comments
that it is “a matter of months since Susan
and I left here”. While talking to Richard
about the “nameless Doctor” and his
secret, Lady Peinforte commented, “For he
has a name.” At Windsor, the Doctor and
Ace encounter ‘HRH - The Prince Edward’
whom the Doctor talks to although he

D raft scripts for Nemesis Parts One and

then comments, “How annoying, I can’t
place him for the life of me.” The Doctor
distracts the security guards rather than
using hypnotism and then he and Ace hide
behind a curtain where Ace sees a statue

of herself. In the climax, the Cybermen
suddenly appear in a blaze of light.

In Part Two, the Doctor comments of
the Nazis, “Now the Cybermen and Lady
Peinforte both hate me to death, but I’ve
never met these other blokes before.” One
of the Cybermen uses a ‘Geiger counter’
device to determine that its fallen comrade
was killed by gold; the same device is later
used at the crypt during the arrow attack.
The return visit to 1638 by the TARDIS
was not present in this version. At the
building site where the meteor landed,
the Cybermen load the statue into ‘a
silver-coloured lorry: very flash, like
the huge Mercedes buses used by the
richest bands’ which was driven by the
Walkman; this is later blown up by Ace.
This was revised to use the Cybermen’s
invisible ship, which departed as one of the
policemen recovered. The final scene with
Ace and the Doctor seeing the Cyberman
fleet was missing; there was simply the
image in Ace’s hologram.

On Friday 25 March, Nathan-Turner
wrote to the press secretary at Buckingham
Palace requesting permission to record at
Windsor Castle between Wednesday 22
June and Monday 4 July while, assuring
the Palace that they would be using the
Outside Broadcast (OB) team (headed
by Ian Dow) which was assigned to royal
events and so was familiar with the castle.
The same day, the producer also sent the
script for Part One to Prince Edward,
pointing out the ‘light-hearted’ scene with
the Doctor and asking if such a cameo
appearance appealed to him. Nathan-
Turner was later reprimanded for not
making his approach via the special royal

Pre-produe

liaison. From royal hopes
came royal disappointments
as Prince Edward was too
busy on other projects for
the ‘£50 walk-on’ part, while
permission to record at
Windsor Castle was declined
on the basis that only
documentary crews could
work there.

Cartmel worked on the
earlier scripts in April during
OB work on Remembrance
of the Daleks, and Clarke’s
final script was delivered on Monday 11
April, containing a small slip in which
Richard referring to Windsor as being two
days’ ride from London - it is in fact far
closer, roughly 25 miles. The American
tourist is originally a man called Milton
P Remington and the script specifies that

Connections:

Destiny's spear

® Kevin Clarke studied
the Nazis’ interest in the
occult, which led him to
the legend of the Spear
of Destiny, a mystica
object that caused those
possessing it to commit
atrocities, not dissimilar to
the silver bow and arrow
seen throughout the serial.

in the climax of the serial there should Below:

i} iloys en Pack | know that
eatotalo seven Cybermen, including WwOmBnreae

the Leader and Lieutenant. The main somewhere!”

DOCTOR WHO | THE COMPLETE HISTORY Qo

De Flores and
the Fourth
Reich's Wagner
Appreciation
Society.

}

battle sequence is a cat-and-mouse chase
through partly constructed buildings, with
Ace evading the Cybermen by climbing
down drainpipes. At one point, Ace was
injured and finds blood on her face after
the Cybermen fire their lasers through a
window next to her. Ace’s flight then

takes her up some stairs onto the roof of
the building.

In the final confrontation between the
Doctor and the Cyber Leader, there is
considerably more dialogue when the Cyber
Leader threatens to kill Ace unless the
Doctor hands over control of the statue.
“Didn't you hear me?” replies the Doctor,
“T can’t. Even if I wanted to. This is
technology beyond your comprehension.
It can’t be reprogrammed.” The Leader
orders the Doctor to prevent the statue’s
launch, but the Doctor explains that when
the fleet arrives, it will still be destroyed -
along with the Earth. The Leader threatens
to destroy the Doctor, and the Time Lord
remarks: “What’s this? Hatred? Cybermen
with emotions. Dear me. You're becoming

| (18 ) DOCTOR WHO | THE COMPLETE HISTORY

defective.” The final scene is set in 1988
with the Doctor and Ace taking Richard
back to the jazz session at the pub from Part
One. Nathan-Turner was unhappy about
the scripts referring to De Flores’ group as
‘Nazis’ so Cartmel changed all instances of
this word to ‘Paramilitaries’.

Nemesis was confirmed in April 1988 as
the third story in production for the 1988
series, the plan being it should conclude the
run as close to the anniversary as possible.
Joining Clough on the production team for
both Nemesis and The Happiness Patrol
[1988 - see Volume 44] were designer
John Asbridge and costume supervisor
Richard Croft (both from Delta and the
Bannermen and Dragonfire), newly promoted
visual effects designer Perry Brahan and
make-up designer Dorka Nieradzik, who
had handled several serials since The
Leisure Hive [1980 - see Volume 32]. At the
Radiophonic Workshop, Dick Mills began
work on the effects for Serial 7K in May.

Casting of the guest stars began in
late April with the team wanting

classically trained actors to play the
historical characters. The cameo of the
Mathematician in Part One was offered to
veteran actor Geoffrey Bayldon on Tuesday
19 April - Bayldon was best known for his
leading role in Catweazle and had played
Organon in The Creature from the Pit [1979
- see Volume 31]. Richard Vernon was then
offered the Mathematician on Thursday
28, but the role eventually went to Leslie
French, an actor whom Chris Clough
recalled was originally considered to

play the Doctor in 1963.

he role of Richard was offered to
T two unidentified actors: ‘Simon’ on

Wednesday 20 April and ‘Alun’ on
Thursday 21. Billie Whitelaw was the first
to be offered the part of Lady Peinforte on
Sunday 24; three further actresses were
approached regarding Lady Peinforte:
Anna Massey on Wednesday 11 May,

Penelope Wilton on Tuesday
17 and Sarah Badel on
Thursday 19. Peinforte was
eventually played by Fiona
Walker, whose first television
work had been in Doctor Who,
as Kala in The Keys of Marinus
[1964 - see Volume 2] and
who had also appeared in

I, Claudius; Nathan-Turner
had worked with her on his
tribute to the late producer
Martin Lisemore in 1977.
Gerard Murphy, of the Royal
Shakespeare Company and
many TV and radio roles since the early
1970s, was cast as Richard.

The main guest star cast as De Flores
was veteran German actor Anton Diffring,
famous for films such as Albert RN
(1953) and Zeppelin (1971). Never having
seen Doctor Who, he was given a tape of
Dragonfire and was less than impressed.
Neither did he like or understand the
script for Silver Nemesis (as the script
had been renamed at Nathan-Turner’s
request to emphasise the anniversary) and
asked for more lines. He was unhappy at
playing another Nazi, but accepted the
assignment because - living in the South
of France - he was deprived of coverage
of the Wimbledon tennis tournament
which was being held concurrent with
the OB recording. Prior to Diffring’s
casting, De Flores was offered to Charles
Grey on Friday 20 May, on the actor’s
understanding that a German accent
would not be required.

Returning in the roles they had created
in Earthshock [1982 - see Volume 35]
were David Banks and Mark Hardy as the
Cyber Leader and Lieutenant. Banks was
now writing a book entitled Doctor Who —
Cybermen while Hardy had returned from
the USA especially for the serial. Brian

DOCTOR WHO | THE COMPLETE HIS

Connections:
Missing treasures
® While the script
specified De Flores’
residence should display
missing works of art, the
painting seen behind
Nazi leader is Raphael's
‘Madonna in the Chair, the
original of which is most
certainly not missing and
can be seen in the Palazzo
Pitti in Florence.

Left:
Cybermen on
the rampage!

SILVER NEMESIS » stors0

Right:

Man versus
Cyberman.

Orrell was also cast as a Cyberman, a role
he had previously played in Attack of the
Cybermen [1985 - see Volume 40].

Production Manager Gary Downie
arranged the locations, contacting Mrs P
Gazzarini of Black Jack’s Mill Restaurant
on Wednesday 27 April; on Friday 29
April he asked for permission to record at
Arundel Castle, the favoured alternative
to Windsor. The estate offered a folly
- Hiorne Tower - on its grounds, ideal
for Lady Peinforte’s crypt. Downie also
contacted St Mary’s House and Gardens
in Bramber on Tuesday 10 May, while
enquiring on the same day with British
Gas North Thames Area for use of its
Greenwich Works. Chris Clough had
originally hoped to use a disused power
station on the North Acton Industrial
Estate, but the Electricity Board suddenly
withdrew permission. After that, Gary
Downie found a derelict power station
at Kingston-on-Thames which would
cost £30,000 to decontaminate. Downie
instead contacted the Gas Board, who
recommended the Greenwich site.

This was confirmed on Monday 23.
Arrangements to film at a private house,
Casa Del Mar, in Goring-by-Sea, were
made on Tuesday 24 May. Also on this

day, the Drama Early Warning synopsis for
Silver Nemesis was issued, listing the selling
points as Fiona Walker, Anton Diffring,
Dolores Gray (as ‘the US Tourist’), Gerard
Murphy and the Cybermen.

Preparations went awry around Saturday
28 May when an asbestos scare hit the
BBC Television Centre. With the closure
of many studios, the preceding serial
in production - The Greatest Show in the
Galaxy {1988 - see page 48] - was badly
hit, and the plan of completing the story
by Thursday 16 June was abandoned.
The urgent need to reschedule, and
Nathan-Turner’s subsequent solution,

20 DOCTOR WHO | THE COMPLETE HISTORY

ee ee See A

impacted on Nemesis with the loss of two
days of rehearsal time.

On Monday 6 June, location recces
commenced; the crew looked at the
Greenwich and Bramber locations; St
Mary’s was a house where Queen Elizabeth
I once slept and where Charles II spent his
last night in England. The team moved on
to Goring-by-Sea and the Arundel estate
the next day and visited Black Jack’s on
Wednesday 8.

On Wednesday 8 June the opening scene
of Part One was rewritten, with the Doctor
commenting to Ace about how he got quite
annoyed when jazz went through its
audio-phonic lasers phase in a few years’
time, and how “I complained about the
future of jazz to Louis Armstrong, but he
said music would always survive. He was
right, naturally. You see, he knew better
than anyone that if you’re going to play
around with the most basic principles
of time then, mark my words, time will
eventually catch up.” The unfinished
chess game in Peinforte’s study was
added, and some of the dialogue with
the mathematician was reworked, as were

AAA NN.

the scenes between the Doctor and Ace
on the riverbank and in the castle vaults.
Many of the scenes involving the arrival of
the Nemesis were rewritten (although still
set at night), including the paramilitaries’
arrival and all the police material. The
material’s name, makarianite, was changed
to validium.

The rewrites also affected the scenes
between the Doctor and the security
men at the castle, with the Doctor now
unsuccessfully trying to distract the
security men by pointing behind them.
The confrontation between De Flores and
the Doctor at the end of Part One was
also rewritten slightly. The script indicates
that the Cybermen were already present
at the building site, with their spaceship
invisible - and that it was its unveiling at
the end of the episode that distracted the
paramilitaries from killing Ace.

NNN NS

arts Two and Three had rewrites on
ie Thursday 9 June. A new scene of the
Doctor and Ace returning to 1638
was added, introducing more of the chess
sub-theme, plus extensive rewrites when
they return to the countryside of 1988,
including references to Gallifrey, Omega
and Rassilon. Other rewrites include
the Cybermen waiting for the rest of the
Validium in the crypt, the Doctor and Ace
jamming the Cybermen signals, the arrival
of Lady Peinforte in the crypt, the Nazis
discussing Peinforte, Ace’s regret at killing
the Walkmen and the Doctor and Ace
discussing the effects of Nemesis every
25 years.
The rewrites in Part Three include
the scene of Lady Peinforte and Richard
emerging from the secret passage, Ace
telling the Doctor how she is scared
and the Cybermen listening to the jazz.

The crypt scene with the
Doctor confronting the
Cybermen has the Doctor
responding to the Cyber
Leader’s “What do you
want?”, “You Cybermen do
go in for obvious questions,
don’t you? You always have
talked in such a dull way.
You know everything’s
always (MIMICS) ‘kill him’
or ‘excellent’. But obvious
questions beg obvious
answers. Nothing. Have I lost you? I

want nothing. (SUDDENLY STEELY)
Nothing lasts for ever.’ The Cyber Leader
then demands the bow, with the Doctor
remarking: “Patience, patience. I thought
we'd have a little chat first. Relive old times.
Look to the future.”

Another new scene with the Doctor and
Ace returning to 1638 for some more chess
moves was inserted. The sequences with
Milton Remington were rewritten for a
character called Miss Hackensack. The role
had originally been written with Dallas

Connections:
Footie fan
® Ace reveals herself as

a supporter of football
eam Charlton Athletic,
which in 1988 played in the
top tier of English football
in the then-First Division. In
he 1988/89 season, Ace's
eam finished 14th in the
eague table.

Left:

The Nemesis
statue looks
familiar.

Above:
Cheers! Mrs
Remington
adds a touch
of fizz to
Doctor Who.

star Larry Hagman in mind, whose contact
details had been passed to Nathan-Turner
by Rani actress Kate O’Mara. In concert
with Clough, Nathan-Turner managed to
obtain the services of American musical

star Dolores Grey for a cameo while the
actress was in London appearing on stage
in the musical Follies at the Shaftesbury

Connections:

Nice deck

® Ace's new ghetto blaster
makes its début in Silver
Nemesis. lt replaced her
original deck that made

its début - and explosive
exit - in Remembrance of
the Daleks [1988 - see
» Volume 44] after it
&\ was destroyed by
the Daleks.

Theatre. She was offered
the role on Thursday 21
April with assurances that
the male role would be
rewritten accordingly.

The script for Part Three
makes direct reference to
Flowerchild’s golden earring
(from The Greatest Show
in the Galaxy), which Ace
indicates she could break
up as a weapon against the
Cybermen. The dialogue
with Peinforte threatening

DOCTOR WHO | THE COMPLETE HISTORY

to reveal the Doctor’s secret was heavily
restructured. The final scene was rewritten
to take place in 1638, with a young woman
scripted as playing the recorder to the
Doctor in the absence of any jazz (in the
final version the woman plays the lute and
Richard the recorder).

Silver Nemesis was the subject of The
Making of Doctor Who, a documentary
produced, written and introduced by Eric
Luskin and directed by Winifred ‘Freddie’
Chisholm. This co-production of the New
Jersey Network and Lionheart (the BBC’s
American distributors) was a follow-up to
three earlier programmes and was planned
as a pledge-week special for PBS stations.
Nathan-Turner was informed about the
documentary on Friday 6 May, and the
production covered Silver Nemesis after
abandoning plans to document studio
sessions for The Greatest Show in the Galaxy
due to the asbestos scare at Elstree. The

documentary crew was present on Friday
20 May for rehearsals and the producer’s
run in the BBC’s Acton rehearsal facility -
aka the ‘Acton Hilton’.

To play the ‘black jazz quartet’ described
in Kevin Clarke’s script, a cameo was
arranged for the successful Courtney Pine
and his quartet - Pine being a hero of
Clarke’s. The writer had wanted to meet
Pine, and had the musician in mind when
writing the opening scenes. It transpired
that Pine himself was a great fan of Doctor
Who, and happily persuaded his band to
take part in the production. They recorded
three tracks composed by Pine at Lime
Grove Studios on Sunday 12 June, these
being one minute of Pe Pi Po and eight
seconds of Adrian’s Affair (for the pub
gig scene in Part One) and a total of 35
seconds of Frank’s Quest used to jam the
Cyberman transmissions in Part Two.

Arrangements were confirmed for
Dolores Gray’s cameo on Monday 13 June.
It was agreed that she would be credited
fifth on the programme’s closing credits,
with a solo screen credit, which would
be no smaller than anybody else’s. The
character name was still to be changed
from Miss Hackensack.

retitled to Silver Nemesis to emphasise

Doctor Who’s silver anniversary.
The first script readthrough was held
on Wednesday 15 at BBC Elstree, and
attended by armourer Doug Needham.
Neither Sylvester McCoy nor Sophie
Aldred could be released from the final
days of work on The Greatest Show in the
Galaxy. The first readthrough was then
moved to Thursday 16 and held at BBC
Elstree where recording was ending on
The Greatest Show in the Galaxy. Although

G y Tuesday 14 June in serial had been

McCoy could be released to
attend, recording that day
required Aldred - whose
lines in Silver Nemesis were
read in by AFM Lynn Grant.
This confused Dolores Grey
who believed that Grant was
actually playing Ace. When
she did join production on
Sunday 19 at Room 104 of
the Acton Rehearsal Rooms,
Aldred was delighted as the

Cybermen were some of her favourite
monsters which had scared her as a child.
On Saturday 18, the NJN documentary
crew helmed by Winifred Chisholm and

Luskin arrived in the UK.

New, lighter Cyberman costumes

were designed for the serial by Croft.

The bodies were based on World War

II G-suits, sprayed with car paint and
emulsion glue, stencilled through a metal
mesh. The chest units and helmets were
vacuum-formed with a mirrored silver
jaw (necessitating make-up of the actors’
mouths), a microphone in the helmet
(which could now be easily unclipped)
and a transmitter in the collar.

Nieradzik arranged the Nemesis face with
Walker, making a latex mask to avoid skin
painting but still blacking out her teeth. The
Nemesis statue was a collaboration between
costume and make-up, and both mask
and costume were covered in Front Axial
Projection (FAP) material. This reflective
material allowed pulsed lights around the
camera lens to be reflected back, making
the coated object appear to be glowing.

The documentary crew also covered Hardy
and Orrell trying on the new Cybermen
costumes, and continued recording on
Tuesday 21 with the technical meeting at
Acton and an interview with composer
Keff McCulloch as he scored Remembrance

of the Daleks. @

Connections:
Keeping up with
the Joneses

® The picture of an archer
holding the Nemesis bow in
the vaults beneath Windsor
Castle was drawn in the
style of Jacobean architect
and costume designer Inigo
Jones (1573-1652).

DOCTOR WHO | THE CO

i .
. = ~~ oe
SILVER NEMESIS” > Stary Et, Wp

din Sa | | who had Sits mocele Tight Pecight
began on Wednesda 22 Jane, =e) Boxers who had also appeared in The
running from 9.1S5am to 7 i , Long Good Friday; the brothers acted in
6.00pm for the next few days | unison throughout the serial. The meteor

at the disused Greenwich Gas" ~ P was a full-size prop made by an outside,
|" contractor to i357 Brahan’s design, S *
and housed a polystyrene mock-up of .
the Nemesis statue. Throughout the

“production, Anton Diffring was fragile

and unwell: he did not wear a tie with his
surrounding ) _ uniform and emergency oxygen was on

Nemesis comet. ~~ » > |" standby for him. al

It was planned to continue with the

PRESSURE.’

<y'"'Tey i i,
. a»! wl

AND UN

ro hE

Connections:
Wonderful world
® Jazz singer and musician
Louis Armstrong (1901-
71) was a great idol of

writer Kevin Clarke, and

influenced the

prevalent throughout

Silver Nemesis.
Armstrong's m

beyond linear structure,

effectively ben

One of Armstrong's most

famous songs |
All the Time in

Bond film

recorded for the James

Majesty's Secret
Service (1969).

up to the battle at the start
of Part Two, but this was
delayed until the following
day as various factors caused
the crew to get behind;

even using two cameras,
Chris Clough had to ask
John Nathan-Turner for
overtime. Sylvester McCoy
and Sophie Aldred both felt
badly under rehearsed and
under pressure. The larger
Cybermen helmets got rid of
the problem of ‘Cyber-nose’ -
the grazing of the performer’s
face inside the mask - which
had struck actors in the past.
The Cybermen costumes
were resprayed, as they

were too light. However, the
chrome paint on the chest
unit and helmet oxidised and turned gold.
The spray also caused the body suits to
decompose. For the scene depicting the
police being overpowered by gas (a talc
spray), visual effects assistant Mike Tucker
had suggested and designed a 1980s-style

jazz motif

_ Clarke felt
usic went

ng time,

Ss We Have
the World,

On Her

Right:
Shoot that
poison arrow...

| < 26 » DOCTOR WHO | THE COMPLETE HISTORY

Cybermat as a possible replacement;
Andrew Cartmel had never liked the
Cybermats and the idea was dropped.
During the Greenwich work, Chris Clough
and Sylvester McCoy visited Dolores Gray
backstage at the Shaftesbury Theatre

where she continued to appear in Follies.

he documentary crew joined the
T team at Greenwich on Thursday 23

June, starting with the recording of
the climax to Part One (postponed from
the previous day) and continuing with
the building site scenes from Part Two. It
seems that during these sequences, some
dialogue between the Doctor and De
Flores at the end of Part One was lost. In
this, the Doctor notes the smell of nerve
gas which is “more efficient than the stuff
you were familiar with”, and points out
that it is strange that all the police radios
and cars failed at the same time, before
warning the paramilitaries that “there are
creatures in the universe which make you
look as dangerous as babies. And they’re
here for the same reason you are.” During
the battle in Part Two, a section of dialogue
between the Doctor and Ace was dropped
in which the Doctor considers how his
calculations for launching the meteor went
wrong “while people are trying to kill each
other all around you. No wonder I got the
sums wrong.”

As with the Nemesis costume itself, the
bow and the arrow were coated with FAP
material to glow on cue. Visual effects
arranged for debris to fall away from the
comet as the statue inside began to come
to life. For the final scene of Part One -
which Clough interpreted as the Cyberman
spaceship landing - a wind machine and
bright lights were used on the bystanders.
In the battle sequence, a new variant

design on the usual Cyberman guns was
used - these fired a small flash charge and
therefore did not require video effects,

as they had in previous appearances.
Another key effect was the exploding chest
units of the Cybermen shot by Peinforte’s
gold-tipped arrows, shot in reverse with
the arrows pulled out by wires. A similar
effect, utilising foam door panels, was
used for Peinforte’s arrow impacting

on the newly painted TARDIS doors.
Problems were experienced with the new
Cyberman costumes when rough metal
pierced an actor’s ear, and by the costumes’
unfortunate propensity for the crotch

to split.

For the shot where the Doctor and Ace
leapt into the crater, McCoy and Aldred
landed on an out-of-shot mattress. The
stunt arranger for Silver Nemesis was Nick
Gillard (taking over from Tip Tipping
at short notice), with stuntman Paul
Heasman performing all the Cybermen
deaths. Only the doorway of the spaceship
was built on location, and later lined up

? ow
—s A ee®

” e
4%]

| with the model of the craft’s hull. Earlier

delays meant that most of the day was
spent on this extensive action sequence,
and several other scenes had to be held
over to the following day or abandoned
altogether. One such scene appears to
have been intended for Part Three, and
saw the TARDIS returning to the building
site, with the Doctor emerging to remove
the gold-tipped arrow from the door and
making sure that the policemen are still
asleep. The remaining casualties were two
model shots of the comet approaching
Earth, and the scenes inside the hangar
for Part Two and portions of Part Three.
Despite the rush, the documentary
team secured a number of interviews with
cast and crew, including Gerard Murphy,
Anton Diffring, costume designer
Richard Croft, visual effects designer
Perry Brahan, Doug Needham and Dave
Chapman. Artist Andrew Skilleter was
also present to take reference photos
for Banks’ forthcoming Cybermen book.
Because of the delays, the NJN team was

DOCTOR WHO | THE COMPLETE HISTORY

Left:
Cyber-repairs
are required.

Right:

The Fourth
Reich's poster
boys.

Connections:

Bear necessities

® Lady Peinforte’s comments
that bears pursuing
people only happens in the
theatre is areference to
the stage direction “Exit,
pursued by a bear” from

» Shakespeare's
A Winter's
Tale (1623).

asked not to return the following day as
originally planned.

Friday 24 June - which became known
by the crew as ‘The Day of Chaos’ or
‘Black Friday’ - became a panic to
complete the required scenes. Realising
he was behind, Clough concentrated
on the visual aspects. Aldred had been
informed that the gantry she had to
walk along was only about 20 feet off
the ground, but discovered that the

catwalks were actually over
50 feet up - although she
overcame her fear of heights
for recording, for which

she was not allowed the
luxury of a rehearsal. Clough
originally informed Banks
that he would not be doing
his death scene, as this was
to be handed over to one of
the effects technicians. The
director had hoped to use a
Steadicam for the sequence

ee ee ee Oe ON

of the Cybermen firing at Ace as she ran
through the building, but this had to be
abandoned on the day. The Ould brothers
were not available, so some scenes in Part
Two intended to include the Walkmen
were taped without them, making their
appearance in the finished programme
erratic. The day was devoted to all the
hangar interior scenes; principally the
action sequence in Part Three.

he narrative was reworked to have
T the TARDIS land in the hangar

itself. Ace’s conversation with the
statue, the chess analogies and the bulk
of Peinforte’s dialogue about the Doctor’s
origins were written close to recording.
At the end of the last scene in the hangar,
the rewritten script had the Doctor
offering to buy Richard a drink on the
way back to 1638 in return for his help, to
which Richard replied that he would be

buying the drinks. Much of this was
semi-improvised, recorded without time
for rehearsal.

Fiona Walker appeared in her Nemesis
statue costume for the first part of the day,
and later as Lady Peinforte for the scene
where she ‘merged’ with herself. Visual
effects were kept busy with explosions
as Ace fired gold coins into Cybermen
chest units, a dummy Cyberman costume,
previously used in Earthshock, falling from
the gantry and also the working flame jets
that came out of the back of the moving
comet prop. The two Cybermen forced
back by the asteroid’s jets were behind
a sheet of protective glass. The closing
scene was recorded with only an hour to
go, followed by some brief pick-up shots.
The crew left the venue on time, with the
hangar demolished shortly afterwards.

Saturday 25 was a day off; on the
morning of Sunday 26 most of the cast
and crew travelled south to Worthing, the
base for the week ahead. Taping began at

2pm with the scenes of the
skinheads hanging from the
trees in Part Two, as the crew
awaited the arrival of McCoy
(the star having thought

his call was not until 2pm
that day). Work continued
with the secret passage exit
scene (a firing range dressed
with brickwork and a door)
as Peinforte and Richard
emerged in Part Three,

the TARDIS’ arrival in the
valley for Part Two and all
the scenes of the Doctor

and Ace in the countryside. Video effects
veteran Dave Chapman’s second unit
recorded pick-up shots of clear blue sky
for the spaceship scenes because the sky
had clouded over at Greenwich, and the
documentary crew was busy interviewing,
recording conversations with McCoy, John
Asbridge, Dorka Nieradzik, Gary Downie,
and lighting manager lan Dow; after the

DOCTOR WHO | THE COMPLETE HISTORY

Connections:
Boom!
® Ace first used her own

brand of explosive -
Nitro-9 - in her début
adventure, Dragonfire
1987 - see Volume 44].
As the Fourth Doctor had
done with Leela’s deadly
janis thorn, the Doctor
forbade Ace to use this
potent concoction - unless
it suited his purpose!

Left:

On Her
Majesty's
Temporal
Service.

Connections:
Musical chat

® De Flores asks the
Cybermen if they are
familiar with Der Ring des

Nibelungen. This epic
cycle of four operas
was written by German
composer Richard Wagner
(1813-1883) between
1848 and 1874. Its plot
concerns a magic golden
ring possessed of the
power to rule the world,
fought over by gods,
giants, Valkyries,
among others,

® STORY 150

6pm wrap, further interviews
were recorded that evening
with McCoy, Aldred and
Clough at the unit hotel.
Arundel Castle itself
was the venue for Monday
27 June, starting with the
exterior scenes in the private
grounds of ‘Windsor Castle’
with royal lookalike Mary
Reynolds as the Queen
(accompanied by three corgi
dogs), after which the first
scene with the tour party was
taped. Recording each day
for the week ran from 8.30am
to 6.00pm. The TARDIS
was arranged to materialise

on the left-hand side of the

picture with the tourists on the right as a
split-screen shot.

As Silver Nemesis was expected to be
one of John Nathan-Turner’s final stories

2 Bea QA

as producer of Doctor Who, it had been
suggested that the tourist extras could
include some cameos by members of the
Doctor Who production team - directors
Andrew Morgan, Peter Moffatt and
Fiona Cumming, as well as PA Ian Fraser
(Cumming’s husband). Later on they
were joined by actor Nicholas Courtney
(who donned a beret having been told
he was playing a French tourist), former
PA Kathleen Bidmead, scriptwriters
Graeme Curry and Kevin Clarke. The
tour guide was Vere Lorrimer - a retired
BBC producer/director who had worked
extensively on Blake’s 7 as both director
and producer. It had also been expected
that writer Stephen Wyatt would appear
as one of the tourists, along with Master
actor Anthony Ainley. Not wanting to
differentiate between the hired extras and
his personal friends, Nathan-Turner
ended up treating everyone to a special

pub lunch.

Right:

An extra
painting has
appeared in
Windsor Castle.

DOCTOR WHO | THE COMPLETE HISTORY

Recording continued through to

the drawing room scenes in which

the Doctor and Ace were pursued

by the security men. For the scene

of the Doctor and Ace entering the
corridors of the castle, the Doctor’s
comment that “the worst people the
Earth has to offer will be on their way
to Windsor right now” was dropped.
The Doctor’s use of his spectacles to
hypnotise the guards was not specified
in the script. The corridor scenes of

the security men apprehending the time
travellers were taped next, followed by a
sequence in which Ace spots a portrait
of herself. This portrait, in the style of
Thomas Gainsborough, was painted by the
design team from a special photo session,
which Aldred had posed for some time
earlier at Television Centre. The painting
confused tourists at Arundel because it

did not appear in the guidebook. Aldred
later kept this prop. The remaining scenes
that day were set in the Windsor Castle
vaults for Part One. A photocall was held
that afternoon for the show’s stars and ‘the
Queen’, and the day was again covered by
the documentary team who interviewed
Aldred and assistant floor manager

Lynne Grant.

he crew returned to three locations
T on the Arundel estate on Tuesday
28. The first work that day required
a helicopter, which flew in from Shoreham
Airport. Its landing was recorded to
simulate the arrival of the spaceship in
Part Two. Unfortunately, the rotor blades
caused less downdraft than expected
and the expensive manoeuvre had to
be repeated. Recording continued with

scenes in the crypt at Hiorne Tower and
the nearby forest. Aldred and McCoy

2, ;
+.

Broduction

relished exploring the
crumbling folly together.
Richard’s prop grave
gave his surname as
Maynarde which did not

feature in the scripts. Paul Heasman took
- Above:

over as stunt arranger, acting out various Still ife -Sophie
Cyberman death scenes for the second Aldred sits for
unit. Additional insert scenes included the her portrait.

death of the Cyber Leader - with Banks
being allowed to record his own death
after all, instead of being doubled by Paul
McGuiness. At one point, the Cybermen
were to have used a specially adapted
Communications Cyberman - evoking the
Cyberplanner seen in The Invasion [1968 -
see Volume 13], but when this
was felt to be too to similar
to the Special Weapons Dalek
in Remembrance of the Daleks,
Tucker instead developed a
new console based on the
one seen in Earthshock.

Ace’s new ghetto blaster

had also been built by
Tucker, who had originally
hoped to incorporate
Zygon-style nodules and a

Connections:

Presidential

comet

® The Nemesis comet's
transit was cited as
having influenced the
assassination of US
President John F Kennedy
on 22 November, 1963
in Dallas. This real-world
event took place just one

sign saying that it needed day before the very first
to be watered regularly. episode of Doctor Who
Another photocall was held, was broadcast on the BBC
this time showing the Doctor at 5.15pm on Saturday

and Ace cutting a 25th 23 November.

birthday cake while being

DOCTOR WHO | THE COMPLETE HIS’

® STORY 150

LVER NEMESIS

terrorised by Cybermen.
Aldred posed draping
herself over a car bonnet

for photographers; Aldred
had been unhappy with her
BBC publicity postcard from
Dragonfire and so Nathan-
Turner allowed her to select a
new one from the OB shoot.
The production team of

The Noel Edmonds Saturday
Roadshow contacted Nathan-
Turner to thank him for
agreeing to help with a stunt
they had planned for the new
autumn series, a pilot for
which was being recorded on
Wednesday 6 and Thursday
7 July. The team proposed

a myth about a duck
wandering about Television
Centre and BBC programme
locations, getting in the background of
various shots. Viewers would be asked to
watch BBC shows each week in an attempt

Connections:

Golden years

® The Cybermen's
vulnerability to gold was
first referenced in Revenge
of the Cybermen (1975 -
see Volume 23), the flakes
of precious metal capable
of clogging up their
chest units, effectively
suffocating them. This
weakness was referenced
again in Earthshock
(1982 - see Volume 35),
the Doctor's companion
Adric using his gold-edged
Badge for Mathematical

Excellence to
A incapacitate a
’ Cyber Leader.

ee ee Nee ON

to spot it. As such, a number of series
were asked to record alternative takes
with the duck - not for transmission,

but the version with the duck would

then be screened on Edmonds’ show the
following Saturday. On this day, the South
London Press carried an item about the
Greenwich recording.

Wednesday 29 began with press coverage
from the Daily Mirror, The Star (Her Royal
Who-Ness!) and Today; the latter’s piece
was Dr Who role is too tiny moans Edward
by Lester Middlehurst in which it was
revealed that the Prince had been offered
£50 for his cameo but was too busy with
the Really Useful Company, although he
informed McCoy, “I would have preferred
a larger part.” Recording for the day
was again spent around the crypt, with
Walker now having changed into her
Statue costume and mask for the final
scenes of the reactivation of the Nemesis.
Extreme lighting was used to enhance
this sequence. For the scene where the
Doctor activates the Nemesis, McCoy had
earlier suggested rewriting the dialogue
around a chess theme, and did this just
before recording with help from Raymond
Bott’s 1968 book Chess for Children which
his sons had with them on a visit to the
set. The visual effects team recorded
the model shots of the comet miniature
in space using some borrowed black
drapes as a backdrop. McGuiness again
appeared as the Cyberman seen behind
the flames recorded in the crypt. Visual
effects assistant Alan Marshall was inside
the asteroid prop, pushing the rocks away
from it in close-ups.

The unit moved to Arundel itself for
Thursday 30 June. At 7am that morning,
Dolores Gray and her chauffeur set off
from her London flat in the silver stretch
limousine which bore a fake number
plate, ROX 3, for recording; the owner

of the vehicle was so impressed with his
client that he offered to drive her himself.
Unfortunately, Gray accidentally left
£25,000 of uninsured jewellery in her
travelling bag on the pavement in Putney.
The actress was distraught. Thankfully,

the gems were returned to her at Arundel
by courier after being looked after by an
honest caretaker. First to be recorded on
this day were scenes in the paramilitaries’
Ford Transit van during Part Two, followed
by a couple of sequences with the vehicle
parked on the town outskirts. The Windsor
high street scenes were then recorded, with
Kevin Clarke making a second appearance
as a passer-by. During the scenes of
Richard attempting to thumb a lift, Clarke
made his third cameo as a car driver.

he final scenes to be recorded were
T those with Gray as Mrs Remington

(as Miss Hackensack had now been
renamed), with additional ad-libbed
dialogue. Gray gave precise instructions
about her make-up, costume and lighting
to the crew. The Lincoln Continental
stretched limousine proved problematical;
it was only as all the cameras had been
fitted when it was realised the car was
out of petrol. Recording was attended by
Sheldon Collins and Gary Leigh of Doctor
Who Bulletin, who had not been invited,
but who wanted to take photographs,
which upset Downie. Nathan-Turner had
promised a photographic exclusive about
Gray to the Daily Mail and was concerned
that the presence of other reporters might
jeopardise the deal; the Doctor Who Bulletin
team was escorted from the private estate
by the gamekeeper.

Friday 1 July was spent at St Mary’s

in Bramber near Steyning in Sussex, a
building which featured as the interior

Production

and exterior of Lady Peinforte’s house in Oe
9 ae : ven
1638. Heavy rain hitting the exterior 1638 pararnilitaey

scenes in the morning gave Nathan-Turner,
Cartmel and Clarke concern that they

soldiers need
their make-up

might have to abandon scenes or rework seeig

them for interiors. The time pressure Far left:

meant a lot of tension for McCoy and Watch out for
those wires -

Aldred, the latter of whom unfortunately
had problems with her lines. McCoy was
also very concerned about the chess moves.
During the day, the two stars were visited
by local children. After recording all the
1638 scenes, the interior was redressed to
appear as the 1988 tearooms
for Part One. A small amount
of dialogue of Richard

and Peinforte watching

the Nemesis return as the
Mathematician predicted
was not recorded, along

with Peinforte’s comments
that she and Richard will

be able to “pass among

recording at
Hiorne Tower.

Connections:
Divine goddess
® In Greek mythology,
Nemesis was the goddess
of divine retribution,
acting against those
who committed acts of
arrogance against the gods.

DOCTOR WHO | THE COMPLETE HISTORY ©

mi
F-]
=
=
mi
ul
=
ui
2
Z
Z

~ Don't fall in
the river!

Connections:
Handy coinci

® Ace likens the Doctor's
destruction of the Cyber

Fleet using the

tohis actions at the

climax of Reme

of the Daleks [1988 - see

Volume 44], us

Hand of Omega to

destroy

mothership.

DOCTOR WHO | THE
'
i

a “a
DNS ete
Spar se

them [the peasants] unnoticed”. A balsa
wood replica was made of the Elizabethan
French windows for Lady Peinforte to
smash with a chair. After recording at St
Mary’s, McCoy and Aldred departed to
Farnborough as guests at an Army ball, an
engagement arranged by Nathan-Turner,
where Aldred contracted food poisoning.
The regulars were not needed on
Saturday 2 July, where recording from
8.30am to 3pm took place at Casa Del Mar,
a private house on the Marine Parade at
Goring-by-the-Sea in Sussex.
This was the interior and
exterior of De Flores’ house
in Part One. Downie had
originally scouted for such
houses in the Gerrards Cross
area, but found them all to
be of the wrong architecture.
It was while negotiating fees
with the hotel in Worthing
that the manager suggested
the house, owned by his
friend. Recording was
delayed when the parrot

dence

Nemesis,
mbrance
ing the

the Dalek

COMPLETE HISTORY

a kt ee SQA

hired to imply a South American setting
refused to come down from the trees.
Sunday 3 and Monday 4 were days off,
and recording concluded between 9am and
6pm on Tuesday 5 July as the cast and crew
travelled up to Harefield. Black Jack’s Mill
Restaurant off Park Lane was used to record
the scenes at the pub garden and riverbank
for Part One - the venue had been found
by Downie when scouting for another
programme. Courtney Pine - who had just
flown back into the UK from an American
tour hours earlier - played saxophone
and was joined by Adrian Reid on piano,
Ernest Mothle on double bass and Frank
Tontoh on drums. Another late addition
was the Doctor’s new pocket watch. Clarke’s
script had this as a normal watch, but
during production Nathan-Turner felt
that something special was required. The
prop, complete with LCD display, was
assembled by visual effects assistant Mike
Tucker between locations (Tucker had
also made a new TARDIS key during The
Greatest Show in the Galaxy, but this was not
used). Because McCoy was ill with flu, it

was decided that Heasman, would double
for him in the fall into the river, although
Aldred insisted on performing her own
stunt with a wetsuit under her costume;
Heasman instructed her to break her fall
by holding onto the bridge supports as she

went in.

lso recorded on this day was some
A dialogue for a special anniversary

trailer. This began with Ace and the
Doctor chatting about his 25 years of time
travel, and Ace asking if he’ll ever give up -
and, after a sequence of clips from the new
serials, ended with the Doctor bundling
Ace into the TARDIS and murmuring
“it’s only just beginning.” The ‘duck’
item was recorded as part of a running
item featured on The Noel Edmonds Saturday
Roadshow; McCoy took to the bird and
hoped it could feature in the actual
show. With recording complete, eight
minutes of outtakes and tomfoolery during
production was shown by the video editors
in the scanner van. A party was held for
Les Runham, the production operations

PRODUCTION

There's a whole

new world to
ae explore for

.< Richard and

Lady Peinforte.

supervisor on the show, who was retiring
after 25 years and whom Nathan-Turner
presented with the silver bow and arrow.
With main location recording
completed, a small amount of model
shooting on 35mm silent film was
produced in the Elstree Studios’ car park,
with Bill Dudman shooting the Cyberman
spaceships against a black background
for Parts Two and Three, as well as the
explosion of the spaceship in Part Two
(with model trees from the 1986 BBC1
adaptation of Alice in Wonderland hiding
the blocks of flats in the background) and
the Nemesis blasting out of the crypt in
Part Three. The model Cyberman ship was
designed by McGuiness, who also made
the model folly; the ship was then built by
Tucker and McGuiness. Brahan wanted to
do the explosion of the Cyberman ship on
film; the exploding prop was made by
Alan Marshall.

Wed 22 Jun 88 Greenwich Gas Works,
Tunnel Avenue, London (Open Space
Windsor/Building Site/Int. Transit/Park/
Deserted Area)

Thu 23 Jun 88 Greenwich Gas Works
(Building Site)

Fri 24 Jun 88 Greenwich Gas Works
(Building Site/Model Shots/Hangar/Top

of Stairs/Gantry/Office Area/Hangar
Staircase)

Sun 26 Jun 88 Arundel Estate, Arundel,
W Sussex (Countryside/Secret Passage
Exit/Country near TARDIS/Ext. Crypt)
Mon 27 Jun 88 Arundel Castle, Arundel,

W Sussex (Private Grounds Windsor
Castle/Terrace Windsor Castle/Drawing
Room Windsor Castle/Corridor Windsor
Castle/Stairs Windsor Castle/Windsor
Castle Vaults)

Tue 28 Jun 88 Arundel Estate (Forest -
Spaceship Site/Forest near Crypt/Forest
near Spaceship/Int & Ext. Crypt/Forest
near Road)

Wed 29 Jun 88 Arundel Estate (Int. Crypt
Doorway/Int. Crypt/Forest near Crypt/Ext
Crypt/Model shot)

Thu 30 Jun 88 Arundel streets (Int.
Transit/Windsor Outskirts);

Tarrant Street, Arundel (Windsor Back

Street); High Street, Arundel

(Windsor High Street); London

Road, Arundel (Windsor Outskirts -
Deserted Road); Estate roads

(Road/Int. & Ext. Limo)

Fri1Jul 88 St Mary's, Bramber,

Sussex (Lady Peinforte’s Garden,
Windsor/Lady Peinforte’s Study/

Tea Room)

Sat 2 Jul 88 Casa Del Mar, Goring-by-Sea,
Sussex (De Flores’ Garden/De Flores’
Drawing Room)

Tue 5 Jul 88 Black Jack's Mill Restaurant,
Harefield, Middlesex (Country Pub Garden/
Riverbank)

DOCTOR WHO | THE COMPLETE HISTORY <

Below:
Teamwork -
the Doctor and
Ace triumph in

Silver Nemesis.

VER NEMESIS » sor150

OT ee eee AT ee ie

ee a Ny ON

Post-production

he New Jersey Network

documentary team recorded

an interview with John

Nathan-Turner in his office at

the BBC’s Threshold House,

rather than visiting director
Alan Wareing and Dave Chapman adding
electronic effects to The Greatest Show in the
Galaxy. Andrew Cartmel was also asked to
be interviewed, but declined.

Days scheduled to add the required
electronic effects were originally Saturday
20, Friday 26 and Saturday 27 August.
Several scenes were enhanced by image
manipulation on Paintbox, operated by
Jim McCarthy. This created the forest
behind De Flores’ villa, removed the

dormer windows from Peinforte’s house
(and painted out the rain) as well as
duplicating the Cyberman spaceship and
its pulsing lights. CSO was used to lay

the spaceship model over the helicopter
footage in Part Two, although the rotor
blades of the machine could be seen

in some shots. Video effects added by
Chapman included the blue globe images
appearing on Ace’s ghetto blaster dish,
the arrival of the Nemesis in Part One,
the journey through time for Peinforte
and Richard, sparks flashing across the
Walkmen as they got their orders in Part
One and died in Part Two, the arrival of
the floating Nemesis in the hangar in Part
Three, the merging of Lady Peinforte with
her statue alter-ego, the departure of the
meteor and the explosions overlaid on the
Cyber Fleet.

between Friday 2 September and

Wednesday 5 October; the title
sequences were assembled on Monday 12
September. However, editing ran on until
Wednesday 2 November. Many scenes were
swapped around in editing - originally
the serial opened with the comet, then the
Doctor and Ace at the pub, then the 1638
sequence and finally the South American
scenes of De Flores. Also notable was
the reworking of the scenes involving the
paramilitaries and Cybermen at the start
of Part Three where the sequences of Karl
pretending to betray De Flores to the
Cyber Leader were removed - although
brief shots of De Flores wearing silver

[= diting on the serial was scheduled

headphones were retained and De Flores’
abortive escape using gold dust became his
actual escape later in the episode. Eleven
seconds of stock OB Ents and Events
videotape from Songs of Praise showing the
real Windsor Castle (broadcast Sunday
27 December 1981) was inserted into
Part One as an establishing shot. All the
episodes overran to some extent, Part
One having about five minutes of material
removed from it for transmission. A cut
made at the start of Part Two had Richard
commenting of the Doctor “his face has
changed” and Peinforte adding, “The
wench’s too, but... of course. Why, toads
and adders can be leaders of men, can the
Doctor not change his face?” On seeing
the TARDIS she then added, “Oh glorious
evil. It is he.” The original script by Clarke
had referred to the First Doctor and Susan
at this point. Second edits of Parts One
and Two were broadcast with a third edit
of Part Three. Scene setting captions were
used in Part One: ‘South America 22nd
November 1988’ over the establishing
shot of the villa (along with the Part One
caption) and ‘Windsor, England 1638’ over
the first scene at Lady Peinforte’s house.
Dubbing took place on Thursday 3 and
Monday 7 for Part Two, and Tuesday 8
and Saturday 12 November for Part Three.
There was also then a special compilation
version of the serial prepared for the press
screening on Tuesday 15 November; this

was edited on Saturday 5 November and
dubbed six days later. Several pieces of
dubbing were required including Ace
remarking “Oh no, not you again,” in

Part Three, asking about calculations and
observing, “Nice rocket technology.” Some
of the Cyber Leader’s lines in Part Three
were amended, along with a line about
carrying the Nemesis to their ship in Part
Two. The original dub of the serial was
plagued by a wiring fault, which placed the
stereo channels in reverse. Most of Part
One was assembled in mono, and the end
of Part Three was originally broadcast in
mono because of the fault.

Keff McCulloch provided a complete
music score of just over 31 minutes of
music, using a harpsichord sound for
the seventeenth-century scenes, and
incorporating elements of Ron Grainer’s
theme tune during Part Two. One piece
of stock music was also used: The Ride of
the Valkyries (Act III) from Wagner’s Die
Walkure, taken from a 1983 Classics for
Pleasure LP with Karl Anton Rickenbacher
conducting the London Philharmonic
Orchestra (catalogue number CFP
4144121). Thirty seconds of this was
played on De Flores’ gramophone at the
start of Part One. Hf

“Destroy them.

Left:

Don't worry,
Lady P; there'll
be another
bus alongina
minute,

Destroy them
at once!”

Wel
|

i n
mls

® A special trailer for the anniversary
season was shown at the BBC press
launch for their autumn season on
Tuesday 16 August. The trailer ran
to 1’55” and incorporated clips from

Remembrance of the Daleks, The Greatest
Show in the Galaxy and Silver Nemesis.

® An outtake of McCoy and Aldred from
the serial was screened in Noel Edmonds’
Saturday Roadshow on Saturday 8
October; this was part of the Clown
Court segment which featured McCoy
introducing outtakes from his episodes
and had been recorded on Friday

9 September.

® In full costume, McCoy, Aldred and
Third Doctor actor Jon Pertwee
promoted the silver anniversary on

the Friday 28 October edition of
Daytime Live from Pebble Mill, along
with the West Midlands Doctor Who
Appreciation Society Local Group.
Presenter Judi Spiers emerged from
the TARDIS and clips were shown
from The Lively Arts: Whose Doctor Who
documentary from 1977, The King’s
Demons [1983 - see Volume 37], The
Mark of the Rani [1985 - see Volume 41]
and Remembrance of the Daleks. All the
guests were confused about rumours of
a proposed cinema film, and presenter
Alan Titchmarsh had a look inside

the TARDIS.

D A jubilee party was held for the series
at 11am on Tuesday 15 November
at a tourist attraction, 3001 Space

Adventure, at Tooley Street in
London. This was attended by McCoy,
Aldred, Nathan-Turner, Clough and
McCulloch - and interviews were

recorded for Hearts of Gold, Behind

the Screen and Open Air. In the space
shuttle interior used at the attraction,
Silver Nemesis Part One was screened
for the press, along with an over-the-
top ‘B’ movie trailer for the serial
(with voice over by David Banks).
After a ride on the shuttle simulator,
McCoy and Aldred officially opened a
Doctor Who exhibition of recent props
housed at the event, and then cut a
TARDIS birthday cake with the help
of a Cyberman. Also present were
Gary Russell and John Ainsworth of
Doctor Who Magazine. Coverage of the
party appeared the following day in
the Daily Mirror, although the Daily
Mail, The Guardian and The Independent

Publicity

spotlighted the prospective casting of

| comedian-turned-actor Dudley Moore

| as the Doctor in the rumoured Doctor
Who movie.

® On the morning of Part One’s
transmission on 23 November -
Doctor Who’s 25th anniversary - the
press celebrated the occasion with the
Daily Star running a Happy Birthday
Doc! feature, and Today's McWho’s
Really Coy by Anne Caborn. Open Air
transmitted the previously recorded
talk with the show’s stars, while Susan
Rae discussed the anniversary live

® The Making of Doctor Who documentary
integrated material from The Lively
Arts: Whose Doctor Who, BBC TV
review programme Did You See... ? (13
March 1982), and Part Two of Attack

of the Cybermen, and used as its theme in studio with the show’s original pei E
Doctorin’ the TARDIS. This single, producer Verity Lambert and Jon its Whee pee
by The Timelords (a nom de plume Pertwee in Studio B. birthday!

for the acid house act The KLF) had
reached No 1 in the UK music charts
on Sunday 12 June. The documentary
premiéred on Saturday 19 November
in New Jersey, with special guests
Sylvester McCoy and Sophie Aldred;
McCoy and Nathan-Turner then joined
the Doctor Who Silver Anniversary
Cruise from Miami for the next week.
John Nathan-Turner attempted to have
the programme broadcast in the UK,
but found it dismissed by the BBC as
being too American.

® The serial was trailed extensively on

BEC television, alongside an extract
from The Zarbi, the second episode
of The Web Planet [1965 - see Volume
4] to emphasise the anniversary. On
Thursday 17 November, Radio Times
included a four-page colour feature
entitled Who's with Doctor Who in which
Johnny Black studied the companions
over the 25-year span of the show,
while Sylvester McCoy was the first
subject interviewed by William Graves

_ for the magazine’s new My Kind of
Day section. During the week, he had
featured in promotional adverts for
the magazine.

® It became clear that because of the

BBC’s Olympic coverage in September,
Doctor Who would not be scheduled

as planned. John Nathan-Turner
rearranged the schedules to start
broadcasting on Wednesday 5 October
with Remembrance of the Daleks and
then transmit The Happiness Patrol to
allow Silver Nemesis Part One to go out
on the anniversary itself: Wednesday
23 November. This meant that The
Greatest Show in the Galaxy was going
out last - showing Ace finding the
earring she had already worn in Silver
Nemesis, and looking for her rucksack
which she had blown up in the
Cyberman spaceship.

® Silver Nemesis was broadcast on BBC1

in its usual 7.35pm slot, commencing
on Wednesday 23 November.
However, Parts Two and Three
received their world premiéres just
two days later in New Zealand, where
Television New Zealand screened

a compilation version of the story

on Friday 25 November as part of a

special ‘Silver Jubilee Week’. The
serial was repeated in April/May
1990. It received its Australian
premiere on ABC in November 1989
(repeated October 1990), the United
Arab Emirates in December 1989,
with showings by RTL in Germany
as Das Vermachtnis der Nemesis

(The Legacy of the Nemesis) in April
1990 and 1993. In North America

it also aired as a 70-minute

TV movie.

® In the UK, Part One of Silver Nemesis

captured an audience of over six
million, the largest since Revelation
of the Daleks [1985 - see Volume 41].
Although the ratings tailed off, the
serial had the highest average figure
for the season and a strong
Appreciation Index. However, the
series was still placed opposite
Coronation Street, with the popular
soap still able to attract audiences of
19 million. A BBC audience research
study showed the serial to be the
most popular of the season with good
reactions noted for the performances
of McCoy and Aldred.

® On Friday 25 November, the BBC

review and discussion programme
Open Air carried viewer complaints
about the scenes of Lady Peinforte
shooting arrows at pigeons in Part
One of the serial. In response to the
comments, the Doctor Who production
office issued a statement on the
subject: “No birds were hurt in

ci &. .
Broadeast

oe * |
|

= Left:
The Doctor
| joins in with
the jazz
quartet...
by playing
the spoons!

RSIS fi
rere

how he felt Doctor Who had declined
in recent years, suggesting that Silver
Nemesis was based on Wolfram von
Eschenbach’s take on the Holy Grail |
quest, Parzival. The Wednesday 7
December edition of the BBC’s Points
of View saw Anne Robinson include

a viewer’s observation that the
Mathematician’s calculations in
1638 failed to take into account the
change from Julian to Gregorian
calendar in 1752.

the making of the programme.
The two characters involved in the
incident were utter villains, and
we weren't in any way intending
them to be role models.”

® John Nathan-Turner’s interview
with Rob Curling recorded at the
Tooley Street exhibition formed
BBC2’s Behind the Screen at 4.40pm
on Monday 28 November.

® The critical response from the United
Kingdom press was variable, with the
Evening Standard’s Kate Saunders being
more positive than the Daily Telegraph.
Nicci Gerrard admitted to being
‘hooked again’ in The New Statesman on
Friday 25 and in that weekend’s Mail
on Sunday, Alan Coren compared Doctor
Who favourably against BBC1’s The
Chronicles of Narnia; Peter Torey in
the Sunday Express was less impressed
and the News of the World called it
‘timeless twaddle’.

® Silver Nemesis was broadcast in episodic
and compilation form on UK Gold
from December 1994 and aired on the
Horror Channel from November 2014.

® For the 25th anniversary story,
John Nathan-Turner had previously e
approached Jonathan Powell, the
Controller of BBC1, for special
funding, a request that was
subsequently turned down. As such, ‘
series star Sylvester McCoy found
the resulting production rather
disappointing, feeling there should

have been more money spent on it.

D In The Listener on Thursday 1
December, Mark Lawson commented

ORIGINAL TRANSMISSION

EPISODE DATE TIME CHANNEL DURATION RATING(CHART POS) APPINDEX
PartOne Wednesday 23November1988 735pm-8,00pm BBC1 24'31" 6.1M (76th) 71

Part Two Wednesday 30 November1988 735pm-8.00pm BBC1 24'12" 5.2M (94th) 70
Part Three Wednesday 7 December 1988 7.35pm - 8.00pm BBC1 24'36" 5.2M (98th) 70

DOCTOR WHO | THE COMPLETE HIS’

tee ee Ney ON

Merchandise

he music from the trailer, 8891
Royale by Keff McCulloch,
was issued in November
1988 on The Doctor Who 25th
Anniversary Album.
The novel Doctor Who — Silver
Nemesis by Kevin Clarke was published
by Target/WH Allen in November 1989,
featuring a cover by Alister Pearson.
This was subsequently reissued in
September 1993.
Limited copies of an 8x10 art print of
Ace in Silver Nemesis (signed by Sophie

pock

wed

\ a a

SILVER NEMESIS

Right:
Kevin Clarke's
Target
novelisation,
with a cover by
Alister Pearson.

Aldred) were issued in November 2001.
Then in 2008, the Stamp Centre issued a
cover for Silver Nemesis, signed by Sylvester
McCoy and Sophie Aldred, limited to
1,000 copies.

Silver Nemesis was released on BBC
video in April 1993. This was an extended
edition which included 11 minutes of
material added to it which was cut from
the original BBC transmission due to time
constraints. The new cut was compiled
by John Nathan-Turner while working
on various Doctor Who projects for BBC
Enterprises. With limited time and
money, he attempted to reinstate most
of the missing sequences from the
existing recording spools and first edits
into the broadcast episodes. The release
also included a red-edited version
NJN TV documentary, The Making of

| Doctor Who, previously broadcast in

North America.

) SDiscsofisiver

ilver Nemesis was released in a box
= set with Revenge of the Cybermen
[1975 - see Volume 23] on BBC

DVD in August 2010. It included the

following extras:

» Commentary - with actors Sylvester McCoy
and Sophie Aldred, director Chris Clough and
script editor Andrew Cartmel

® Industrial Action - cast and crew look back at
the, with actors Sylvester McCoy, Sophie Aldred
and Gerard Murphy, director Chris Clough, writer
Kevin Clarke, script editor Andrew Cartmel,
stunt arranger Nick Gillard and Courtney Pine

® Deleted and Extended Scenes

® Trails and Continuity - 88Ci trails and

NON NNO ee Merchandise

BEC Video presents two special programmes made to commemorat
the Doctor's 25th anniversary. 4

By Kevin Clarke
Storring Sylvester McCoy -
Originally transmitted 23d November - 7th December 1988
This Version contains additional previously entrarsmrted material,
“You mean. the workd's going to end and you'd forgotten abaut it?*
‘Te been busy *
“How long hove you known?*
“Well, in strictly linear terms, as the chronometer fies. lve known since
November 23rd 1638."
itis 23rd November 1983, Lady Peinforte and her loyal servant Richard have travelled
from the year 1638 for this moment. Herr De Flores’ dreams of establishing the Fourth
Reich rest on this point in time. The Cybermen's planned invasion of Earth is scheduled
for the same time. The link between the three? The statue Nemesis, Fashioned from
vaiidium - the ving metal first made by Rassilon on Callifrey and capable of bestowing
the power of life and death on any individual. Can the Doctor and Ace prevent its
awesome power from falling into any of thelr evil hands?
Produced by John NathanTumer Directed by Chris Clough

Ever wondered what happens behind the scenes during the making of Doctor Who? Just
Who Goes nrite the scripts? Who designs the costumes? Now's your chance to find out
i this Special hour long programme which enrols You as 8 member of the Doctor Who:
team. From the eartiest rehearsals to the actual Fecording of the programme, the making
of Silver Nemesis ts revealed. There are Special interviews with stars Sylvester McCoy
and Sophie Aldred, director Chris Clough, production manager Gary Downie and
producer John Nathan-Turer who reveals his special "visiin” for the programme,
There's also time to chat with the technical people who “make it all happen”, from
make-up, costume and visual effects designers to the Composer of the incidental music
Ap absolutely unique opportunity to gain an insider's view of Doctor Who
Produced and written by Eric Luskin. Directed by Freddie Chisholm
Running time: 139 mins approx
For mare information on Doctor Who, please send a SAE to:
Doctor Who Appreciation Society P.O, Box 519 London SW17 BU
“Te Maing of Doctor Wed”, dictated wader eacesveBeence tom ew Jersey Pie Broadcasting etry

88826" >

continuity announcements from the story's
original transmission
» Photo Gallery
® Isolated Score
» Radio Times Billings (PDF)
» Production Information Subtitles
» Trailer
Silver Nemesis was included as part of GE
Fabbri’s Doctor Who — DVD Files collection in

= November 2012.
o.2 Music and
TOR

sound effects
from episodes

of Doctor Who

Fy including Silver
Ml Nemesis were
included on the
BBC CD 30 Years
at the Radiophonic
Workshop in July

| 1993. Some

of these tracks

Left:

The foil-
embossed
special edition
video release
of the story,

Below left:
The cover of
the story's

DVD release.

were later featured on Silva
Screen’s Doctor Who: The
TARDIS Edition CD collection
in November 2014.
Cyberman metal
miniatures (Alector)
were manufactured in
December 2001; they
were available to
purchase painted
(£7.99) and
unpainted (£3.99).
Models of the
Cyber Leader
and a Cyberman

Left:

Product
were manufactured by Enterprise
Underground Toys released a
: : talking Silver
in July 2010. A full-size

Nemesis

replica of a Silver Nemesis
Cyberman was produced
by This Planet Earth

in 2011. 8

Cyberman,

! ER NEMESIS » storviso a. kek eS

Cast and credits

CAST Jacquella TeW nu. De Flores’ Maid
Sylvester MCCOY... css The Doctor John Ould, Dave Ould... Walkmen
SOPHe ALTO... eccccesessssssssssessssssesesssssnseenssssssssnseuee Ace David Banks, Gary Downie, Miranda

Anton DifFFING uci De Flores Arness, Vanessa Astell, Gail Abbott, Teresa

FIONA WAIKE|T.. niin Lady Peinforte Donnelly, Julie Hogg, Della McCrae, Sonia
Dolores Gray oo... Mrs Remington [3] Benjamin, Norma Warren, lan Bodenham,
Gerard Murphy... Richard lan Johns, Mark Howard, Matthew Baker,
Le@Sli@ FFENCBiiiccsscsssees Mathematician Ulrie Browne, Alva Shelley, Lewes St Juste,
MSREMEMDMGE Med rrrrrsertctesssncctccnncescosessssonssssscacoseonscncsssrerencseces Kar Tony Amerchi, Derek MCNally .........ccis
Martyn R@ad oun SSGU TCA CU ACH IO IN Meramtatnenccccnsosttentrnaccesvresssvsscsetcs Members of Audience
David BankS ....iccccissiicsisen Cyber Leader Paul Heasman...Stuntman/Double for the Doctor
Mark Hardy... Cyber Lieutenant [2-3] Sylvia Victor, Rosamund Hartley..................008
Courtney Pineand Adrian Read, Ernest (— iiccecsussssecesessssssssssseee Ladies in Tea Room
Mothle, Frank Tontoh.................... Jazz Quartet [1] Wendy FIOFene...iiccccnieen Waitress
Chris Chering, Symond Lawes..... Skinheads [2] Christian Fletcher, Daryl Brook, Mike

Brian Orel... Cyberman [2-3]. MUNGAPVAN ...... cette Policemen

Chris Clough......... Policeman Voice

UNCREDITED DUMNGANIBLOWNE ii csccrssisccsissneutiene Sentry
Below: TePrry DUFAN. in De Flores’ Gardener lan Fraser, Fiona Cumming, Andrew Morgan,
Cyber Leader John Baker Steve Ausden, Jamie Durdy, Peter Moffatt, Sally Anne Meese, Nicholas
Me ober Jack Talbot, Sean Barry-Weske, Andrew Courtney, Kathleen Bidmead, Stephen
soldiers (half) Searle, Keith Harvie, David Howarth, Julian Claire, Graeme Curry, Kevin Clarke............0.00
out of costume. Redmond, Sean McCrory................... Paramilitanlesta tl ticcmuvcnnuntnncssrsns: Tourists at Windsor Castle

a : — Vere LOFIMED iene Tour Guide
NAVY ji — Mary ReYNOldS .....ccscnsise Queen Elizabeth |
: = ; Derek Van Weenan niin Security Man
a a A Danny Boyd, Paul Barrass, Scott Mitchell,
i Tony Carlton, Bill Malin............00608. Cybermen
Paul Heasmaan ....
Paul McGuiness
K@WiT Clann ccc sccsitrcssccsissccscessviscessense Passerby
Fiona WaIKED ccs Statue
Ricardo Mulhall ............ccccssscssse Hitchhiker
Kevin Clank e ssisiiiisssisisisssssssvecssiscesssssrecerraccvveticinatisis Driver
UNKNOWN sis sitiicanstanticnoananmmaere Chauffeur
Karen YOUNG ou... cen 1638 Young Woman

CREDITS
Written by Kevin Clarke
Stunt Arrangers: Paul Heasman [1-2],
Nick Gillard [2]
Theme Music Composed by Ron Grainer
Theme Arrangement/Incidental Music:
Kett McCulloch
Special Sound: Dick Mills
Production Manager: Gary Downie
Production Associate: June Collins
Production Assistant: Jane Wellesley
Assistant Floor Managers: Lynn Grant, Jeremy Fry*
Visual Effects Designer: Perry Brahan
Video Effects: Dave Chapman
Paintbox Artist: Jim McCarthy
Engineering Manager: Brian Jones
OB Cameramen: Barry Chaston?, Alan Jessop
Film Cameraman: William Dudman

Video-Tape Editor: Hugh Parson

Vision Mixer: Barbara Gainsley

Properties Buyer: John Charles

Lighting: lan Dow

Sound: John Nottage [1-3], Trevor Webster [1],
Scott Talbott [2-3]

Costume Designer: Richard Croft

Make-Up Designer: Dorka Nieradzik

Script Editor: Andrew Cartmel

Graphic Designer: Oliver Elmes

Computer Animation: CAL Video [3]

Designer: John Asbridge

Producer: John Nathan- Turner

Director: Chris Clough

1 Trainee
2 Camera Supervisor

Left:

Is Sylvester
McCoy jealous
of Sophie's
Blue Peter
badges?

Profile

EW CARTMEL

Script Editor

ndrew J Cartmel was born
1958 in Woolwich, London
but raised in Canada. On
returning to the UK, Cartmel
studied at the University of
London. He indulged his
writing passion while unemployed and
living on a London council estate. He
attended workshops at the BBC’s Script
Unit, a hothouse for young writing talent,

EERE RABDAY

company Shape Data Ltd in Cambridge.
Cartmel acquired a writing agent, Richard
Wakely, on the basis of two unmade
scripts. Wakely recommended Cartmel to
Doctor Who producer John Nathan-Turner
and he was soon offered the script editor
job. He began his new role on 12
January 1987.

The 1987 series opener Time and the
Rani [1987 - see Volume 43] had been
pre-commissioned, and Cartmel found their
script old-fashioned, clichéd and verbose.

Interviewed by David Bishop in the
fanzine Time Space Visualiser in 2004,
Cartmel described his aim for “darker,
dirtier, funkier and nastier stories”. He was
influenced by modern comics, especially
Alan Moore’s work on Halo Jones in 2000
AD, Watchmen and Swamp Thing, and in TV

Below:
Andrew
Cartmel's New
Adventures
novel, and

a page from
his Evening’s
Empire
comic strip.

terms the offbeat qualities of The Prisoner
and The Avengers.

Cartmel recruited all-new writers and
brought in Malcolm Kohll and Ian Briggs,
whom he had met at the Script Unit.

Cartmel wrote two audition scenes for
the new Doctor’s screen tests in February
1987, helping usher in the Sylvester
McCoy era. Cartmel felt “saddled” with
the ‘screamer’ character of Mel for his first

—_____ | season and in late January 1987 he and
Nathan-Turner outlined a streetwise
teenage cockney checkout girl, Alf; the
character would later be developed
as Ace.

His three seasons had a quirky, vibrant
feel, mixing fresh ideas with social
commentary, most obviously in Paradise
Towers [1987 - see Volume 43] and The
Happiness Patrol [1988 - see Volume 44].
He sought a return to a “mysterious,
scary, powerful Doctor”.

) ‘Cartmel never wrote a script for TV
a ae , =e ve | | Doctor Who, a decision he later regretted.
E{CAT'S eR OT ae He hurriedly adapted his McCoy audition
as Mel’s leaving scene in Dragonfire

and was also interviewed by Paul Stone
for a post in the BBC’s Children’s
Drama department.

His father’s death in the mid-80s
prompted Cartmel to find gainful
employment, and after completing
a postgrad in Computer Studies at
Canterbury joined
computer-aided design

—p.4 | \
A A ws a |

(46) DOCTOR WHO | THE COMPLETE HISTORY

.~O.SN

[1987 - see Volume 44] and provided the
last-minute monologue that closed both
Survival [1989 - see Volume 46] and the
original 26-year run of the series.

Vague plans were in place for a further
series of Doctor Who in 1990 as Nathan-
Turner sought another BBC position and
Cartmel recalls his producer turning down
an offer to helm detective series Bergerac.

Headhunted to become script editor
on hit medical drama Casualty for its
fifth season, aired autumn 1990, Cartmel
commissioned Ben Aaronovitch, Ian
Briggs, Rona Munro and Stephen Wyatt,
but surprisingly this would be his last TV
work for a decade. While not referencing
Casualty directly, Cartmel later expressed
dissatisfaction with the “sausage machine”
of television.

He returned to the worlds of Doctor Who,
writing four comic strips for Doctor Who
Magazine from 1990. The most notable,
Evening’s Empire, was originally halted due
to artwork problems but published in a
complete volume in 1993. For Virgin’s New
Adventures novels range he provided the
trilogy Warhead (1992), Warlock (1995) and
Warchild (1996). Outside of Doctor Who, he
wrote strips for 2000 AD’s Judge Dredd: The
Megazine in 1995.

Moving into journalism, he worked as a
sub-editor at John Brown Publishing in the
late 1990s, before becoming editor of SF
magazine Starbust between 1999-2000.

He briefly returned to TV as story
editor/writer on international production
Dark Knight, a fantasy retelling of Ivanhoe
made in 2000.

Further Doctor Who tie-ins included
audio play Winter for the Adept (2000),
novella Foreign Devils (2002) and novel
Atom Bomb Blues (2005), while Script
Doctor, his diary of working on Doctor
Who, was first published in 2005. He
was contributing script editor on a Big

Finish audio range of Lost Stories featuring

| unmade adventures in 2011. In 2014 he
| wrote strips for the Doctor Who Adventures

comic. A third season script for Torchwood

| entitled Jinx went unmade when the show

was reformatted as a mini series.

Cartmel has performed stand up,
lectured for City University London and
Saint Mary’s College, Surrey, and his
stage plays have included End of the Night
(2003) and political satire Under the Eagle
(2008). In 2015, he collaborated with Ben
Aaronovitch on an original comic mini-
series of Rivers of London, based on the hit
novels created by his Doctor Who protégé.
Having written two Rupert Hood spy
novels, his thriller series The Vinyl Detective
is published in 2016.

Profile

Above:
Cartme! helped
develop the
character of
Ace with John
Nathan-Turner.

DOCTOR WHO | THE COMPLETE HISTORY Ca

THE GREATEST
SHOW IN THE
GALAKY

» STORY 151

Roll up, roll up! The Psychic Circus has come
to Segonax, and it needs acts to keep the
audience entertained. The Doctor and Ace are
among a weird troupe of performers in the
ring - where something sinister waits...

ilver Nemesis [see page 6] may
have gone some way to re-
establishing the Doctor as an
enigma, which made it more
important than ever that the
audience identified with his
companion. Perhaps this is why Ace’s
fears are so thoroughly explored - it’s as
if we’re being explicitly told we should be
afraid too. In Silver Nemesis she admits that
she’s scared and, rather insensitively, in
many of the stories that follow, the Doctor
forces Ace to confront her fears. In the The
Greatest Show in the Galaxy he takes her to
Segonax to see the Psychic Circus, and we
learn that she finds clowns creepy.

She wouldn’t be the first, of course.
Clowns have cropped up in Doctor Who
many times over the years. The Celestial

Right:

The ae Toymaker [1966 - see Volume 7] featured
all Joey and Clara, and while they’re not

The Celestial presented as obviously creepy, they are
Toymaker. pawns in the Toymaker’s game, and reflect

Introduction

the fate that could befall the First Doctor’s
companions Steven and Dodo. There are
certainly many other instances when the
unnerving appearance of clowns has been
used to great effect. In The Deadly Assassin
[1976 — see Volume 26], the Doctor finds
himself in the nightmarish dream world
of the Matrix and, at one point, he sees
his reflection as a laughing clown. A
sad-looking clown crops up as someone’s
fear in one of the rooms of The God Complex
[2011 - see Volume 69] and, only two
stories earlier in Night Terrors [2011 - see
Volume 68], the Doctor agrees with the
young boy George when he says that he
hates clowns.

It might be The Greatest Show in the
Galaxy that helped the Doctor form
this opinion. When he first discovers
that Ace doesn’t like clowns he thinks
she’s being unfair and that many of the
performers show great skill. By the end
of the adventure, however, he’s forced to
concede that there is something sinister
about circuses.

A particularly disturbing element of
the Psychic Circus is the Chief Clown -
one of the most successful villains of the
McCoy era. Both his voice and his body
language are wonderfully unsettling. He’s
the creepiest of creepy clowns, occasionally
swapping his clown suit for an undertaker’s
outfit and cruising the lanes near the circus
in a hearse.

It’s possible that people distrust clowns
because they suspect the veneer of hilarity
is hiding something beneath. And that’s
certainly at the heart of what makes The
Greatest Show in the Galaxy both intriguing

and Piphrenings a

hice

Be he

a ¥

Introduction

\\ \ \N WAS RS
7

a =

GALAXY WE LEARN THA
[OWNS CREEPY.’
ys 5) .. soe WwW

La THE GREATEST SHOW IN THE GALARY

na circus big top, a Ringmaster
I welcomes the audience to the
greatest show in the galaxy! [1]

A robot appears in the TARDIS and
plays an advertisement for the Psychic
Circus. Ace isn’t keen but the Doctor
fancies entering the talent contest. [2]

On the desert world of Segonax,
Flowerchild and Bellboy are running
away from the circus. Inside a hearse, a
sinister clown searches for the fugitives
using remote-controlled kites. [3]

The TARDIS lands near a roadside
food stall. The Doctor and Ace ask
the stallholder for directions but she
is unwilling to help “weirdos”. A
three-wheeled motorbike pulls up. The
Doctor and Ace ask its rider, Nord the
Vandal, for a lift but he refuses.

Flowerchild reaches a bus and recovers
a metal box. She is trying to open it when
a metal hand grabs her throat.

» STORY 151

The Doctor and Ace reach a campsite
where intergalactic explorer Captain
Cook reminisces while his companion,
Mags, excavates a buried robot. The
robot lurches into life and fires laser bolts
until Ace hits it with a shovel. [4]

Bellboy collapses near the roadside stall
and is dragged away by the clowns.

The Doctor, Ace, the Captain and
Mags reach the painted bus. A robot Bus
Conductor attacks them but the Doctor
overloads it by asking for the most
complicated ticket imaginable. [5] After
the Captain and Mags have driven off,
Ace finds Flowerchild’s earring.

The Stallslady is delighted when a
teenage boy, Whizzkid, cycles up to her -
only to ask the way to the Psychic Circus.

The Captain and Mags enter the ticket
office, run by fortune teller Morgana.

The Chief Clown waves them in. They see
Bellboy lying in the ring and Mags gives
an unearthly scream.

Outside, the Doctor asks Ace, “Well, are
we going in or aren't we?” [6]

PART TWO

ME he Chief Clown beckons the Doctor

i and Ace inside. Morgana welcomes

them and explains that the Psychic
Circus used to travel but has settled on
Segonax. The Chief Clown waves the
Doctor and Ace into the ringside area.

When they enter, it is dark and quiet.
They take their seats next to a family
in 1950s clothes. [1] The music starts
and the Ringmaster raps a welcome
and introduces their next new act - the
Doctor. Ace is accosted by the Chief
Clown and runs into the depths of
the tent. [2]

The Doctor finds the Captain, Mags
and Nord waiting in the dressing room,
which turns out to be a cage. The
Ringmaster arrives asking for the next
_ contestant and Nord is hauled outside.

Whizzkid enters the ticket office and
tells Morgana that he is the Psychic
Circus’ greatest fan. [3]

Nord performs a strongman act and
gets a score of three nines from the 1950s
family. The Ringmaster then prompts
Nord to tell his favourite joke. [4] Nord
fails to amuse and is vapourised.

Ace finds Bellboy tied to a bench ina
workshop. She hides as the Chief Clown
enters and tells Bellboy that he has
important work to do.

Whizzkid enters the ringside area where
he is introduced by the Ringmaster as
their great new act.

The Doctor and Mags pretend to argue
so the clowns on guard enter the cage.
They knock them out and escape.

Ace is caught by the Chief Clown
and locked in the workshop with some
deactivated robots - which slowly come
to life. [5]

The Doctor and Mags pass through a
stone archway into a tunnel that ends
at a deep well with a glowing eye at the
bottom. The Captain appears behind
them with a clown escort, announcing
that they are due on in the ring. [6]

DOCTOR WHO | THE COMPLETE HISTORY — 53 >

=
sd

fia

=
~ re

ie THE GREATEST SHOW IN THE GALARY » sors

deactivates the robots. [1]
As they return to the big top,
Mags reacts to a moon symbol carved on
the archway and the Doctor flees.

Bellboy sees Flowerchild’s earring on
Ace’s jacket. He gives Ace the control for
the buried robot.

The Doctor follows Deadbeat the
sweeper through the tent. The Captain
and Mags return to the cage. Whizzkid is
delighted to meet a hero.

Deadbeat leads the Doctor to the
workshop where he is reunited with Ace.
[2] Bellboy remembers that Deadbeat
used to be called Kingpin.

The Captain lets Whizzkid to go into
the ring befire him “as a special favour”.

Bellboy recalls that it was Kingpin who
persuaded them to come to Segonax -
but then the circus was turned into
a trap.

B ellboy is still in the workshop and

Whizzkid steps into the ring and tells
the family that this is the most exciting
day of his life. They are not impressed
and he is summarily vapourised. [3]

The Chief Clown finds Bellboy in the
workshop - alone except for the robots,
which Bellboy turns against himself. [4]

Kingpin leads the Doctor and Ace back
to the well and demonstrates how he used
a medallion to summon the powers of
this world. [5] Ace notices that Kingpin’s
medallion depicts an eye missing its pupil
which the Doctor thinks may have been
hidden in the bus.

The Doctor returns to the dressing
room and makes the Captain and Mags
a proposal; that the three of them should
go into the ring together.

Ace and Kingpin escape into the desert,
heading for the bus.

The Ringmaster announces the Doctor,
the Captain and Mags in the circus ring.
The Captain requests a special lighting
effect of a crescent moon - and Mags
transforms into a werewolf! [6]

XY \ NNN ARR RRR

he family is delighted, awarding a
Te of three nines. Kingpin and
Ace reach the bus. Ace finds the
metal box, unaware that the robot Bus
Conductor is lying in wait. Mags attacks
the Captain, savaging him to death. [1]
As the conductor struggles with Ace
it breaks open the box and a small blue
eye falls out. Kingpin returns it to the
medallion and regains his sanity. He tells
Ace where to find the conductor’s stop
button, which makes it explode. [2]
The Doctor and Mags (who has

returned to normal) escape from the ring.

The Ringmaster and Morgana reassure
the family that more acts are on the way
but the family vaporises them.

The Doctor sends Mags to get Ace
while he enters the ring. But now it has
transformed into a gladiatorial arena
and the family is revealed as the Gods
of Ragnarok! [3]

re arr.

Mags finds Ace and Kingpin. They hide
near the buried robot and as the clowns
approach, led by the Chief Clown, Ace
uses the robot to blast them. [4]

The Doctor performs magic tricks for
the Gods.

Ace, Kingpin and Mags head back to
the circus in the hearse.

The Doctor tells the Gods he is
reaching the climax of his act and creates
a sword from thin air.

Ace, Kingpin and Mags reach the well.
The animated cadaver of the Captain
emerges from the darkness and takes the
medallion, but Mags kicks it out of his
hand and into the well - and it reappears
in the arena. The Doctor uses it to reflect
the Gods’ power. [5]

The arena collapses and the Doctor
strides out of the big top as it explodes
behind him. [6]

Later, Kingpin invites the Doctor and
Ace to join his new circus but the
Doctor declines as he admits that he’s
always found circuses a little sinister.

'e:
D
-

ESS es
oe

Psychic Circus.

OCTOR WHO | THE COMPLETE HISTORY

THE GREATEST SHOW IN THE GALAHY =» stores:

Pre-production

fter completing the scripts
for his first Doctor Who story,
Paradise Towers [1987 - see
Volume 43] in spring 1987,
Stephen Wyatt found himself
almost immediately asked

to write another serial. A script
conference between Wyatt, producer
John Nathan-Turner and script editor
Andrew Cartmel was held on Wednesday

6 May. Cartmel had been on holiday and
returned to find Nathan-Turner suggesting
a fairground story; this evolved into
discussions about a circus entitled The
Greatest Show in the Galaxy (a title which
Cartmel disliked) which could be recorded
at Longleat where BBC Enterprises, the
commercial arm of the corporation, had
run a Doctor Who exhibition since 1974.
With this in mind, Wyatt considered the
notion of creatures that lived underground

ara and came to the surface after the crowds
errityin
cae ara had gone home each day, but related to the

attraction in a different way. This concept

on ca
an $1 ie Deets

proved unworkable, but suited Nathan-
Turner’s original circus or fairground
setting. Cartmel and Wyatt were thinking
in terms of strange, unreal images akin to
those from shows like The Avengers or
The Prisoner, hitting upon the notion

of a hearse driven by a clown.

Sinister clowns

rawing upon his dislike of clowns,
D Wyatt considered a storyline and

- having found the behaviour of
star Sylvester McCoy so amusing during
Paradise Towers - was inspired to create
a story with an offbeat setting. He hit
upon the idea of a sinister group of circus
clowns. The story began as a two-page
outline for a three-part studio-bound
serial. This was a garish, computer-
orientated tale in which circus acts led to
a deadly game show. The circus was built
over a buried alien force which formed
an alternate circus. A bored and crazy
Howard Hughes-style collector aims
to collect a single example of all life for
collection, and the circus offers freaks
from any civilisations. The Ringmaster
was intended as the villain of the piece,
with an old granny manning the box
office. The Doctor wins out in a series of
psychological and physical tricks played
by clowns and acrobats which faced all
entrants from the moment they arrived
to purchase a ticket. They entertained a
jury of three, evoking images of ancient
Rome, comprising a mum, dad and child
watching events like a TV show such
as Juke Box Jury. The other competitors
included a punk and a Non-Entity,

and when the Non-Entity amplifies the
Doctor’s rage, the circus tent is blown up.
Wyatt was keen to overcome the
shortcomings of Paradise Towers,
particularly with regards to the pacing
and being able to write specifically with
McCoy’s Doctor in mind. At this stage, the
outline featured Bonnie Langford’s Mel in
the companion role. Wyatt expanded the
plot, which opened with the Doctor and
Mel arriving at a Victorian circus to meet
a jolly’ box office lady and a ‘Joe Cool’
ringmaster. Mel sees flashes of another
high-tech circus, and she encounters a
strange animal. The other contestants
are a punk teenage female werewolf, a
mighty blob, a Thor-style Nordic - Nord
- superhero and the green Non-Entity;
the first cliffhanger had Nord being
‘splattered’ after a tumbling routine. In the
second episode, Mel is in hiding, the blob
dies when it fails to tame some strange
creatures, and the Doctor encourages the
others to work together in a trapeze act. In
the cliffhanger, the captured Mel is placed
on a wheel of death at which the Doctor
must throw laser arrows. In Part Three,

the family is angry at the Doctor for not
killing Mel, and turn into monsters after
dismissing the Ringmaster before having
the remaining contestants and staff herded
into the ring to entertain them - or die.
Again, since the Non-Entity can amplify
feelings, the Doctor’s rage burns the circus
and destroys the family. This jokier version
was felt to conclude too quickly.

In the subsequent draft, the notion of
the galactic hippy outlaws selling out is
introduced. Mel has flashes of the real
circus because she does not wear the tag
handed out at the box office by the ‘young,
gypsy-like and mysterious’ fortune teller;
she befriends an animal called the Squonk.
Nord is now a superhero unable to tell
a joke, and the second episode ends on
the punk werewolf’s transformation.

The contestants draw lots to see who

will enter the ring first, and their fear is
amplified by the Non-Entity, whom they
despise. The Doctor’s team works together
on a laser tightrope which is part of a
computerised pinball machine. This
version has a romantic triangle between
the Box Office Lady, Chief Clown and

Pre-production

Left:
What's so
funny?

DOCTOR WHO | THE COMPLETE HISTORY 87

x sat f

|
4
oe
—

| id

Ringmaster, with the Box

Connections: Office Lady distraught when

Wrapped up the Ringmaster is killed at
® Inthe TARDIS scenes at PRECIO GPare Three
the start of the serial, Ace The blob is replaced by
emerges from a cupboard ‘a yuppie mutant’, a half-
wearing a multi-coloured human and half-rat/fish

scarf of the style worn
by the Doctor's fourth
incarnation, first seen
in Robot [1974/5 - see
Volume 22]. Also visible
are Mel's outfits seen in
Time and the Rani [1987
- see Volume 43] and
Paradise Towers
[1987 -see
Volume 43],

creature which became
Whizzkid, and falls foul of
basilisks which look like
innocent elfs. The family is
killed by the werewolf’s rage
and their own fury at the
inactivity in the ring.

Wyatt’s fourth draft outline
saw Whizzkid become the
Galactic Games King, and the
Squonk becomes a Honk, a
distorted clown (and a mix of

what became Deadbeat and Bellboy). Nord
is turned into a crumbling skeleton in a
Right:
Segonaxian

snacks for the
travellers.

HE GREATEST SHOW IN THE GALAHY »® storvis:

magic box. The dead Games King returns
at end of the final episode, now fitted with
a robot brain and a score panel for a body.
Wyatt was commissioned to write
the first episode on Friday 8 May, for
delivery on Tuesday 30 June. It was
delivered on Wednesday 23 September.
Wyatt developed a fifth outline following
the delivery of Part One. The story had
now changed from a studio-bound,
three-part production to a four-parter
which required OB work, allowing space
to establish an alien world around the
circus setting in the début instalment
to be made largely on OB. Fellow writer
Ben Aaronovitch, who spent some time
working with script editor Andrew
Cartmel on developing the structure of the
1988 series, suggested an ‘Indiana Jones-
style explorer’ for Wyatt’s serial, from
which evolved a new character, Captain

YN ANNAR SR RRR Pre-production

Cook, who was originally killed off at the
end of the first episode. Cook would be
accompanied by a ‘punk werewolf moll’,
Mags, and Mel was replaced by Ace.
Flowerchild is a ‘female friend’ of Bellboy
and the Non-Entity is a mind-blown
hippy figure who survived the circus tests.
With the addition of the extra episode and
OB work, the new opening instalment
was devoted to the contestants travelling
to the circus and establishing their
backgrounds. The character of Whizzkid
represented any fan; at the time, Wyatt
was working on a play about a fanatic

as a Separate project for Nathan-Turner.
This character’s importance diminished
as the computer game aspect of the

story was dropped and he became a fan

of the ‘Psychic Circus’ in a parody of a Lao to be sent over to Wyatt to read for Above:
supposedly typical overly obsessive Doctor inspiration. At the start of August 1987, a wee aa

Who fan. Wyatt disliked the TARDIS the pair had also been to see a study of ont nentnie
scenes and hoped that they would be cut. circus performer skills when Circus Oz
He also included a reference in the first performed at the Big Top in Coin Street.
episode to Griophos, a planet previously Following delivery of the first version
mentioned by the Doctor in the opening of Part One, Wyatt was commissioned
instalment of Paradise Towers. to write Parts Two to Four on Tuesday
29 September 1987, fora

a, Sp : target delivery of Monda’ Connections:
“Psychic circus : Si Deter Parts Two ; What a klutz

rafting the episodes, Wyatt found and Three were delivered a ® The Doctor is seen
(i) that his liking for the pith-helmeted week later, on Monday 14 teaching himself to juggle

bore of the Captain was so great December, with Part Four in the TARDIS console room,
that he could not be killed off in Part One following on Friday 8 January using beanbags and a copy
and became a new key character. In one 1988. of the book Juggling for
version of the early scripts, after the circus Throughout the early the Complete Klutz by John
collapses at the end, the Captain rose from Jj stages of scripting there were Cassidy and BC Rimbeaux,
the debris, still churning out his boring a number of changes made, first published by Klutz
reminiscences. The element of the hippies and indeed on Monday 2 Press in 1977 as the first
and the abandoned bus came from Wyatt’s [| November there was great in its long line of Klutz
dislike of the hippy movement, showing concern from Wyatt and books, It came complete
how the dreams of the 60s were betrayed Cartmel that the detailed with juggling beanbags.
and died. The notion of the robot buried storyline they had worked The Klutz credo is, “Create
in the sand came from Cartmel. Cartmel on simply didn’t work; wonderful things, be good,
also arranged for a copy of Charles G there were a couple of days’ have fun.”

Finney’s 1935 novel The Circus of Dr inspirational rewriting and
\or~” ~ * = = vee 7

Above:

Mags tries

to look
interested in
Captain Cook's
latest story.

Connections:
Spoon fed

\ and the

® The Seventh Doctor plays
the spoons, an activity he
first engaged in during his
mam first adventure, Time

- see Volume 43],

=
~

is
vn

work continued with a revised narrative.
Originally Mags’ homeworld was to have
been called MacVulpine, and the little girl
would be referred to as Sandra. The planet
Segonax was described as being a ‘beautiful
green landscape, if a little gloomy’, with
scenes set in what was referred to as the
countryside for Parts One and Four. The
TARDIS was to land by a country lane, and
the encampment where the Doctor and Ace
meet Mags and the Captain was described
as a clearing. The bulk of Part Four also
took place at night, with the Segonax

day growing darker as the climax of the
story approached. A comment in an early
TARDIS scene from the Doctor indicated
that the Psychic Circus had originated

on Earth. Of the delivered
scripts, Nathan-Turner
indicated that he particularly
liked “the barker”, a term
which he used to refer to
obsessive fans of Doctor Who,
when referring to Whizzkid.
However, he was concerned
about possible hints of a
relationship between Captain

Rani [1987

cal THE GREATEST SHOW IN THE GALAHY > sors

Cook and Mags. A love triangle between
the Ringmaster, Chief Clown and Morgana
was also dropped after the first draft.

On Friday 26 February 1988, Mark Ayres,
who had previously attempted to compose
incidental music for the series by submitting
demo tapes, approached the production
office once more, advising he was now
a freelance composer. After graduating
from Keele University with a degree in
music and electronics, Ayres had joined
the fledgling TV-am as a sound engineer to
finance setting up his own studio, as well as
composing TV jingles, helping dub other
programmes and scoring the Doctor Who-
based Myth Makers interview tapes from
Reeltime Productions. Ayres’ first television
commission had been for Rockliffe’s Babies
in 1987. It was at a dubbing session for
Paradise Towers in 1987 that Ayres first met
Nathan-Turner. As a test piece, the producer
asked him to score some cues for the first
script of Remembrance of the Daleks [1988 -
see Volume 44], which Ayres submitted on
Wednesday 23 March.

“3D sets and visual effects

n the same day, director Alan
(1 Wareing joined the production.

A freelancer since leaving the
BBC in 1986, Wareing had impressed
Nathan-Turner with his work on EastEnders
and the second series of Casualty. He had
started directing while in amateur theatre,
and became a television director via the
BBC’s internal course after working as an
assistant floor manager and production
assistant on series including Doctor Who,
such as The Keeper of Traken [1981 - see
Volume 33]. While training as a director,
he had asked Nathan-Turner for assistance
with his final project. For this, then-script
editor Eric Saward had written a 20-minute
directorial exercise based on an idea from

YL XN NNN A RRR

Saward and Nathan-Turner. The producer
liked Wareing’s ideas and enthusiasm and
decided he would be ideal to handle the
‘oddball’ story of the season.

The first planning meetings for The
Greatest Show in the Galaxy took place in
March 1988. The set designer was David
Laskey who had previously worked on the
show as an assistant on stories such as
The Twin Dilemma [1984 - see Volume 40]
and The Creature from the Pit [1979 - see
Volume 31] as well as designing a set for
an unbroadcast The Trial of a Time Lord
[1986 - see Volume 42] spoof on French
and Saunders. For this story, Laskey used
a new Computer Aided Design (CAD)
system called EUCLID to help create a 3D
version of the circus sets. This innovation
allowed him to agree the sets with Wareing
before construction began. Laskey took
inspiration for his designs of the Psychic
Circus from regular visits to Gerry Cottle’s

Pye

Circus, from which several
real circus props were hired
for the serial.

Visual effects were designed
by Steve Bowman, who had
worked on Earthshock [1982 -
see Volume 35] and served as
an assistant on other stories.
Sound effects for Serial 7J
were developed Dick Mills
at the BBC Radiophonic
Workshop from April 1988.

The costume designer requested by
Nathan-Turner for the serial was Rosalind
Ebbutt, who had worked on Black Orchid
[1982 - see Volume 35]. A prime concern
was the robot clowns. Ebbutt and her
assistant Sarah Jane Ellis researched
clowns past and present, and attended
a clown conference in Brighton. Nine
different basic designs were arrived at,
five using a white-face design while the

Connections:
Novel inspiration
® Charles Finney’s 1935
novel The Circus of Dr Lao
contains some similarities
to The Greatest Show
in the Galaxy, centering
around a Strange circus,
and featuring a werewolf
act named Maggy Szdolny.

Left:

Hope you're
not scared
of clowns,
Sylvester!

THE GREATEST SHOW FLAKY »® storvisi te

“THERE WERE SONCERNS OVER

oa NORD’S WINGED HELMET AS THE
y | acTOR WOULD BE RIDING A BIKE.

a
ry ee

. ea os

~~ NN

Fh We’. >.
~~ & DS

other four had a red-nosed ‘Auguste’ motif.
Generally, two copies of each costume
were made. In association with make-up
designer Dee Baron (who had supervised
on serials back to The Twin Dilemma),
Ebbutt devised a balaclava-like affair for the
clown heads. This prevented the artistes’
hair showing, and was covered by a mask
and a wig - making the costume very hot
when on location. The clowns wore long
leather gloves, ensuring the actors’ arms
were not visible; the undertaker costumes
for the clowns were hired from costumiers
Bermans and Nathans. Other concerns
for Ebbutt were over the winged helmet
for Nord the Vandal (her designs gave
his name), knowing that the actor would
be riding a bike of some sort, although
the eventual use of the three-wheeled
vehicle meant that this became less of a
worry. The family of three was based on
very drab fashions of the 1950s, akin to
the family who'd advertised Ovaltine, and
the costumes were sourced from stock.
Whizzkid was an amalgam of 1960s styles
with a late 1950s comicbook look.

Guest stars

he Drama Early Warning Synopsis
for the serial was issued on Thursday

7 April, listing Christopher Guard
and Gian Sammarco as the guest stars.
Guard was cast as Bellboy; Nathan-
Turner had previously cast him ina
production of Cinderella at Drury Lane
in 1973, along with his brother Dominic,
who had appeared in Doctor Who playing
Olvir in Terminus [1983 - see Volume 37].
Gian Sammatco was cast as Whizzkid by
Nathan-Turner; the young actor was a
well-known face on British television at
the time, playing the title role in The Secret
Diary of Adrian Mole Aged 13 34, and its
sequel The Growing Pains of Adrian Mole,

the latter being broadcast in the autumn
of 1987.

Following submission of test pieces for
Remembrance of the Daleks, Ayres submitted
further music demos for The Greatest Show
in the Galaxy on Wednesday 13 April, and
on the strength of these the producer
booked him to score the first two episodes
on Tuesday 26 April. The commission for
the final two shows came later on Monday
8 August; he was formally contracted
retrospectively on Thursday 22 September.
The composer was delighted to be working
on one of his favourite TV programmes.

Auditions for The Greatest Show in the
Galaxy's guest cast were held on Thursday
14 April. Holly de Jong and Fiona Victory
were seen for Morgana, with the part
eventually going to Deborah Manship;
Francesca Folan, Joanna Hargreaves, Jo
Unwin and Natalie Ogle for Mags; and
Clarke Peters (who was not available) and
Richard Lloyd King as Ringmaster. Peter
Straker, who had appeared in Destiny of the
Daleks [1979 - see Volume 30], was also
approached, but was unavailable.

Alan Wareing was keen to cast TP on A
: : just can
(Thomas Patrick) McKenna as Captain contaitam
Cook, adding to an impressive guest cast; excitement!”

q Lis en

—
~e

Above:
Captain Cook
wants to tell
you a story.

Connections:
Dear diary

® Gian Sammarco
(Whizzkid) starred in the

13 %. The series also
featured Louise Jameson
as Tania Braithwaite.
Louise played Leela,
companion to the
Fourth Doctor
from 1976-7.

48 4

tit

oP a

Wyatt was delighted by this since he had
hoped that McKenna would play the
Chief Caretaker in Paradise Towers. The
Irish-born actor had appeared in the
TV drama Looking for Clancy, which
Nathan-Turner had worked on in 1975.
McKenna had also appeared in The
Avengers, Callan, Blake’s 7 and Minder, with
films roles in Anne of the Thousand Days
(1969) and Silver Dream Racer (1980).
The part of Mags was won by Jessica
Martin, a talented young
comedian and voice artiste
who had featured on Bobby
Davro’s TV Weekly, Copycats
and had been heard on

|
= sl

TV adaptation of Sue Spitting Image. She was cast
Townsend's The Secret by Nathan-Turner after he
Diary of Adrian Mole Aged had seen her impressive

impersonation of Judy
Garland singing Get Happy
on LWT’s Tarby and Friends
on Saturday 17 May 1986
and wanted somebody
who could scream like a
banshee; originally Mags
was to have spoken with a

: THE GREATEST SHOW IN THE GALARY » stows:

thick Glaswegian accent, but the producer
vetoed this as he felt it was too comedic,
and Martin was pleased to play a straight
role, in contrast to her usual comedy
ones. Chris Jury, playing Deadbeat, was
well known as sidekick Eric in the first
series of Lovejoy (on which Alan Wareing
had worked), and was a keen viewer of
Doctor Who; he had also been invited to
see Nathan-Turner in January 1987 but
had been unaware that he was being
considered by the producer as the Seventh
Doctor. Both Wareing and Nathan-Turner
had met Dee Sadler prior to her casting

as Flowerchild and had enjoyed watching
her in the BBC1 sitcom No Place Like Home,
while Chicago-born Ricco Ross was cast as
the Ringmaster, having worked in the UK
for some time, most notably in the movie
Aliens (1986).

“Circus skills

] ike Martin, many of the guest stars

had associations with comedy:
performing a cameo as the Stallslady

was Peggy Mount, an experienced actress
associated with roles in series such as The
Larkins, George and the Dragon and You’re
Only Young Twice, while Daniel Peacock,
playing Nord, had appeared in The Comic
Strip Presents... and The Kenny Everett
Television Show. Dean Hollingsworth had
appeared as a series of androids in Timelash
[1985 - see Volume 41] and was now back
in robotic mode as the Bus Conductor.

Cast in the key villain role as the Chief
Clown was Ian Reddington, whom Wareing
had previously used in Casualty on the
1987 episode Cross Fingers. The character
was the only clown not to wear a mask,
since he was not a robot. However, all the
other robot faces were based on slightly
larger casts taken from of Reddington’s
face. Ten versions were made of each of the

YN NNN NAAR REN

different clown faces which were vacuum
formed by visual effects. The eyes were
originally covered in a metallic foil which
acted like a two-way mirror, although this
was found to steam up badly on location
- even with pinholes in the mask to allow
air circulation. One of the clown extras
then suggested to Baron that she should
use a coloured gel similar to those used on

motorbike visors, and this replaced the foil.

A day of auditions for the various circus
skills specialists required for the story was
held on Thursday 21 April. A total of 40
performers were seen throughout the day,
with 13 being successful.

Rehearsals for the OB material started
at the BBC’s Acton rehearsal rooms in
Room 302 on Friday 6 May, running until
Thursday 12 May. Most of the guest cast
members were needed on location. All
the scenes requiring Peggy Mount, Dee
Sadler and Dean Hollingsworth would
be recorded during this time. McCoy had

just returned from a week’s
holiday away with his family,
and was particularly looking
forward to this script.
Sophie Aldred had made her
first American convention
appearance at RelaxiCon

in Trenton, New Jersey on
Sunday 1 May; she also
performed pledge breaks

for the New Jersey Network.
She had then undertaken

a charity bike ride from
London to Oxford and had

a week’s holiday in Norfolk. Now more
settled in their roles, McCoy and Aldred
decided that Ace would address her friend
as ‘Doctor’ when she was really concerned
as opposed to ‘Professor’. Reddington
came up with the Chief Clown’s sinister
hand gesture, while Martin was taught

to move like an animal by some of the

circus extras. Hi

Connections:
Oh, good grief

® In the original scripts,

Pre

the Ringmaster is
described as a ‘Joe Cool,
referring to the ultra-

cool alter-ego of Snoopy,
Charlie Brown's dog in

the popular Peanuts
newspaper strip by Charles
M Schulz between 1950
and 2000.

Left:
Clowns are
creepy,

= yOHN NATHAN-TURNER FACED
=: WE possiBiLiTY THAT GREATEST
ae oT WOULD BE CANCELLED.

ex Pe ~

: “3 ~S

he first work on the show wal a
the filming of model effects ap e
the visual effects workshop.
Some of the sequences would
remain unused, including a
shot of a miniature TARDIS
constructed by visual effects assistant Mike
Tucker, and the junk mail probe, made
by his fellow assistant Tony McKillop,
approaching the police box in space. Laser
and smoke cone effects for the well were
also recorded at the workshop.
OB recording commenced on Saturd.
14 May at the area to be used as the ,
planet Segonax - Warmwell Quarry,
near Dorchester. The crew was based in
Weymouth, and enjoyed the work since \
the generally young cast got on well Ty
together. Sophie Aldred also found that’
her character of Ace was now working =~ |
properly, bouncing off the frustrated ™,
father-figure of Sylvester McCoy’s Doctdi )
_ The weather at the quarry was extremely
hot, causing Reddington’s make-up to nu '
' The first two days of OB work were \ a
| Situated at Skinner’s Road in the quarryyuy 7
and recording started on Saturday ”
afternoon from 2pm to 6pm with all the
» scenes on the country lanes for Parts One
© and Four. These required some of the
distinctive forms of transport used in the
serial: the hearse driven by the clowns
and the Jeep driven by the Captain which
Wareing wanted fitting with an electric
window. The day rounded off with the first
few scenes between the Doctor, Ace and A
the Stallslady for Part One and the arrival ~
of the TARDIS by the lake. The mush
which the Doctor and Ace had to consum
was a revolting mixture of sweetcorn an

HO | THECOMPLETEHISTORY 4

+
y _
-
- a

custard. Kingpin’s medallion was made by
external props contractors Robert Allsopp
and Sue Moore. Beside the stall (adorned
with a variety of inflatable fruit) was a large
billboard advertising the Psychic Circus.
More imaginative transport was needed,
in this case both the horse and cart for
the stall, and the motorbike ridden by
Nord. This vehicle was called ‘Long Life’;
a five-wheeler based on an old Triumph,
provided by two biking enthusiasts,

Boots and Ferret from Cougar Custom
Components at Leighton Buzzard; it was
modified by visual effects to splutter

and backfire.

With a Radio Times photographer
present, recording on the Sunday began at
8.30am with the scenes using the Landing
Base for the arrivals of Nord and Whizzkid

Below: . ,
er errives in Part One - each surrounded by jets
in style! of smoke. Scenes between Bellboy and

THE GREATEST SHOW IN THE GALAHY » sts .

Flowerchild on the run from the clowns
in Part One occupied the main unit for
most of the day. The rest of the scenes
with the Stallslady were then completed,
whereafter the action switched back to the
country roads. For the scene of the Doctor
and Ace nearly being run down by the
hearse, radio microphones were attached
to the costumes of McCoy and Aldred so
that their conversation could be heard
clearly. Originally in the scene where the
Stallslady obstructed the hearse as the
clowns pursued Mags, the vehicle was to
have swerved off the road and burst a tyre.
Early scripts also indicated that the Chief
Clown should wear a medallion over his
undertaker’s garb. Second unit material
was directed by John Nathan-Turner at
the request of Wareing to cover recording
of the inserts of kites flying in the sky. By
the 6pm wrap, Peggy Mount and Gian
Sammarco had completed their location
work and departed the next day.

nts and skills q |

|
onday 16 saw all the scenes at the
Mi circus site being recorded, with
the vestibule section of the tent
erected in the quarry. Alan Heap was on
hand to play all the clowns performing
stunts. To allow him to change costumes
and appear as different robots, the
transmission sequence recording of all
the scenes outside the tent was amended
slightly. Heap appeared first on a highwire
for Nord’s arrival, on a unicycle as the
Doctor and Ace approached and the on
stilts when the Captain and Mags arrived.
In another guise, Heap was also the clown
doing the juggling for the insert on the
TARDIS scanner in Part One, recorded
at the end of the day. The complete
one-twelfth version of the circus seen in
long shots was a six-foot model made

ar ot ee a

sate so <S

over a two-week period by visual effects
assistant Mike Tucker. On location it was
protected beneath a canopy of canvas and
aluminium until its destruction in Part
Four could be recorded by deflating its
internal air bladder during the afternoon’s
recording. For the destruction of the
vestibule, McCoy had been informed
that this would be achieved using air
mortars. However, the visual effects team
discovered that it had been supplied
with the incorrect hoses, and so used
explosives for the effect after all; they did
not inform McCoy who performed the
shot without flinching at the massive blast
behind him, walking calmly away at the
story’s conclusion.

Golden Pond was the location venue

for recording on Tuesday 17 May,
providing the location of the hippy site,
complete with a psychedelically painted
bus. Wyatt’s script specified that the bus
should be a bright yellow double-decker,
painted with figures such as Bellboy

(although eventually only a single-deck
> rs hee oe ot

5 —

“aE .
“a .

=
ey BA 4 & _<m” |

shell was used). Although envisaged by Above:
Laskey as a double-decker, the bus used Pees a
was previously seen as the Nostalgia Quarry.

Tours bus in Delta and the Bannermen
[1987 - see Volume 43] and still owned
by BBC Exhibitions, which had acquired
it from the Doctor Who production team
at the same price it was originally
purchased for. All these scenes were
generally recorded in transmission order,
with the Bus Conductor being blown up
twice during the day. The Bus Conductor
was built by Tucker, and went through
several changes when it was felt the
original large pumpkin-like head was
too cartoony; the eventual,
more elongated version

was made in two halves

with hemispheres from an
architectural model company.
For the point-of-view shots
of the Conductor, McCoy
had his lines pinned to the
cameraman’s chest; McCoy

ad-libbed his line, “Just the

Connections:
Musical theatre
® When he grabs Ace,
the Chief Clown purrs, “Let
me entertain you,” the title
of asong from the 1959
musical Gypsy by Jule Styne
and Stephen Sondheim.

‘

bo
mF:

=i .«y .
DOCTOR WHO | THE COMPLETE HISTORY 68
—?e ‘

-~i

=r
2

i =

Connections:

One giant leap

® On making his final
journey into the realm
of the Gods of Ragnarok,
the Doctor paraphrases
astronaut Neil Armstrong's

famous speech on being
the first man to set foot
on the moon on 20 July
1969: “One small step
for man, one giant
leap for mankind.”

ticket,’ to replace the scripted
pun “all’s fares in love and
war” after the destruction

of the robot conductor.
During the day’s work,
Aldred realised that one of
her Blue Peter badges had
fallen off her jacket, and since
it was an obsolete design a
best match had to be found
for continuity purposes. Back
at the unit hotel, the crew
found themselves joined

by another BBC team from
Crimewatch against whom

they played skittles. While at the hotel,
TP McKenna was mistaken for TV artist
Tony Hart, despite the fact that the actor
was a bit of a hell-raiser; McCoy quickly
got on well with him.

The final day of OB recording,
Wednesday 18, was spent at the area known
as Blue Lagoon (so called because the
pools were coloured by chemicals) which
was close to the area used for the Circus.
The day’s work was hampered by adverse
weather conditions. The scenes recorded

Right:
Alone wolf...

were mainly those in the clearing with the
buried robot where the Doctor and Ace

first met Mags and the Captain. Visual
effects provided the huge robot buried

in the sand and a collapsing table which
performed on cue as the robot’s illuminated
red laser eyes fired at it. The robot was

built and operated by visual effects assistant

Jim Lancaster (seeing out through a two-
way mirror in the chest) with Lancaster
using a foot-switch to trigger pneumatic
rams that pushed the huge frame up into
sitting position. Lancaster controlled the
right arm, while assistants Tony McKillop
and Biddy Palmer did the rest by remote
control. It was also originally intended that
the robot should speak, crying and saying
that it promised to be good if somebody

THE GREATEST SHOW IN THE GALAHY = »® stores:

released it, but then turning nasty and
threatening to bite people with its sharp
teeth. There was also a short sequence

in which the Captain and Mags departed
in the Jeep, leaving the Doctor and Ace
by themselves. The day ended with a
couple of cutaway shots - these were the
start of scenes with Bellboy and Flowerchild
on the run (recorded by a second camera
directed by Nathan-Turner), and the final
one was the view of Segonax seen by the
Doctor and Ace as they emerged from the
TARDIS. It had been intended to show

a dummy clown being blown apart by

the buried robot’s laser fire, but the crew
ran out of time to record this. A party to
celebrate the end of OB work was held,
where Jessica Martin performed a Doctor
Who act, impersonating previous female
companions and members of the crew.
By now, Sophie Aldred had managed

to establish a working relationship with
Nathan-Turner, following his angry
response to her request for a taxi home
after late recordings on Remembrance of
the Daleks; the pair had bonded over a
skittles match against the cast and crew of

on
fh fe
Os aa

. ~‘

NN ACR, ASS SSR

the BBC1 police drama series Rockliffe’s
Babies which had been recording on
location nearby.

Rehearsals for the scheduled studio
blocks were held between Friday 20 May
and Monday 30, with the first planned
studio recordings running from Tuesday
31 to Thursday 2 June. During rehearsals
for the magic tricks, the rehearsal rooms
were closed to all other cast and crew
while magician Geoffrey Durham (AKA
the Great Soprendo) taught some trade
secrets to McCoy.

Asbestos attack
I t had been planned to record most of

the scenes in the circus ring for Parts

Two to Four on the first studio day,
followed by scenes in the kite workshop
for Part Two. Wednesday 1 June would be
spent on the rest of the ring and seating
scenes for Part One and other inserts
for Part Four, plus all the scenes in the
entrance vestibule. The last day of the first
block would then be devoted to corridor
scenes and all the sequences set in the
backstage cage. The scenes involving the
stone chamber, the archway, the clown
workshop, the TARDIS console room
and the ancient circus would then be
recorded in the second studio session
which was due to start rehearsing on
Monday 6 June for recording in studio
over Wednesday 15 and Thursday 16
June. In the meantime, The Timelords
released Doctorin’ the TARDIS on Monday
23 May; this soon became a surprise hit.
Aldred attended TenCon in Liverpool over
Saturday 28 and Sunday 29 May while
McCoy appeared at a UFP TrekCon and
on ITV Telethon over the Bank Holiday.
An extract from The Claws of Axos Episode
Four also appeared on BBC2’s Babylon II
on Monday 30.

On Friday 27 May, routine refurbishing Ab nae
in Studio TC2 at BBC Television Centre actis tHe

revealed the presence of asbestos fibres Doctor!
- a potential health hazard - in the

ceiling area. Air samples taken in several
other studios also indicated the danger

and although the quantities fell below

the limit set by the health and safety
executive, the BBC closed all the studios.
Nathan-Turner was informed by Ben Rea,
head of planning, that The Greatest Show in
the Galaxy could remain in production if an
alterative studio could be found for the first
recording block now that Studio 6 was

not available.

A memo concerning the
crisis was issued on Tuesday
31. The weekend schedules
had been generally adhered
to, despite the problems, but
apart from the Television
Theatre and Studio TC8,
which would be reopening
later in the week, there was to
be no studio facilities available
at TV Centre for some time.
Although the OB work for

) Connections:
| Famous motto
® The Doctor's “three

for one and one for

three” was a reference

to the motto of the title
characters in Alexandre
Dumas’ 1844 tale Les Trois
Mousquetaires (The Three
Musketeers): “One for all
and all for one.”

DOCTOR WHO | THE COMPLETE HISTORY ‘

\
71 >

oS
Ya

=
+n
a

Above:

The Greatest
Show goes on
at BBC Elstree.

THE GREATEST SHOW IN THE GALAHY

the serial was already in the can, the cast
and crew had been booked for work on
Doctor Who up to the middle of June - the
estimated period the studios at Television
Centre would be safe again.
Nathan-Turner was informed late in
the day on Friday 3 June that the studio
allocation problems would not be sorted
in time for the second studio session.
This placed the show in more jeopardy
since Programme Planning recommended
the serial’s cancellation until the PSC -
Portable Single Camera - work could be
extended within budget. Nathan-Turner
was faced with the possibility that, like
Shada in 1979, The Greatest Show in the
Galaxy would have to be cancelled with all
the location work already completed. For
a couple of hours the project was officially
cancelled as the producer fought for its
survival. One potential solution offered to
Nathan-Turner was a warehouse facility

® STORY 151

in Bristol which was used by the BBC
for recording the interiors on Casualty;
a five-day version of the first recording
block was planned, with hopes that
the second session would take place at
Television Centre. Unfortunately, another
BBC drama, Shadow of the Noose, could
not guarantee transmission unless it was
allocated the time at Bristol. Having
lost the warehouse, Nathan-Turner and
Wareing hit upon the idea of recording
in a tent in a field off the A40. This was
ruled out since all remount work had to
be done on BBC property. To this end,
David Laskey and Programme Planning
suggested erecting the tent in the grounds
of one of the BBC’s facilities, such as a car
park; Laskey had been working here on the
BBC1 quiz Going for Gold.

Within a couple of days, an agreement
was reached with BBC Elstree, a studio
complex situated at Borehamwood, which

YL NNNAA SS. 9. 0 RR

housed the backlots for EastEnders and
Allo, ‘Allo. It was arranged that Doctor
Who could record in a tent erected in the
Boiler House car park at the studios for
the following week, with the tent put up
on Saturday 4 June and demounted by
Monday 13. Laskey sourced a suitable
marquee from a Netherlands-based
company, Neptunus. The dimensions of
the eventual tent structure were not too
much smaller than the floor space available
in the originally allocated studio.

The Ringmaster’s rap
Fes setbacks occurred on Friday

3 when Nathan-Turner was told

that The Greatest Show in the Galaxy
had lost its second studio session, so all
remaining work would have to be done on
OB. There were concerns that the scenes
with the Doctor swinging on the ropes
in Part Four would be lost since the tent
structure would not be as sound as the
lighting rigs at Television Centre, but the
producer dug his heels in and kept the
sequence in. By rescheduling the shoot
again, it appeared that the serial could be
completed by working very rapidly.

Due to the rescheduling, two of the 10
original clown extras to be used in studio,
Julian and Miki Wisdom, were now not
available and so were replaced by two
other special skills artistes, Raymond
Dunston and Earth G. The new schedule
would be particularly demanding for
McCoy, who was needed each day. Instead
of two blocks of three days in studio, there
would be a whole week with little time
for rehearsal. As such, Nathan-Turner
hastily arranged a script readthrough for
McCoy and Aldred in a conference room at
Elstree. In the tent, immense adaptability
was required from the technical crew
trying to set the lighting and the camera

Production

cabling. Generally, only two
cameras were available, and
usually recording was done
with only one camera in
the manner of a standard
Outside Broadcast.

Unusually, Mark Ayres
had to provide a few
sections of music prior to
recording, instead of dubbing
afterwards. This was the rap
rhythm for the Ringmaster
which would need to be
played into the tent for Ricco
Ross to react to, and then be
redubbed in post-production. Influenced
by a chart single of the time, Bad Young
Brother by Derek B, Ayres produced the
‘scratch’ effect by sampling Frankie Goes
to Hollywood’s 1984 hit Two Tribes onto
tape and running it back and forth across
the heads.

When PSC work began at Elstree on
Monday 6 June, Ian Fraser was brought
in as a second production manager to

Connections:
Fighting talk a,
1} ® While facing off against aes
the Gods of Ragnarok, the
Doctor quips, “You ain't
seen nothin’ yet’, “the
title of a1974 single by
Bachman Turner Overdrive.

Italso evokes singer Al
Jolson’s famous quote, “You
ain't heard nothin’ yet, from
the The Jazz Singer (1927),"
the first-ever ‘talkie’ film.

assist Gary Downie, who had replaced Below:

S Sh ft h fared A cast of weird
uzanna Shaw after she suffered a and wondemaal

bereavement; the crew recalled that characters.

__» THE GREATEST SHOW INTHE GAL

‘THE NEW SCHEDULE W

DEMAND ING FOR SVLVESTER HoCOY

WAS NEEDED EACH DAY.

XY \NNNAS S02 ORE

Downie was unhappy during production,
having disagreements with designer
David Laskey. Recording generally ran
from 9.30am to noon, and then from
1.00pm to 5.30pm. Since the OB work,
Daniel Peacock’s hair had been cut very
short; Dee Baron attempted to weave in
hair extensions to cover continuity. Work
concentrated on all the scenes set in the
vestibule of the Psychic Circus, during
which there were pauses for the clown
extras to change costume at the end of
Part One (shedding their undertaker
garments to show their carnival outfits).

Morgana’s box office was a caravan,
around which the tent was erected in the
car park.

Lupine transformation

he fortune teller’s vac-formed crystal

ball was pumped full of smoke and

then detonated. The final scenes to
be taped in the vestibule were those with
TP McKenna in his zombified make-up
for Part Four. Props around the vestibule
included specially painted and printed
advertising posters from the Psychic
Circus’ past, covering their appearances
on Marpesia, Cinethon and the Boriatic
Wastes among others.

The day was due to conclude with the
two scenes set in the kite workshop for Part
Two, although due to time pressures time
these had to be abandoned. One of the
problems with working at Elstree was noise
from the adjoining backlots, plus aircraft
landing at the nearby Elstree Aerodrome,
against which the marquee offered little
protection. Wareing decided to have some
screens erected around the tent, which
at first caused even more disturbances to
the recording than the noise. In places,
Mark Ayres’ music had to cover up such
background sound.

The first thing to be recorded on Above:
Tuesday 7 was one line of dialogue from dalefaimisnto's
the truth.

the father, to be inserted into the scene
from Part Four where the booming voice
of the God called the Doctor’s party back
to the ring from the vestibule. After this,
recording continued in the large ring of
the Circus itself, beginning with the climax
of Part Three where Mags underwent her
lupine transformation. Because of the
make-up changes required by Martin, this
was recorded in sections, and while the
actress was undergoing the next stage of
lycanthropy, other scenes from Part Three
were made. The transformation was kept
as simple as possible, adding elements

to Jessica Martin’s costume and make-up
at four different stages of recording. The
first stage saw Martin wearing specially
made contact lenses, which she had
obtained three weeks earlier to get used to
- although these still restricted her vision.
The original plan to use large contact
lenses and create a full wolf’s eye was
abandoned since it would have required an
optician in studio, and Martin found them
painful to wear. For the first stage, Martin

DOCTOR WHO | THE COMPLETE HISTORY 75 |

Above:
The eye has it!

Connections:
Final curtain

Leoncavall

® The Doctor's retort to
the Gods at the climax to
Part Four, “La commedia
é finita” is a direct quote
trom the 1892 opera
Pagliacci by Ruggero

translates as, “The
play is over.”

also wore ‘plumpers’ which puffed out
her cheeks. For the second stage, Martin
inserted the first of three sets of special
teeth made by dentists Haynes & Kulp,

and yellow slime was added around her
mouth. Stage three saw changes made to
her hair colouring and with make-up on
her hands. The costume changes involved
zipping extra pieces of fur onto Martin’s
leotard and the effect was completed

by a pair of fur gloves and some fur
earrings. For the complete transformation,
Martin wore the largest set of fangs, in
addition to a set of long finger nails.

Facial make-up was changed
again, and the skirt of the
costume was swapped for one
trimmed with fur. During
one sequence, the actress
closed her mouth while
wearing the fangs - which
the teeth were not designed
to do - and one of the teeth
snapped off. The offending
fang had to be located in

and glued back into place.
Following this, the ringside

0. It fittingly

il spent on scenes se’

® STORY 151

scenes for Part Four were shot, along with
recording pauses for McCoy to be put in
his harness; stunt arranger Tip Tipping
also doubling for the actor in some of the
stunt shots. The day ended with the scenes
set in the ring and seating areas for the
climax of Part One, including the use of
a flickering high voltage arc lighting for
Bellboy’s punishment. At one point,
a row erupted between Downie and Laskey,
resulting in Downie storming off the set,
before returning and apologising for his
behaviour. A rap from the Ringmaster just
prior to this was deleted in editing.

With a Radio Times photographer
again in attendance, Wednesday 8
concentrated on all the scenes set
backstage for Parts Two and Three. The
Captain’s double-headed coin was made
by Tucker and featured the head(s) of
Alpha Centauri from The Curse of Peladon
[1972 - see Volume 18] and The Monster of
Peladon [1974 - see Volume 21].

hursday 9 then began with a special
T contact lens shot for the family,

using UV light, to be inserted into
Part Four. Taping carried on back in the
ring with the scene of the Ringmaster
and Morgana vanishing, and more scenes
from Part One including the inserts for
the TARDIS scanner screen and also Ross’
performance to Ayres’ rap track. Ross was
uncomfortable with the dance aspect of
the Ringmaster’s character. Scenes for Part
Two were also recorded which required
the various clowns doing tumbling, stilt
walking and juggling. One clown was given
a costume with a false back, allowing a
camera shot of the Ringmaster adjusting
one of the malfunctioning robots.
The last day of the week, Friday 10, was
the corridor leading —

to the circus, vestibule, and all the general
tent corridor scenes for Part Three. The
working conditions and pressure caused
McCoy to lose his normally even temper
when the floor manager read the wrong
lines in on several takes of a scene he

was performing in the tent corridors

with Martin.

Prior to the second recording block at
the Elstree tent location, a further three
days of rehearsals began for the remaining
recordings on Sunday 12 June, with OB
work recommencing on Wednesday 15
June. By now, the arrangement of the tent
and sets in the Elstree car park had become
referred to as ‘Laskey’s Studio’ after set
designer David Laskey.

First to be recorded were all the scenes in
Part Four with TP McKenna in his zombie
make-up, followed by a variety of effects
inserts and cutaways - close-ups inside
the hearse for Part One, shots of the Bus
Conductor’s hands and the ticket machine
and all the eye shots for the well in the

stone chamber. With McKenna’s

make-up now altered back to that of the
living Captain Cook, recording continued
with the chamber scenes for Parts Two and
Three and concluded with the scenes at
the Stone Archway in Part Three. Again,
special lighting effects were used for these
scenes, emphasising the crescent motif
over the archway. The medallion was made
to glow by means of front axial projection.
The stone chamber was actually a raised set
on a six-foot platform which gave the team
a well to shoot up and down. This was

the final day that required McKenna, who
aggravated an Achilles tendon problem
when he fell off the ledge in his death fall,
landing on the wrong foot.

Thursday 16 saw the recording of scenes
in the robot workshop, the TARDIS and
the kite workshop (the two scenes not
completed the previous week). The scenes
in the robot workshop were done first,
with four of the clown extras playing
half-constructed robot clowns for the

Left:

The Gods
rock up for
recording,

DOCTOR WHO | THE COMPLETE HISTORY 4

‘at,

Right:

The Doctor
joins the club.

ee ae 438 > i

scenes in Parts Two and Three. One
of the extras wore a false arm that Ace
ripped out of its socket. There was also
a dismembered robot clown arm that
grabbed at Ace operated by one of the
visual effects designers through a hollow
table. A small version of the buried robot
was also featured, this being a radio-
controlled model with moving arms.
After that came inserts set in the corridor
outside the workshop trailer, with the Bus
Conductor leaving intact in Part Three,
and then arriving in pieces in Part Two.
The TARDIS scenes were conducted
next, with the usual set built inside the tent
setting - complete with wiring hanging
down from the ceiling. Originally, three
TARDIS scenes had been scripted, with
the Doctor and Ace initially checking the
satellite for radiation or explosives, and
also the Doctor saying that Ace could
have used up all her Nitro-9 on the Daleks

_ THE GREATEST SHOW IN THEGALAHY > sors

(referring to Remembrance of the Daleks).
Work ran badly behind on the TARDIS
scenes. Aldred halted during one take,
believing the sound of a lorry had ruined
it; this angered Downie, which in turn
upset Aldred. Chris Jury was thrilled

to be able to stand in the TARDIS set.
McCoy purchased a copy of Juggling for the
Complete Klutz to prepare for this specific
skill, which the crew assumed he already
possessed from his stage work; he and
Aldred were also tutored by some of the
street performers hired as clowns. When
the balls went missing during the Doctor’s
juggling, they had been caught off screen
in a shrimping net. The junk mail robot
was made by McKillop. The recorded
material was notably shortened on editing.
The effect of the radio-controlled satellite
(which could move around the set and
rotate its antennae) plugging itself into the
console was achieved by pulling the flexible

YN NNN SASS. 2. QR Oe

cable off the console, and then reversing them to make them glow when required.
the videotape. The robed costumes themselves fastened
Finally, the two scenes in the kite at the back, thus restricting some of
workshop were recorded. As with the Wareing’s shots. Although David Ashford
original schedule, it had been intended and Janet Hargreaves (whom Nathan-
that Bellboy should be strapped to one of Turner had known from working in rep in
the kites, and not a workbench as in the 1967) were available to play
final version. This scene in the early scripts |} the two adult gods, all the days that
also indicated that Bellboy’s face should Kathryn Ludlow could work (being a
look tired, and that his hair was almost child) had been used up, and so her
totally white, indicating that what Bellboy costume was occupied by another girl,
had gone through in the ring - unseen by Lorna McCulloch.
the viewers - was violent electric shock Although some of the key tricks in the
treatment. This was removed from the magic sequence - such as the gladiator’s
recording script. sword and the escapology - had been

specified in the script, others were
eS EN NK TI dded on the day of recording. Geoffre
agnarok ~ g y 8 y
Gods of Ragnarok WE Ss SS Durham coached McCoy in a number of
T he final day of the stressful OB came tricks. McCoy suggested incorporating

on Saturday 18 with all the scenes in an escapology routine which he had

the ancient circus for Part Four asthe || performed on stage in Portugal; the
Doctor faced the Gods of Ragnarok, and Doctor’s trick with the candle and
the time tunnel effect for the same episode. || handkerchief was taught to him by one of
The Gods were designed by Ebbutt in the actor’s sons. The royal python pulled
conjunction with Laskey, and were based from the flaming pan was provided by
on African masks and Greek helmet specialist firm Janimals. A model shot of
designs. They were made by Moore and the ancient circus collapsing had been
Allsopp. Measurements of the three artistes | built by Jim Lancaster. It was set up for
had been taken to create dummies around recording by a second unit, but when the
which the foam rubber costumes could effect was triggered there was a problem
be created. The eyes on the helmets had with the tape and the single chance for
front axial protection material placed on the effect was missed.

PRODUCTION Tue 17 May 88 Golden Pond, Warmwell Seating)

Sat 14 May 88 Skinner's Road, Warmwell = Quarry - West Knighton Pit (Hippy Site) Fri 10 Jun 88 BBC Elstree (Vestibule
Quarry - West Knighton Pit, Warmwell, Wed 18 May 88 The Blue Lagoon, Corridor/Corridor)

Dorset (Country Road/Roadside Stall) Warmwell Quarry - West Knighton Pit Wed 15 Jun 88 BBC Elstree - “Laskey’s
Sun 15 May 88 Skinner's Road, (Clearing/Road/Int. Hearse) Studio" (Stone Chamber/Hearse/Stone
Warmwell Quarry - West Knighton Pit Mon 6 Jun 88 BBC Elstree, Archway)

(Landing Base/Country Road/Roadside Borehamwood, Herts (Vestibule) Thu 16 Jun 88 BBC Elstree - “Laskey’s
Stall/Country Lane/Countryside) [Second Tue 7 Jun 88 BBC Elstree (Ring/ Studio” (Kite Workshop (remount)/
Unit - Kites in Sky] Seating) Workshop Corridor/TARDIS)

Mon 16 May 88 Warmwell Quarry- West Wed 8Jun 88 BBC Elstree (Backstage) Sat 18 Jun 88 BBC Elstree - “Laskey’s
Knighton Pit (Circus Site) Thu 9 Jun 88 BBC Elstree (Ring/ Studio" (Ancient Circus/Time Tunnel)

*s
DOCTOR WHO | THE COMPLETE HISTORY a

~ THE GREATEST SHOW IN THE GALAHY =» stores:

Post-production

Below:
‘Segonax’s
Got Talent’

he original plan for
post-production work on The
Greatest Show in the Galaxy had
been to perform gallery-only
work on Monday 20, Tuesday
21 and Sunday 26 June,
followed by editing from Tuesday 5 to
Monday 25 July. Dubbing on the episodes
was then scheduled for Thursday 4 and
Friday 5 August, Monday 15 and Tuesday
16 August, Sunday 28 and Monday 29
August, and Thursday 22 and Friday
23 September. Editing went on through
July, placing shots on the TARDIS screen
for Part One, planting a ringed planet
in the sky of Segonax, various energy
bolts shooting or glowing from various
characters and weapons including the
eye at the foot of the well, the baton and
medallion falling towards the vortex, the
pink eye glowing in Morgana’s crystal ball,
and the Doctor hurling the sword up into

the air which incorporated some computer
animation. Director Alan Wareing
provided the modulated tones of the

small girl God.

During editing, three special effects shots
for the start of Part One were dropped
because they had not turned out as well
as expected. The first of these was to show
the junk-mail satellite (described as a
double-spheroid in the script) floating in
space and then seeing the TARDIS nearby.
The second would see the satellite vanish,
prior to its appearance in the TARDIS,
whilst the third shot depicted the police
box hanging in space as an insert into
the main TARDIS control room scene.
The voice for the satellite was provided
by Dean Hollingsworth, alongside his
dialogue for the Bus Conductor and his
sales pitch for the circus.

Second edits of the episodes were
broadcast. A couple of the scenes recorded

on Saturday 14 May were deleted from the
finished episodes. These included a shot of
the Captain and Mags in their Jeep driving
past the hearse in Part One, and Ace telling
Deadbeat that she is glad he has stopped
singing as they walk along in Part Four.
Timing reasons dictated the removal of
one storyline strand from Part One during
editing: the fact that after their initial
meeting at the robot site, the Captain and
Mags drove off without the Doctor and
Ace, and met up with them again later at

the hippy bus.

Circus-style music

everal sequences recorded on
S Monday 16 May were dropped.

Towards the end of Part One were
two scenes showing Bellboy arriving back
at the circus, held prisoner by the Chief
Clown in the hearse, and a brief scene at
the start of Part Two was to have shown
the broken conductor being unloaded
from the hearse by two clowns. Towards
the end of Part Three, Deadbeat and Ace
were meant to attempt an escape using
Nord’s abandoned bike, only to find that
it had broken down because Nord never
fixed a faulty valve. Another scene of Ace’s
party returning to the big top in the hearse
was cut from Part Four. Since the original
intention had been to set these scenes at
night, the change in timing also meant that
a shot to begin Part Four of the Circus tent
suddenly coming alive in a blaze of light
was not needed.

From the OB location recording on
Tuesday 17 May, the script for Part One
had included a scene in which the Bus
Conductor sealed Flowerchild’s corpse up
in a bodybag with a transparent panel for tere
the face, the camera then showing a stack
of unused bags nearby. The scene of the
Doctor and Ace meeting the Captain and
Mags again was lost in the final edit. In
the script, the scene of the Bus Conductor

Ace is notin
the mood to
clown around.

| being returned (promoted to Ticket

Inspector) to the hippy site was placed
in Part Three, but was transferred to the
start of Part Four. The Conductor made an
explosive demise during the final episode
as Ace hit the ‘request stop’ button.

The incidental score was prepared by
Mark Ayres between July and October
1988, with dubbing starting in early
August. Ayres had been allowed to
attend some of the recordings at Elstree
to understand how the director was
trying to keep a straight feeling to what
could have been an overly humorous

| production. Using repeated motifs for

certain characters, Ayres composed
around 84 minutes of music (some 10
minutes of which was not used), taking
about 10 full days to score each instalment.

) The Ron Grainer theme tune was also used

as a reference at one point during Part
One. To achieve the background score for
Mags, Ayres bellowed into a microphone.
Ayres’ generic circus-style music was
based on tunes such as John Philip Sousa’s
Liberty Bell and Julius Fucik’s Entry of the
Gladiators. The commercially available
Decca recording of Narcissus: Water Scenes
Opus 13 No. 4 by Ethelbert Nevin was
performed by Alfredo Campoli and his
Salon Orchestra. This track, a quaint piece
associated with the stage magician’s turn,
accompanies the Doctor’s rope tricks in
Part Four and was specified in Wyatt’s
original script.

Below:

The Doctor
discusses local
cuisine with
the Stallslady.

to the head of BBC Records with
a demo version of a song called
The Psychic Circus. The song had
been written with cast members
such as Christopher Guard and
Jessica Martin. The composer felt
the track could be commercially
released to tie-in with the story’s
broadcast. Unfortunately this
ultimately failed to happen.

The tape was returned in August

THE GREATEST SHOW IN THE GALARY. > sors

Publicity

® On Monday 11 July, Ayres wrote

and deemed unsuitable for use

by the label.

® The Greatest Show in the Galaxy was
previewed with a clip from Part One
in BBC2’s Behind the Screen on
Monday 28 November.

® The Thursday 8 December edition of
Radio Times carried the listing for Part
One accompanied by a monochrome
shot of the Doctor with the Stallslady.

a
.

,
+
‘'
%

XN ANN NARS SSSR Publicity | Broadcast

Broadcast

® Because of the scheduling of BBC
coverage of the Olympics, Doctor
Who began transmission in October
instead of September. Accordingly,
the broadcast order of the season was
changed. John Nathan-Turner was
determined to begin with Remembrance
of the Daleks, but wanted to broadcast
Part One of the 25th anniversary serial,
Silver Nemesis, [1988 - see page 6] on
Wednesday 23 November, 1988. This
left only a three-week gap between
the first and third serials, forcing
The Greatest Show in the Galaxy to be
transmitted last instead of second (the
originally planned transmission order
having been Remembrance of the Daleks,

The Greatest Show in the Galaxy, The Show. McCoy was then seen as the Above:
Happiness Patrol [1988 - see Volume 44] Doctor on Tomorrow’s World Christmas mad é
and finally Silver Nemesis). This caused Quiz screened by BBC1 on Thursday
two minor storyline continuity flaws. 22 December; this had been recorded
Firstly, Ace was wearing Flowerchild’s on Sunday 11 December. Aldred
earring in Silver Nemesis and secondly featured on Christmas Morning With
her rucksack had been blown up in the Noel on BBC1 on Christmas Day.
Cybership explosion in the same serial. On Friday 30 December, McCoy
also appeared in BBC1’s Holiday Quiz
® Today and the Daily Star both publicised which he had recorded on Wednesday
the start of the new story on Wednesday 7 December.
14 December with articles about Jessica
Martin (Who’s a Lucky Girl? and Jessica » The story was broadcast at 7.35pm
Keeps a Straight Face) while production on Wednesday evenings on BBC1
was discussed in the Daily Mirror's from 14 December 1988, although
Who's a clown. the Christmas schedules for Part
Three meant it went out five minutes
D On Wednesday 14 December, later than usual. Ratings were
Sylvester McCoy was Brian Matthews’ reasomable, given the stiff competition
pre-recorded guest on Radio 2’s Round of Coronation Street, and the final
Midnight; the following morning he was episode became the highest-rated
then on Radio 2’s The Derek Jameson episode of the McCoy era.

® UK Gold screened the serial in episodic
and compilation form from January
1995, while it later appeared on the
Horror Channel from November 2014.
The BBC retains all the stereo episodes
in their original form, and also have
earlier edits of Part One (2’37” longer),
Part Two (1’15” shorter) and Part
Three (4’20” longer).

® With the conclusion of the 25th
anniversary series, audience research
was carried out on the four serials
to show exactly who was watching
the programme. With a nearly equal
split between male and female viewers,
the series was attracting generally
middle class viewers with a high
proportion (26%) of viewers under
the age of 15. 57% of the audience

— said they would like a further series
Above: ® ABC in Australia broadcast the (an improvement of the previous
=i ee vai serial from October 1989 with a year), with both the performances
repeat in October 1990, while it of Sylvester McCoy and Sophie Aldred
aired in April 1990 in New Zealand. gaining increased appreciation across
RTL broadcast the German version the year to take them over the 60%
which was entitled Die Todesmanege level. The storyline itself was deemed
auf Segonax (The Death Circus on to be suitable and entertaining.
Segonax) in March/April 1990 and
repeated in 1993. It was screened D The Greatest Show in the Galaxy marked
in North America from 1989 where Stephen Wyatt’s final contribution
: it also appeared as a TV movie of to Doctor Who. Wyatt was reluctant
* 92 minutes, with airings in the to do another story for the following
United Arab Emirates from series, since he did not want to
January 1990. become labelled as a Doctor Who writer.

ORIGINAL TRANSMISSION
EPISODE

DATE TIME CHANNEL DURATION RATING(CHART POS) —APPINDEX

PartOne Wednesday 14 December 1988 7.35pm-8.00pm BBC1 24'06" 5,0M (86th) 68
Part Two Wednesday 21December1988 735pm-8.00pm BBC1 24'20" 5,.3M (99th) 66
Part Three Wednesday 28December1988 740pm-8.05pm BBC1 24'30" 4,8M(108th) 69

Part Four Wednesday 4 January 1989 7.35pm-8.00pm BBC1 24'24" 6.6M (79th)

Merchandise

octor Who — The Greatest Show

in the Galaxy was novelised by

Stephen Wyatt in December

1989 (published by Target/

WH Allen) with a cover design

by Alister Pearson. This was

then republished in December 1991.

The novelisation was produced as an

audio CD (AudioGo)

in August 2013.

The story was read

by Sophie Aldred,

although early copies

of the release credited

Lalla Ward with the

reading on the

front cover.

ACD containing
incidental music
| from The Greatest
Show in the Galaxy
(by Mark Ayres)
was released by
Silva Screen in April 1992. A cassette
version was never released. Harlequin
Miniatures produced a model of the
Bus Conductor in December 1999.

The Greatest Show in the Galaxy was
released on BBC Video in January 2000. }
It was eventually released on DVD

(2|entertain) in July 2012. It included
the following special features:

» Commentary - by cast members Sophie
Aldred (Ace), Jessica Martin (Mags),
Christopher Guard (Bellboy), with production
input from Stephen Wyatt (writer), Andrew
Cartmel (Script editor) and Mark Ayres
(composer); moderated by Toby Hadoke

» The Show MustGo On - afeature on
the production of the story, which includes

contributions from Aldred, Cartmel, lan

Reddington (Chief Clown), Mike Tucker (visual

effects), David Laskey (designer), Alan Wareing

(director), and the late producer John

Nathan-Turner

Deleted and Extended scenes

The Psychic Circus - music video

» Tomorrow's Times - with Anneke

Wills presenting media coverage of the

Seventh Doctor

Sketch from Victoria Wood - as Seen on

TV (originally released with The Curse of Fatal

Deathon VHS)

Radio Times Listings (DVD-ROM)

Programme Subtitles

Production Information Subtitles

Photo Gallery

» Coming Soon Trailer
The Greatest Show in the

Galaxy serial formed GE

Fabbri’s Doctor Who: The

DVD Files issue 113,

dated 1 May 2013. &

oO
oS

ite

Se 34

| Merchandise

Book (left)
and DVD and
video covers

(below)

for The

Greatest Show
in the Galaxy.

YIGORM

WO.

THE GREATEST SHOW :
SIN THE aA fi,

7 a

. j J
THE GREATEST SHOU) IN] THE Loy =

The SYLVESTER McCOY Years 1987. 83

DOCTOR WHO | THE COMPLETE HIS

TORY | 85 .
=

Below:
Setting up
the circus.

4 THE GREATEST SHOW IN THE GALAHY » stows:

Cast and credits

CAST

Sylvester MCCOY... The Doctor
Sophie Aldred...

TP MCK@NNAL.. tienen

JOSSICA MAPTIM 0.0... cesses
RRIGGCOIROSS i ctcecrtrctssseesieseettientt Ringmaster
Peggy MOUNT... sree Stallslady [1,4]
lan ReEddINGTON......... ccs Chief Clown
Deborah Mahi... Morgana
Christopher Guard.............0ccsccuc Bellboy [1-3]
Gian SAMMAILCO........cccse Whizzkid [1-3]
Daniel Peacock... ccs Nord [1-2]
Dee) SAMI! iiss Flowerchild [1]
Dean Hollingsworth......... Bus Conductor [1, 3, 4]
GHEISWUNY sicrcis....ccomemeiisssnsssiien Deadbeat [2-4]
David ASHFOIG............. cece Dad [2-4]
Janet Hargreaves oc cieen Mum [2-4]
Kathryn Ludlow.........cccccsc Little Girl [2-4]

EXTRAS

Dean HOMlingQSwoFth...........ccccccicisssnn
.. Voice on Advertisement/Voice of Robot Junk Mail
Alan RUdOIpR ........ccccciee Clown Driver
Paul Sadler, Philip Sadler, Patrick Ford, Alan
Heap, Paul Miller, Nicky Dewhurst........................
Paneer ei sccsaiaaeiessitterisirs etter eeresiiiasesobetioesiass Undertaker Clowns
Alan Heap.....Clown on High Wire/Clown on Stilts/
Clown on Unicycle

JIM LANCASTET 0... Robot Operator
Paul Miller, Dave Pumfrett, John Alexander,
Karl Magee, Hugh Spight, Jeff Davies, Nicky
Dewhurst, Alan Heap................... Clowns in Circus
Earth G, Raymond Dunstan... Bandstand Clowns
Alan Heap, Paul Miller, Dave Pumfrett, Nicky

De@WRUNSE Sin aiis.cniantennen Workshop Clowns
Tip Tipping....... ..Double for the Doctor
David ASHFOF icin Dad God
Janet HargGreaveS ...iisinies Mum God
Lorna McCulloch............cccciein Little Girl God
Alan [email protected] Voice of Girl God
Paul Sadler, Philip Sadler, Patrick Ford,

Alan Hap... Pursuing Clowns
CREDITS

Written by Stephen Wyatt

Magic Consultant: Geoffrey Durham [4]
Theme Music Composed by Ron Grainer
Incidental Music: Mark Ayres
Special Sound: Dick Mills
Production Managers: Suzanna Shaw,
Gary Downie, lan Fraser
Production Associate: June Collins
Production Assistant: Alexandra Todd
Assistant Floor Manager: David Tilley,
Duncan McAlpine
OB Lighting: lan Dow
OB Sound: Dough Whittaker
OB Cameramen: Barry Chaston, Alan Jessop
Visual Effects Designer: Steve Bowman

Cast and credits

Video Effects: Dave Chapman Studio Sound: Scott Talbott Above:

Vision Mixers: Barbara Gainsley, Dinah Long, Costume Designer: Rosalind Ebbutt Ws |
Julie Mann, Fred Law Make-Up Designer: Denise Baron i:

Technical Co-ordinators: Michael Langley-Evans, Script Editor: Andrew Cartmel
Richard Wilson Graphic Designer: Oliver Elmes

Studio Camera Supervisor: Alec Wheal Computer Animation: CAL Video [4]

Videotape Editor: Alec Wheal Designer: David Laskey

Videotape Editor: Hugh Parson Producer: John Nathan- Turner

Properties Buyer: Bob Blanks Director: Alan Wareing

> = ae pe
pn ee

_ THE GREATEST SHOW IN THE GALAHY » stores:

|
Rathmines and Rathgar Musical Society,
and later trained at the Abbey Theatre
School. Faced with a transfer to the town
of Killeshandra in 1953, he quit the bank

to pursue acting.
He débuted at the Pyke in 1953,

TP Ml C K E hy IN A and appeared with Anew McMaster’s

The Captain (Captain Cook) company in Hamlet and King Lear at the
Gaiety Theatre in 1954 before joining
homas Patrick McKenna the prestigious Abbey Theatre repertory
(always called TP within his company. Here he took nearly 80 roles
family) was born 7 September over eight years.
1929 in Mullagh, County Taking uncredited bit parts in films shot
Cavan, Ireland. The eldest of in Ireland from 1959, his first film breaks
10 children, his father Ralph came in The Siege of Sidney Street (1960)
was an auctioneer and merchant. and The Quare Fellow (1962).
He attended Mullagh National School McKenna defected from the Abbey to
then boarded at St Patrick’s College, Dublin’s Gate Theatre for a run of Joyce’s
Cavan, where he studied literature and Stephen D in 1962. This transferred to
discovered a talent for performance in London in February 1963, launching
Gilbert and Sullivan operettas. At 15, McKenna’s British career, and prompting
he saw the Irish actor-manager Anew his TV début in a BBC Sunday Play, The
McMaster touring in Shakespeare, Fly Sham.
——_ inspiring him to take to the stage. He Thereafter he mixed powerful theatre
TP McKenna represented the school in the All Ireland performances with single TV plays and
as President colleges Gaelic football final in 1948. dramas. In 1964 he could be found playing
ee He took a job with the Ulster Bank and Cassius in Lindsay Anderson’s Julius Caesar
in Blake's 7: in 1950 was posted to Dublin. He joined at the Royal Court and taking a guest
Bounty. the Shakespeare Society and the amateur role in Trojan Horse, an Honor Blackman

episode of The Avengers.

A physically imposing presence, with a
large, granite face and piercing eyes, he was
cast as both authority figures and villains
alike; police superintendents, gangland
bosses, priests, bishops and magistrates.
Guest TV roles that decade included Dr
Finlay’s Casebook (1964 and 1969), Danger
Man (1965), Dixon of Dock Green (1965),

No Hiding Place (1965), The Troubleshooters
(1966), The Saint (1966 and 1968) and Man
in a Suitcase (1967). Single plays included
The Wednesday Play, Theatre 625, Playbill
and Armchair Theatre strands.

McKenna continued an active theatre
career, with a season acting and directing

YX ANNA. S. 2. 2 Cee

at the Nottingham Playhouse in 1968
before starring in The Contractor (1969)

at the Royal Court. He performed for the
RSC in Exiles (1971), The Balcony (1971)
and The Devil’s Disciple (1976). Occasional
Irish theatre engagements included Sleuth
in both Cork and Dublin (1973).

Bringing his family to settle in London
in 1972, he was a hugely familiar TV face
in the 70s, with roles in Jason King (1972),
Callan (1972), Thriller (1973 and 1976),
Looking for Clancy (1975), Quiller (1975),
The Sweeney (1975), Crown Court (taking
the recurring role of Patrick Canty QC
from 1975-82), Target (1977), Holocaust
(1978), Strangers (1979) and The Onedin
Line (1979).

The 1980s saw him guest in Partners in
Crime (1983), Minder (1984), Bleak House
(1985), CATS Eyes (1985), Boon (1986) and
Miss Marple (1989). The following decade
saw appearances in Rumpole of the Bailey
(1991), Lovejoy (1993) and a regular role in
The Chief (1994).

Fantasy fans would know him from two
further episodes of The Avengers - Death at
Bargain Prices (1965) and Noon Doomsday
(1968) - as well as Adam Adamant Lives!:

A Sinister Sort of Service (1967), The Mind
Beyond: Stones (1976), Beasts: Baby (1976),
Blake’s 7: Bounty (1978) and a Play for
Tomorrow: Crimes (1982).

As well as appearing in The Greatest Show
in the Galaxy, writer Stephen Wyatt had
previously suggested McKenna play the
Chief Caretaker in Paradise Towers [1987
- see Volume 43].

McKenna continued to work onstage,
appearing in The White Devil at the
National Theatre (1991) and in acclaimed
Gate, Dublin productions Uncle Vanya
(1987), The Cherry Orchard (1992), Molly
Sweeney (1994) and No Man’s Land (1997).

Highlights among his film career
included Girl with Green Eyes (1964), Ulysses

(1967), The Charge of the Light Brigade ee

nn
(1968), Anne of the Thousand Days (1969), caper aa a
Perfect Friday (1970), The Beast Doctor Who.

in the Cellar (1970), Villain (1971) and
Straw Dogs (1971).
McKenna worked on television into
his 70s with guest parts in Ballykissangel
(2001), Waking the Dead (2004) and Irish
soap Fair City (2004) and achieved a long-
held ambition to guest in Inspector Morse
(2000) when he was the last person to
be interviewed by the Oxford detective
moments before Morse’s fatal heart attack.
TP McKenna died 13 February 2011,
in hospital in Hampstead, London and
was later buried in St Kilian’s Church
in Mullagh.

DOCTOR WHO | THE COMPLETE HISTORY | a9

1989 SERIES

‘THIS WAS GOING
TO BE THE LAST
SERIES OF DOCTOR

R SOME TIME.

omewhere the tea was getting retained many aspects 2 were key to
cold, somewhere there was this season - stories set at least partially on
injustice, and somewhere, Earth, a series length that spanned about
someone decided that this three months of the year and a companion
was going to be the last series figure who was from a deprived area of
of Doctor Who for quite some contemporary London.

considerable time. The 1989 series became When Billie Piper made such a splash as

a landmark that the show was certainly Rose Tyler in 2005 those who hailed her

_ never looking for when its conclusion as a great step forward for the series in
became the moment that Doctor Who terms of its presentation of the companion
ceased to be - possibly for good. figure might have wanted to remind
When the series finally returned to themselves of her predecessor. Sophie
our screens full-time many years later, it Aldred’s Ace is streetwise, intuitive and

(a0) DOGHPR WHO | THE COMPLETE HISTORY

- : SE ihe Zz

| 1989 Series
» Battlefield
Ghost Light
(see Volume 46)

® The Curse of Fenric
(see Volume 46)
Survival
(see Volume 46)

DOCTOR WHO | THE COMPLETE HISTORY ©

1989 SERIES

Above:
Ace stands up
to the Doctor.

Right:

A homecoming
for Acein
Survival.

“

rr -
»f MEF:
Sere Try Or

stands up to the Doctor when she needs
to. Unlike Rose however, she doesn’t have
anything much to draw her back home.

It had been established in earlier series
that she was an orphan but this year

the fractured nature of her upbringing
becomes entrenched in the storytelling.

In Ghost Light [1989 - see Volume 46] we
discover that her best friend was the victim
of arson and The Curse of Fenric [1989 - see
Volume 46] introduces us to her mother
(albeit in the form of a baby). Rather than
being passing references or moments of
texture they are essential elements of the
drama - they are integral drivers of the
plot which concurrently give her personal
storyline and character development some
emotional progression.

It is clear that as much as travelling
through time and space, the Doctor is
transporting orphan Ace on a journey
of discovery throughout the series. He is
upfront about his methods - in Ghost Light
their trip is described as her “initiative
test” - even if he is obscure about his
motives (he describes that taking her to

(@) DOCTOR WHO | THE COMPLETE HISTORY

a place he knows she is terrified of is “a
surprise” - which is putting it mildly).
Taking her to an earlier version of the site
of one of her teenage misdemeanours,
manipulating her into confronting her
feelings about the loss of her friend and the
evil that she sensed in the place she burned
down in rage aren’t methods that would be
condoned by social services regarding the
management of confused teenagers. It is
done with the best of intentions but is hard
medicine for Ace to swallow. Similarly, in
attempting to defeat Fenric he has to force
her to lose faith in him, using phrases like
“emotional cripple” which amounts to
something of a psychological assault on

a vulnerable young woman.

Contemporary concems

n Survival [1989 - see Volume 46] we

I see that although she had no secure
family unit, she did at least have

friends. They seem like a nice bunch too

but friendship is transient and they are

moving on, moving away, disappearing

or making pacts with renegade Time Lord

catmen. Those who survive return home

at the end of the adventure but Ace herself

has moved on: for Derek and Shreela

twentieth-century Perivale is enough... but
Ace now has the TARDIS. The lost orphan
girl finally has somewhere that she feels
that she belongs.

The emphasis on the companion
shifts focus slightly from the central
character who, despite his clowning
and Sylvester McCoy’s madcap energy,
is being remoulded as a slightly more
detached, and occasionally manipulative
Doctor with dark undercurrents. For a
show that has no immediate future it is
very keen to highlight the richness of its
central character’s past. This brooding,
often mournful Doctor’s enemies for the
majority of this series know him of old.
He and Morgaine (to whom he is Merlin)
have battled for centuries while his contest
with Fenric seems to predate even that.

Left:

Anthony Ainley
hatches a
‘Master’ plan

in Survival.

Although these enemies are familiar to
him they are new to the viewer and so it
is perhaps fitting that his final showdown
is with his longest standing onscreen
Time Lord adversary, the Master, whose
own lifestyle has taken its toll on him.
Anthony Ainley seems to have taken his
performance down a peg or two to keep
him in line with McCoy’s more-considered
and subtle rendering of his arch nemesis
and the results give the final story’s
denouement a suitably weighty and
epic feel.

The series is awash with contemporary
concerns, the programme doing its best
to reflect the society it is playing to.
Nuclear weapons are at the forefront of
the storytellers’ minds: a potent motif with
glasnost only four years young. They make

DOCTOR WHO | THE COMPLETE HISTORY ®

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their presence felt explicitly in Battlefield
[see page 100] when a missile is stranded
and ultimately used in the story’s climax.
“It has a graveyard stench”, says the Doctor
of the convoy in Part One, making his
feelings on the subject clear. Even the
nominal villain, Morgaine, ultimately
decides not to use such destructive
weapons - after the Doctor’s powerful
coaxing she admits that such warfare lacks
the honour and artistry of swords and
sorcery. Survival takes a more metaphorical
approach but the subtext is pretty clear:
the more the denizens of the Cheetah
Planet fight, the quicker they hasten the
destruction of their world - a world we

see ablaze during the climactic showdown
between the Doctor and the Master.

The Curse of Fenric raises the spectre of
chemical weapons and it is hinted that the
Haemovores live in a contaminated future
world - for the technology of destruction
will ultimately do for humanity and defile
the planet.

T he series isn’t only concerned with

the arms race. Having tackled the

thorny issue of racism head-on in
Remembrance of the Daleks [1988 - see
Volume 44] the show still has more to
say. If Ace’s suggestion that “white kids”
firebombed her friend’s flat seems a trifle
incongruous coming out of her mouth, it
is there to head off the prevailing wisdom
in some quarters that gang crime is
confined to ethnic minorities, which is
not what many television programmes of
the time would have tried to do. Battlefield
attempts something slightly more nuanced
by having a terrified Ace, manipulated
by Morgaine, subject Shou Yuing to an
outpouring of racist jibes - the suggestion
here is that a little bit of fear is all it takes

to unleash a prejudice that is latent in all
of us. Or that even the least bigoted of us
can turn should we be scared enough. This
is rather a sophisticated thing to do with
the leading female identification figure in
a drama watched by children. On screen,
Angela Bruce’s black female Brigadier is

a definite statement that if something as
traditional as the army can eschew stuffy
white orthodoxy in even its highest ranks,
then society itself will contain much more
representation in the (then) not-too-
distant future. With actresses Ling Tai and
Sakuntala Ramanee also playing decent
sized roles, the physiognomical landscape
of the casting edges closer to the far more
representative cast lists that we are used to
today. One suspects there may well have
been more actors from ethnic backgrounds
being cast had The Curse of Fenric and Ghost
Light not had specific historical backdrops.
That said, the use of Russian soldiers in

a World War II story is refreshingly novel

ENGNG NG i) Sa) ef

Left:
Brigadier
Bambera and
Ancelyn are
ready to fight
in Battlefield.

DOCTOR WHO | THE COMPLETE HISTORY ®

Ace meets
Nimrod, the
Neanderthal
butler in
Ghost Light.

=—

er - Fe

Below:
Morgaine
invades our
dimension in
Battlefield.

1989 SERIES

and the authentic accents of the chosen
actors helps.

The Russians are not the only gun-
toting soldiers this year - UNIT is back in
force in Battlefield and there are plenty of
gun battles which emphasise the show’s
shift away from the abstract. Whereas
serious issues lay beneath a deliberately
gaudy exterior in stories like The Happiness
Patrol [1988 - see Volume 44] and The
Greatest Show in the Galaxy [1988/9 - see
page 48], as it progresses the McCoy era
veers away from such self-consciously
odd stories. Only Ghost Light comes close
to fitting into the same ballpark as these
earlier adventures. Like Paradise Towers
it has its one community of bizarre

ae ~ ~~
eS ERD Dot Ge pet
aay <=

DOCTOR WHO | THE COMPLETE HISTORY

characters who exist very much within the
bespoke and enclosed environment of the
story, but unlike in that tale we can clearly
picture the wider world outside (partially
because it is set within a time and place
that we know). The theme of evolution is
important to the era in which it is set, so
while it has many strange and larger-than-
life characters, these are complemented
by the more familiar elements of a BBC
costume drama. There is a deliberately
jarring juxtaposition of what we know
(Nimrod is a butler) and what is out

of place (he’s a Neanderthal). This is
beautifully summed up in the very first
scene where there is clearly something
beastly in the cellar but it is served - along
with its dinner - a copy of The Times.

It’s the nineteenth-century equivalent of
the yeti on the loo in Tooting Bec (the
creature in the cellar in Perivale doesn’t
have quite the same ring, but it achieves
the same effect and has a trifle more
storytelling potential).

Seeds for the future

» roduction-wise the season is a
= traditional BBC drama multi-
camera studio set up - a method of
programme-making that would be phased
out for pretty much everything bar soap
operas by the time the series returned in
2005. It is the last time Doctor Who would
be made by the BBC as it was then - the
BBC where many of Doctor Who’s finest

moments had been created, be they at the
BBC Radiophonic Workshop or the BBC
Visual Effects Department or the BBC
bar. Ghost Light benefits extremely well

in this regard, using all of the acquired
skill of various design departments to

create an impressive-looking period piece.

The methods used to achieve these were

etched into the stone of Television Centre.

Methodology and technology evolve
of course, and many of the effects this
year are rendered by the relatively new

Paintbox technique - a forerunner of CGI.

This is most apparent in the depiction
of the snakes that plague the Doctor at
the end of Battlefield’s second episode
and - ona larger and more ambitious
scale - for the wide alien vistas used to
depict the collapsing world of the planet
of the Cheetah People. This mixture of
old and new is reflected in the stories

too - although we delve into the mythical
past of the Doctor the majority of the
season is, in creative terms, very fresh. The
80s, and producer John Nathan-Turner
in particular, receive a lot of criticism for
an over-reliance on the show’s past, yet
the Master aside the storylines here are
made from freshly minted coinage. The
Doctor himself may know Morgaine and
the Haemovores but they are as new to the
long-term viewer as Josiah’s motley crew
and the Cheetah People.

The Brigadier makes his return in an
appearance that strongly hints will be
his last, but he lives to fight another day
- the tantalising prospect of his death
and the introduction of a new Brigadier
who couldn't be more different from him
suggests a series striding boldly forward.

at fight in
Survival.

There may be references to Sergeant Benton ¢
and Liz Shaw but they are simple nods to

DOCTOR WHO | THE COMPLETE HISTORY

1989 SERIES

Below:

The Destroyer
is released in
Battlefield

the past rather than the detailed backstory
required to completely follow stories from
earlier in the decade like Arc of Infinity [1983
- see Volume 36] and Attack of the Cybermen
[1985 - see Volume 40]. Monsters weren't
even green any more - having waited years
for a blue-skinned adversary, two come
along in quick succession; the first of which,
the Destroyer, marks a huge step forward
in terms of technology and gives viewers
the mouth-watering prospect of facially
mobile aliens with far more character than
prosthetics had been able to facilitate up
until now.

But it was not to be, because as the
Doctor walks through contemporary
London with his companion by his side at
the end of Survival, it turns out to be his

f pocTor WHO | THE COMPLETE HISTORY

\A\NNNNAARS

last appearance for quite some time. He’d
be back, and when he was again on our
screens as a regular TV fixture we'd first see
him in very similar surroundings. But there
was a lot of work to do before that could
happen, and if aspects like Ace’s character,
the modern day urban setting and the
companion’s emotional development

seem to foreshadow Russell T Davies’

take on the show, then the Doctor as Merlin
leaving notes for this future self and being
a mythical figure woven through time is
very much in the Steven Moffat mould.
The show may have been about to come to
an end, but it was planting the seeds for a
future where the tea might be getting cold,
but Doctor Who itself would be hot once

“ again - and for avery long time.

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» STORY 152

A mysterious message pulls the Doctor
and Ace into an ancient battle with an evil
sorceress and Rnights from space. Can the

Doctor - or Merlin - prevent his oldest friend
getting caught in the crossfire?

x00 DOCTOR WHO | THE COMPLETE HISTORY

Right:

The Curator -
one possible
future forthe
Doctor.

LX NANNN RRR

Introduction

n writer Ben Aaronovitch’s first
Doctor Who story, Remembrance

of the Daleks, the Seventh Doctor

seemed to be tidying up some

unfinished business left for him
by the First Doctor. In Battlefield,

Aaronovitch’s second story, he’s also
working with another Doctor. This time,
however, it appears to be a Doctor from
the future, one who’s known by the name
‘Merlin’ in an alternative reality.

This other realm seems to have a lot in
common with the legend of King Arthur.
Perhaps we’re meant to assume that it
was, or will be, the inspiration for those
stories. It’s described by the Doctor as
being “sideways in time” - a description
very similar to the one used in Inferno
[1970 - see Volume 16] when he found
himself on a parallel Earth. It’s possible

(a2) DOCTOR WHO | THE COMPLETE HISTORY

then, that Merlin is an alternative version
of the Doctor rather than just a future
incarnation. Although, for whatever
reason, there wasn’t an alternative Doctor
on the parallel Earth in Inferno. And when
we visit another parallel Earth in Rise of the
Cybermen [2006 - see Volume 52] we don't
meet another Doctor there either.

If Merlin is simply one of the Doctor’s
future selves, then the question arises
whether he has left messages for his
past self simply because he remembers
receiving them. At the end of the story,
the Doctor receives a note from himself
that is instrumental in stopping villainous
sorceress Morgaine from ultimately
destroying the world.

In the 2011 story The Impossible Astronaut
[see Volume 66], a ‘future version’ of the
Eleventh Doctor sends his past self a letter,
inviting him to meet his companions at
Lake Silencio. Many other stories including
2007’s Blink [see Volume 56], 2010's The
Big Bang [see Volume 66] and 2015’s Under
the Lake/ Before the Flood tell stories of the
Doctor acting on instructions from his
future self.

We actually meet what might be a future
Doctor in The Day of the Doctor [2013 - see
Volume 75]. The Curator seems to be a
Doctor who has re-adopted the look of
his fourth incarnation - and he too brings
news from the future: tipping the current
Doctor off that his home planet Gallifrey
is not lost after all. Perhaps one day we'll
meet the Doctor who becomes known,
to the people of the Arthurian reality, as
Merlin. Perhaps someone will decide to
make a sequel - or prequel - to Battlefield!
Stranger things have happened. Mf

rarer

Introduction

W peRHAPS. ONE DAY
MM we’ LL MEET THE pO

NOWN AS MERLIN.’

—,

BECOMES K

listair Gordon Lethbridge-Stewart
A:: his wife Doris are enjoying a

day at the garden centre. [1] The
Brigadier thinks his “blood and thunder
days” are long past.

UNIT is still very much in action,
though. Sergeant Zbrigniev reports
from a broken-down missile convoy to
Brigadier Bambera.

The TARDIS detects a distress signal
and lands near Lake Vortigern. [2]

The Doctor and Ace hitch a ride with
archaeologist, Peter Warmsly.

A meteor crashes to Earth and a knight
in armour rises from the smoke. [3]

Bambera spots the missile convoy.

Peter’s dig is nearby and the Doctor
and Ace gain entry to UNIT’s mobile
HQ. Bambera orders them out, but
then Zbrigniev tells her about a
mysterious scientific advisor called
the Doctor.

The Brigadier receives a phone call
from the UN Secretary General.

Bambera drops the Doctor and Ace at a
hotel. The Doctor orders drinks from Pat
the landlord.

Bambera locates the TARDIS and
encounters a knight carrying a laser [4].
More knights attack; Bambera gets away.

Ace makes friends with a girl called
Shou Yuing. Shou points out a scabbard
dug up by Peter; Pat’s wife Elizabeth is
blind but can sense its presence.

A helicopter lands in the Brigadier’s
garden and he gets inside.

Ace tells Shou about the time she blew
up her school’s art room. “Boom!” [5]
There is an explosion nearby.

The Doctor goes inside with Ace and
Shou to find a knight in the darkness.
The Doctor removes his helmet and the
knight, Ancelyn, recognises him, calling
him Merlin. [6] Bambera enters and
places everyone under arrest - but then
some knights stride in and their leader,
Mordred, orders them to kill!

| Ace uncovers a carved stone which the

ordred also recognises the Doctor
hl as Merlin - who he thought his
mother had sealed into the ice

caves. The Doctor threatens to unleash a
terrible something and Mordred retreats.
After he has gone, the Doctor admits to
never having met him before.

The Brigadier’s helicopter pilot, Lavel,
gets clearance to land in Central London.

Later that night, in a ruined castle,
Mordred performs a ceremony to create
a meeting place between the two worlds
- and in the hotel bar the scabbard flies
across the room and impales itself into
the wall. [1] Mordred laughs hysterically
[2] and his mother Morgaine arrives
in the castle. She contacts the Doctor,
warning him not to stand against her.

The next morning, the Brigadier’s
helicopter leaves London.

Peter takes the Doctor to the dig site.

—a— > -
7

Doctor translates as reading, “dig hole
here”. Ace uses some Nitro-9 explosive to
create a hole quickly. [3]

Lavel pilots the Brigadier’s helicopter
to Carbury but before she can land
Morgaine fires a bolt of lightning at it. [4]

Ace’s explosion uncovers a tunnel. She
enters it with the Doctor.

Lavel lands the helicopter and runs
for cover with the Brigadier before it
explodes. Lavel is injured so the Brigadier
goes for help. He discovers Morgaine and
Mordred by a war memorial. [5]

The Doctor and Ace discover the
entrance to a submerged spacecraft which
opens in response to the Doctor’s voice.

The Brigadier agrees to Morgaine’s
wish to hold a remembrance ceremony.

In the spacecraft the Doctor and Ace
find King Arthur slumped over a sword.
Ace removes the sword and activates an
a defence system. A ghostly green snake
whooshes through the air. Ace retreats
into an airlock which fills with water [6]
and the Doctor is knocked unconscious!

® STORY 152

PART THREE

he Doctor recovers and ejects Ace
T out into the lake. She rises from the
waves holding Excalibur. [4]

The Doctor is still fighting the ghostly
snake when somebody stamps on its
control unit. It’s the Brigadier! [2]

Morgaine instructs a knight to recover
Excalibur. Mordred, meanwhile, is
drinking at the hotel. Lavel enters and
threatens to shoot him - but Morgaine
walks in and catches the bullet from the
air. She kills Lavel but restores Elizabeth’s
sight as payment for her son’s drinks.

The Brigadier drives the Doctor, Ace,
Peter and Shou in Peter’s car while
Bambera and Ancelyn follow in Shou’s
car. They are ambushed by knights;

[3] the Brigadier pushes through them
but Bambera and Ancelyn are forced to
swerve off the road.

Back at the hotel, Peter and Pat refuse
to be evacuated - until the Doctor

hypnotises them. The Doctor asks the
Brigadier if he has any silver bullets. The
Brigadier has arranged transport for the
Doctor - his old car, Bessie.

While fighting a knight in the woods,
Ancelyn asks Bambera if she is betrothed.
The Doctor gives Ace a piece of chalk

and warns her to draw a circle and stay
inside it at the first sign of anything
strange. He drives off in Bessie with the
Brigadier, entrusting Ace with Excalibur.

In the ruined castle, Morgaine
summons a horned beast.

Hearing thunder, Ace draws a chalk
circle in the hotel bar and stands inside
it with Shou. The bar goes dark. [4]

The Doctor and the Brigadier arrive
at the convoy where UNIT soldiers are
battling Morgaine’s knights. Ancelyn and
Mordred are about to cross swords when
the Doctor strides between them. [5]

Morgaine appears to Ace and Shou and
tells them to surrender Excalibur. If they
refuse, they will become the Destroyer’s
“handmaidens in hell”! [6]

PART FOUR

he Doctor threatens to decapitate
T Mordred if he does not tell his

mother to call off the Destroyer.
Morgaine knows he is bluffing. But the
Brigadier pulls out a revolver - and she
knows he is not bluffing. Morgaine tells
her son to die well and orders her knights
to resume their attack. [1]

The Doctor drives the Brigadier and
Mordred to the hotel in time to see a
series of explosions. Mordred flees while
the Doctor enters the remains of the bar.
Ace and Shou are unharmed and explain
that they gave Excalibur to Morgaine.
There is a shimmering vortex in the
corner; the Doctor walks into it, followed
by the Brigadier. [2] Ace locates the silver
bullets and leaps after them.

The Doctor and the Brigadier
materialise in the castle where the
Destroyer hurls the Brigadier outside. Ace
materialises, knocking Excalibur out of

Morgaine’s hands. Morgaine releases
the Destroyer.

Mordred strides in and calls his mother
a witch. They vanish. Outside the castle
the Doctor loads the silver bullets into
the Brigadier’s revolver. The Brigadier
knocks the Doctor out, walks back into
the castle and shoots the Destroyer. [3]
The castle explodes. The Doctor finds the
Brigadier in the rubble. [4]

Mordred and Morgaine hold Bambera
captive in the command post and force
her to reveal the missile’s failsafe code.

By the time the Doctor arrives the
countdown has reached ‘60’. He appeals
to Morgaine to hit the abort button,
convincing her that a nuclear war is not
honourable. [5] Morgaine surrenders and
the Doctor tells Bambera to lock her up
with Mordred.

Later, the Doctor and Ancelyn enjoy
the tranquillity of the Brigadier’s garden.
Doris goes out with “the girls” [6] leaving
the Brigadier and Ancelyn to mow the
lawn while the Doctor cooks supper.

Story

Right:
Ben

writer of
Battlefield.

Aaronovitch,

BATTLEFIELD » sows

Pre-pro

uring 1987, Ben Aaronovitch
attempted to break into
television, submitting material
to Caroline Oulton, a BBC
script editor working on crime
series South of the Border. She
suggested that Aaronovitch approach the
police drama Rockliffe’s Babies and also
Doctor Who - a show the writer was amazed
was still running, having watched it in
his youth. Oulton passed Aaronovitch’s
storyline to Andrew Cartmel, Doctor Who's
new script editor, who loved it as he read it
on the way back from a location recording
on Paradise Towers [1987 - see Volume 43]
on Friday 22 May 1987.

Inviting the writer in to see him after the
bank holiday, Cartmel and Aaronovitch
immediately struck up a good rapport.
Aaronovitch started work on a script
called Knightfall, about privatisation and
the finance industry, and another abortive
storyline arising from a number of ideas
generated on Saturday 20 June; this was
Transit which concerned a teleport system
leading to Hell. During summer 1987,
while discussing ideas in Cartmel’s garden,
Aaronovitch suggested a serial placing
legends in a modern context. Aaronovitch
developed the stories of the legendary
British ruler King Arthur into an epic
military battle with knights from space,
scribbling his thoughts down on the back
of an envelope. He also knew from an early
stage that the Lady in the Lake holding
Excalibur would be Ace...

Cartmel liked the idea, which offered a
different slant on a known story. Inspired
by Nigel Kneale’s Quatermass and the Pit,
Aaronovitch wanted to give scientific

(108 DOCTOR WHO | THE COMPLETE HISTORY

NNNNNA ARR

duction

> ae

explanations to numerous elements

of mythology; the pair referred to the

new idea as Quatermass and the Lake and
developed it during the recording of
Dragonfire during August. This formed

a three-part serial to be made totally on
Outside Broadcast videotape - the setting
being the English countryside. Aaronovitch
drafted a first script and outline for

the next two instalments; this included
elements such as Arthurian knights from
space, a Chinese girl and a black female US
Air Force officer - effectively a replacement
for Brigadier Lethbridge-Stewart, whom
Aaronovitch recalled from watching Doctor
Who in his youth.

Reading the unsolicited military-based
outline, producer John Nathan-Turner
suggested that Aaronovitch should
incorporate an updated UNIT (United
Nations Intelligence Taskforce), prompting

Aaronovitch to get permission to include
Lethbridge-Stewart. Before this serial
could be developed further, Aaronovitch
was commissioned to write Nemesis of
the Daleks (latterly Remembrance of the
Daleks [1988 - see Volume 44]) on 30
October 1987.

With the Dalek serial completed in
spring 1988, Aaronovitch resurrected
his three-part serial for the next season,
adding UNIT to the mix. The Doctor Who
production office suggested the story
should be reworked as a four-part serial,
mixing OB and studio work. Aaronovitch
was by now fascinated with Doctor Who's
mythology, watching many old serials.
Viewing Mawdryn Undead [1983 - see
Volume 36], the writer felt that the notion
of a retired Lethbridge-Stewart teaching at
a boys’ school did not ring true. Disliking
the idea of the Brigadier being an isolated
character, Aaronovitch gave him a home
and, after a throwaway line in Planet of
the Spiders [1974 - see Volume 21], a wife
named Doris whom he envisaged as having
been “something in the city”.

Nuclear missile convoy

hereas Aaronovitch had seen
W his Dalek serial as the Doctor’s

past catching up with him, this
time the Doctor would be haunted by his
future. The first outline, entitled Storm Over
Avallion (though Lake Over Avallion was
another suggested title), was dated Monday
12 September 1988 and was an expansion
of the three-part serial. Set in ‘the year
1999’, USAF Captain Winifred Bambera
searches for a nuclear missile convoy lost
during a US/European Defence Force
exercise called ‘Camelot’. In the TARDIS,
the Doctor decodes a strange signal. On
arrival, the Doctor and Ace get a lift from
Lavender Warmington, the management

director of the Carbury Trust
at Vortigern’s Lake. Ancelyn
was a ‘Knight of the Br’tons’,
pursued by three knights of
the ‘S’rax’. Bambera meets
with USAF Lieutenant Sax
and Lieutenant Richards,

the British officer in charge
of the convoy; suspicious

of the Doctor and Ace, she
takes them to the King’s Rest
Inn at Carbury so she can
contact Camelot HQ. There,
Ace meets a chemistry
student called Thai, who is
helping Dr Brown with his
dig. General Lethbridge-
Stewart is working in his
garden on his day off when Doris says

UNIT HQ in Geneva need him. The

Doctor meets Dr Brown, who is trying to

disprove the existence of King Arthur, and

Ancelyn is blown into the brewery after
Lavender storms in, saying that her car

Connections:

Legendary

research

® Developing his story and
script, Ben Aaronovitch
used Norris | Lacy’s 1986
work The Arthurian
Encyclopedia for inspiration
as well as Le Morte
d Arthur, a work attributed
to the fifteenth-century
English author Sir Thomas
Malory, which is the first
English prose account of
King Arthur and the knights
of the Round Table.

phone will not work. The S’rax attack the i
convoy, killing Richards, and stop when Below: ;
there is a strange glow from the lake’s The two Brigs, ¥

BATTLEFIELD » sore

Right:

Morgaine and
Mordred are

looking for
a fight.

centre. Major McKinnawe and Pilot Lavel
arrive in a VTOL jet near Lethbridge-
Stewart’s home and explain about the
Doctor’s involvement.

The resolution to the S’rax attack at the
end of the first episode is that Bambera
shoots Mordred’s visor, Ace trips him with
Ancelyn’s sword, and the Doctor douses
him with fermenting hops. Lethbridge-
Stewart mobilises the nearest UNIT
force - a Czech division doing flood relief
in Holland. The Doctor uses the inn’s
computer terminal to locate the signals in
the lake and at the dig. Lavender, Brown,
Ancelyn and Ace join the Doctor in a
trip to the dig. Tremors hit the inn, and a
gateway opens to reveal Morgaine Le Fay,
Battle Queen of the S’rax (who ‘looks like
a tall golden robot’) and her Men-at-Arms
(‘as many as the budget will stand’). The
earth opens at the dig to reveal a shaft.

NANNARARR

A massive systems failure forces the UNIT
jet down near Carbury, with McKinnawe
staying to tend Lavel. Thai sees
Lethbridge-Stewart encounter Morgaine
and Mordred at the war memorial and
sets off on her pushbike to warn the
others. Lavender’s Range Rover breaks
down, and she is back at the Inn when
Mordred enters and demands a drink.
Ace’s newly-made sonic screwdriver
(‘from designs in the TARDIS databanks’)
fails to open the spaceship at the end of
the shaft. Once inside, the Doctor finds
Excalibur in a block of obsidian and a
knight in suspended animation. Ace
activates ‘eldritch guardians (ethereal
snakes - I think)’.

In Part Three, the Doctor turns the
strength of the guardians against them,
trapping them in a container. Communing
with the chamber, he is alarmed by the

~ANN

imminence of A’turs awakening. Ace
escapes with Excalibur, meeting up with
Bambera, Ancelyn and Thai; they set off to
get explosives from the convoy to open the
spaceship. The Doctor emerges unaided
and is rather grim when Thai tells him of
Lethbridge-Stewart’s presence; he sends
Thai back to the Inn with Excalibur (‘Ace
would only do something silly with it’)
while he and Ace head for the TARDIS.
The Doctor is concerned about meeting
Lethbridge-Stewart because of a yellowed
piece of newspaper he carries in his pocket
(though not explicitly stated, it is suggested
that this is the Brigadier’s obituary notice).
At the TARDIS, the Doctor and Ace find
that Lethbridge-Stewart and the Czech
troops have beaten back Morgaine’s men.
At the dig, Morgaine captures Brown and
learns about Thai having Excalibur; Thai
draws a protective circle around herself in
the inn’s bar. Armed with Nitro-9 from the
TARDIS, the Doctor goes with Bambera
and Ancelyn to defend the spaceship,
while Ace and Lethbridge-Stewart return
to Carbury where Morgaine threatens
Thai. The Doctor pursues Mordred and

the S’rax into the spaceship,
preventing Mordred from
killing the sleeping A’tur and
having the ship’s systems
expel the knights. At the inn,
Lethbridge-Stewart uses a
microwave relay aerial to
disrupt Morgaine’s control
armour, but Morgaine leaves
with a lock of Ace’s hair. At
the farmhouse, Morgaine
summons up a demon to aid
her - offering Ace as sacrifice.
Under Morgaine’s influence,
Ace leaves the inn in a trance
and walks through the night
to the farmhouse; Lethbridge-Stewart

and a glowing Excalibur alert the Doctor
to her plight. At the farmhouse, the
demon breaks through: “a tall menacing
humanoid figure in black knobbly
armout-like skin.” The Doctor arrives

in time to stop Ace knifing herself - but
Morgaine explains that unless the demon
gets its willing sacrifice, the world will die.
Furthermore, without living beings on
Earth, the gateway bridging this dimension

Connections:

Erstwhile

sergeant

® The Brigadier mentions his
former underling Sergent
Benton whilst at the
garden centre with Doris.
The loyal UNIT soldier first
appeared in The Invasion
[1968 - see Volume 13],
rising through the ranks
until retiring from the
army to become a used
car Salesman,

: : : Left:
to hers will vanish, leaving A'tur trapped for — wratcan
ever. In the cliffhanger, Morgaine vanishes | destroy
today?

through the gateway.

-_——. © oPS
Viger RR
s the Demon starts to arrive in
A Part Four, Ace fears the Doctor

is going to sacrifice himself.
The Demon wipes out UNIT troops.
Lethbridge-Stewart leaves McKinnawe in
charge at the inn and goes after the Doctor.
He and his men reach the farmhouse
where the Demon attacks - Lethbridge-
Stewart orders a rocket attack on the
building, killing himself. This sacrifice
mollifies the Demon, which departs for
its own dimension. Lethbridge-Stewart’s

DOCTOR WHO | THE COM

Below:
The Brig gets
back to work,

Connections:

New outfit

® Battlefield sees the début
of the Doctor's new, dark
burgundy jacket, swapping

the 1989 series, anda
more complex, darker
character for the
Seventh Doctor.

death makes the Doctor
consider his wanderings; he
only seems to bring death

to those he cares about.
Morgaine attacks the convoy
to trigger a Third World

fotrvthe presibusy ae War, using the launch codes
cream variety. It's a marker aseeccmind, Mordred
of the sombre tone for

apparently kills Bambera,
causing Ancelyn to swear
vengeance against him; the
two fight and, when it seems
Ancelyn is at Mordred’s
mercy, Bambera appears
and kills Mordred. The Doctor confronts
Morgaine and uses the guardians he had
trapped in the container against her. Ace
goes into the ship and replaces the sword,
launching the vessel; A’tur and Ace emerge
from the spacecraft and use Excalibur

to neutralise the missile. Morgaine sobs
over her dead son and strikes a deal with
Attur; if he restores Mordred to life, she

+) a : x
Ee a oe. a

OE Se

S\N ANNE

will serve him for ever. Bambera agrees to
go with Ancelyn and have adventures in
another dimension; they board the ship
with the others and leave Earth. Saying
goodbye to Brown, the Doctor and Ace
head for the TARDIS. The Doctor is ‘still
determined to travel, perhaps from now
on in memory of Lethbridge-Stewart’.
(Aaronovitch then noted ‘Episode 4 is
not complete and very rough... sorry
but they threw me out of the building!’).
Aaronovitch was routinely using the
BBC’s Union House building, working late
into the evening on the breakdowns.

The production office checked that
Nicholas Courtney was available to
reprise his role as Lethbridge-Stewart one
last time. Nathan-Turner discussed the
serial with Courtney in Brighton during
September 1988. The actor became
interested when he heard that Lethbridge-
Stewart was to be killed off, since he felt
that Doctor Who was coming to its end.

Scripts for Storm Over Avallion were
commissioned on Friday 16 September
with target deliveries of Wednesday 30
November, Friday 30 December, Sunday
15 January 1989 and Wednesday 15
February; Aaronovitch revised his storyline
four days later. Bambera was now a UNIT
Brigadier, UNIT troops included Sergeant
Zbrigniev, Major McKinnawe and the
Czech Major Husak. Captain Richards
was now in charge of 3rd Tactical Missile
Command, Thai became Shou Yuing, and
Lavender Warmington evolved into Peter
Warmsly when Nathan-Turner felt that
there were too many female characters.
New material included the Doctor and
Ace bluffing their way into Bambera’s
Command Trailer, and the Doctor
pointing out that Vortigern’s Lake means
‘Lake of the High King’ in Old English.

In Part Two, Rowlinson winces as he
hears things getting smashed every time

Ancelyn and Bambera start fighting, and
Dr Brown observes that Ancelyn is related
to the name Lancelot. In Part Three,

the now-General Lethbridge-Stewart
explodes into action after his encounter
with Morgaine at the inn, and is joined

by McKinnawe to deliver an alien alert

on the communications set, evacuating
Carbury. In this version, the Doctor has
no foreboding about Lethbridge-Stewart’s
death. Brown is killed when Morgaine
probes his mind, and Morgaine’s demon
is now a ‘Death Elemental’; when Ace falls

under Morgaine’s control, she strikes down

Shou Yuing to leave the inn. Ancelyn asks
Bambera to come back to his dimension
with him. The cliffhanger to Part Three
was now the Doctor and Lethbridge-
Stewart arriving at the farmhouse just as
the Elemental appears.

Lethbridge-Stewart

he new Part Four was markedly
T different; the Doctor, Ace and

Lethbridge-Stewart flee the
farmhouse moments before the missile
attack. Ancelyn is in the Hall of the
King when machinery becomes active,
registering an evil force. A strange glow
appears, bringing slain Men-at-Arms back
to life; the Elemental grows stronger with
each death. The Doctor comments that
Excalibur could destroy the Elemental
as the zombie Men-at-Arms attack his
group at the inn. The Elemental appears
by the war memorial in the village, and
Lethbridge-Stewart takes Excalibur,
attacking the Elemental and ramming
the sword into its chest - but the energy
feedback along the sword kills Lethbridge-
Stewart. Mordred is not killed, and Ace
and Shou Yuing fight off a S’rax knight as
they try to replace Excalibur. As the missile
is about to launch, the Doctor removes the

Pre-production

control cable to trigger the failsafe. The Above:
spaceship lifts off, with A’tur, Ace and Shou et er

Yuing beaming down to take Morgaine
and Mordred prisoner - the Doctor pleads
for them to be rehabilitated rather than
executed. As the spaceship departs, Ace
wonders if Bambera was on board. The
Doctor observes that Winifred comes
from ‘Guinevere’. Aaronovitch commented
that elements of the climax such as

the spaceship were optional, and that
some secondary characters could deliver
explanatory dialogue so that Sylvester
McCoy wasn’t overloaded.

In the 20 September story
outline, Aaronovitch set out
the background for General
Lethbridge-Stewart: ‘Retired
in the mid 1970s. Following
the 1984 Dalek Incursion
and the 1986 Cyberman
Invasion. Secret talks at the
Moscow Summit in 1987
led to a Security Council
resolution reorganising and
strengthening UNIT. Since
command officers with

Connections: ies
Royal inspiration ogee.
» Aaronovitch's A’tur was ae ae
based on Arthur, legendary
King of the Britons (Br'tons
in Aaronovitch's Script),

a possible amalgam of
people first referred to in
Aneirin's poem Y Gododdin
around 600AD.

experience of dealing with alien threats

eee were in short supply, Lethbridge-Stewart
the Brig. was approached and persuaded to return

to active service in 1988. He was promoted
to General and assumed command of the
Extra-Terrestrial Threat Section, whose
headquarters he relocated to London. The
first script was delivered on

Connections:

Friday 25 November.

Arts attack By December, Storm Over
D Historia Brittonum, Avallion was scheduled as
written by Welsh the second story of the 1989

chronicler Nennius around
830AD, refers to 12
legendary battles at which
Arthur was victorious -
including Mount Badon,
referred to by Ancelyn,
a battle where ‘Merlin’

\ supposedly cast down
f\ Morgaine with his
7 mighty arts”

series. Aaronovitch helped
Cartmel with script editing
on other serials that year;
the pair collaborated on

a thriller called Hazard,
and an unused Doctor Who
stage play.

In late 1988, the serial
was announced as being a
‘sword and sorcery’ piece
set in 1999. Other working

(OR WHO | THE COMPLETE HISTORY

N NNN ARR

titles - Pool of Avallion, Song of Avallion,
Stormtroopers of Avallion - were suggested.
Nathan-Turner hoped that Graeme
Harper, who had directed The Caves of
Androzani [1984 - see Volume 39] and
Revelation of the Daleks [1985 - see
Volume 41], would be available to
handle the serial, but Harper had
commitments on Central Television’s
drama Boon. Nathan-Turner then hoped
that Nicholas Mallet might helm the
serial. Remembrance of the Daleks’ director
Andrew Morgan was also in the frame.

UNIT personnel
0 n Tuesday 6 December, John Nathan-

Turner formally requested clearance
from Lethbridge-Stewart’s creators,

Mervyn Haisman and Henry Lincoln,
to use the character in the serial. He
requested Nicholas Courtney to be
booked on Monday 12, for dates
between Monday 27 March and Friday
28 April 1989.

In early 1989, Courtney was likely to
be offered a role in a West End theare
production of M. Butterfly that would clash
with the proposed production dates on
Doctor Who. Nathan-Turner swapped the
production order of Storm Over Avallion
with The Curse of Fenric [1989 - see
Volume 46] so that Courtney would be
available. Courtney was offered the M.
Butterfly role, but with new dates which
still clashed. Although Nathan-Turner
offered to release him from his contract,
Courtney refused and turned down the
West End role. Courtney’s booking was
amended by Nathan-Turner on Friday 13
January to Friday 28 April to Thursday 1
June. Courtney was formally contracted
on Tuesday 14 February. The second and
third scripts were delivered on Thursday
12 January and Wednesday 25 January.

WEAN

On Monday 23 January, the director
of Storm Over Avallion was confirmed
as Michael Kerrigan, booked between
Monday 13 March and Friday 14 July.
Kerrigan had trained as a director
at the BBC, worked on The Baker Street
Boys and Maggie, and directed Knights
of God for TVS, on which he collaborated
with Andrew Morgan. Morgan happily
recommended his fellow director to
John Nathan-Turner.

The visual effects designer was to have
been Mat Irvine, who had worked on
Doctor Who since 1971. However, when
the production dates were changed,
Irvine was no longer available. Dave
Bezkorowajny took over. Set designer
Martin Collins had previously worked
on Paradise Towers and Remembrance of the
Daleks [1988 - see Volume 44], costumes
were designed by Anushia Nieradzik who
had worked on Frontios [1984 - see Volume
38] and Attack of the Cybermen [1985 -
see Volume 40] while make-up designer
Juliette Mayer had served as an assistant
on serials such as The Ribos Operation
[1978 - see Volume 28].

The OB assistant floor manager
was Matthew Purves, the son of Peter
Purves, who played companion Steven
Taylor in the mid-1960s. Dick Mills
created the sound effects for the serial
at the BBC Radiophonic Workshop,
starting on this assignment on Tuesday
21 March.

As production approached, Nathan-
Turner and Cartmel became unhappy
about the death of Lethbridge-Stewart
(now retaining the rank of Brigadier).
Nathan-Turner felt that the script was so
packed with incident that the Brigadier’s
demise would become lost, while Cartmel
also felt it was gratuitous. Aaronovitch
was asked for three potential endings, one
retaining the Brigadier’s death and the

Doctor reasoning that all his
friends are dead if he goes
forward in time far enough.
Aaronovitch’s favourite

remained the Brigadier
returning to Doris, revealing
that he had been offered an
extraordinary new job, as the
spaceship appeared overhead.
Eventually, Aaronovitch was
asked to develop an ending
where the Brigadier survived
and remained on Earth. Also
added at a late stage was the
Doctor’s car, Bessie.

The final script was
delivered on Friday 24 February. During
February, the serial was renamed, partly
because Storm Over Avallion would be an
inappropriate title if the OB crew were
blessed with sunny weather on location
and also because Nathan-Turner felt it
was too obscure. It was briefly entitled
The Battlefield before Cartmel shortened
it to the punchier Battlefield.

In Part One’s script, Doris Lethbridge-
Stewart was described as ‘a handsome
woman in her late forties’, and her husband
mentioned his retirement from UNIT (with

Connections:

Loce triangle

® Morgaine - AKA
Morgaine of the Faye or
Morgaine Sunkiller - was
derived from Morgan le Fay,
King Arthur's half-sister

whose name came from
the French for ‘fairy: Some
legends have Morgan

in love with Merlin, but
turning to the side of evil,
while others point to alove
for Arthur.

DOCTOR WHO | THE CO!

Pye

Below:

The Doctor
selects his
weapons...

are prepared

Bene no reference to his teaching career). Of
On duty -
UNITS officers the new UNIT personnel, Sergeant

Zbrigniev wore ‘combat fatigues... and

for the a blue UN beret’ and Brigadier Winifred
next crisis.

Bambera was ‘a black woman in her early
thirties’ who carries ‘an automatic rifle
(5.65mm Fa-Mas). Zbrigniev comments
that he served under Lethbridge-Stewart
and knows of the Doctor’s changes of
appearance. Bambera’s expletive ‘shame’
was one that Aaronovitch recalled being
shouted by some teenage girls during a
cinema screening of Scrooged
in late 1988.

Ben Aaronovitch noted
that the voice in the TARDIS
is saying ‘Merlin’ and is
“the Doctor’s but distorted
out of recognition”. Ancelyn
was generally referred to
as ‘the black knight’ while
Mordred was the ‘Grey
Knight Leader’ of the
‘silver knights’. Aaronovitch
envisaged the armour worn
by the knights as being
futuristic: ‘Black armour
that has been elaborately

Connections:
Doctor Shaw

® The Doctor gives Ace
an outdated UNIT pass
belonging to Elizabeth
Shaw. Physicist Dr Liz Shaw
assisted the Third Doctor
in the early days of his
exile to planet Earth, first
appearing in Spearhead
from Space [1970 - see
Volume 15]. She
was played by
Caroline John.

WHO | THE COMPLETE HISTORY

SN ANNAN ARR

enamelled with swirling alien designs...
There is a mirrored surface where his face
should be’ In comparison

to Ancelyn’s armour, Mordred sported

the ‘grey/blue gunmetal’ of the ‘grey
knights... The armour is similar to the
black knight’s, but a touch more barbaric’.
Studying Ancelyn, the Doctor commented
that he was wearing ‘powered armour’.
Ancelyn was revealed to have a ‘classically
handsome face’.

Of the other characters in the script,
Peter Warmsly was ‘a grey-haired man in
his 50s’, Shou Yuing was ‘a young, Chinese
woman’ while Patrick Rowlinson was ‘a
large, bluff man’ and his hotel was called
‘The Crowfeast Arms’. When the Doctor
paid for the drinks the money comprised
‘different and alien denominations
including what looks like a tiny mechanical
crab’ with the Doctor commenting,
“Pallistratum Gromit, no... seven and
three eighths Rlarix Sovereign?”

\Morgaine
I n Part Two, the opening scene had

a fight between Bambera and the

grey knights with Mordred’s visor
shot away (as in the storyline); Mordred is
revealed as having ‘a handsome, saturnine,
bearded face’. In the helicopter, Pilot
Lieutenant Lavel was described as a ‘young
attractive woman... She wears sunglasses
and looks the biz. She is controlling the
copter with a modern static joystick’
while the Brigadier uses ‘a small portable
computer on his lap’.

When Morgaine emerged from the heat
haze rip, she was described as ‘a woman in
golden armour... Behind her Men-at-Arms
emerge from the rip and take up honour
positions. The men at arms are dressed in
half armour of similar style to the knights
but more barbaric. The golden woman

NN NONE ETESDTOCUCTION

removes her helmet and shakes out long has made of his dig. In the .

pre-Raphaelite hair’; for Morgaine and spaceship, the Doctor does Connections:

the Doctor communicating telepathically, somersaults to evade the Monster parade

the stage directions suggested ‘the two snake (“I bet that surprised # ite Deca? snp aut

scenes could be superimposed or split you. It surprised me”), while gi llaeeda eee

screened to give the impression of two scenes at the lakeside IRGrSHrOUSS MESES

communication’. The scene of Morgaine were later amalgamated; fated by UNE he

seeing the helicopter was originally set in originally Ancelyn asks Xe appeaied Ia rie

the woods, but relocated to the church for Warmsly why he digs holes sooriia min Seawnice

logistical reasons. The spaceship’s portal rather than using songs Eb? see Nolume lane

was described as having ‘an organic look to learn about history. As Te MEES bead =e 7

to it as if it was the mouth of some gigantic J the Brigadier rescues the = Nollie H dois Bigatit-

beast’. In the script, the Doctor and Ace Doctor in the Kingshall, he Dying DRS GEUURE? I

discussed Clarke’s Law - ‘any sufficiently comments, “Excuse me a Sp iia del

advanced technology is indistinguishable moment, Doctor? I seem to pare See aU ay

from magic’ - which hailed from Arthur have stepped in something MNT Eee Teeyectnien

C Clarke’s 1972 story Report on Planet nasty,” to which the Doctor igateoveStol aee -

Three. Inside the ship, the defence system replies, “I think we all have sa BOHEME eI, EME

was described as a ‘ghost snake... a ribbon Brigadier. Right up to our SUH atenipied =

of poisonous green light. Slithering necks.” The scene with reclat Earth uDoctor wha

through the air like an ethereal tapeworm’. Doctor and Ace discussing bailed al baad al
Part Three opened with an OB sequence the trap at the dig was see WElUNed >)

which was dropped shortly before shorter with less banter, and

recording. In this, Bambera finds Warmsly the Doctor suggests that King Arthur was rele 4

looking out at Lake Vortigern; he explains ‘a late riser’ when the Brigadier asks why ate nee ie

he needs peace away from the wreck Ace he hasn’t woken up yet. a sword.

Above:
The start of
a beautiful
friendship
for Bambera
and Ancelyn.

Connections:
Boom!

® Ace’s penchant

her knowledge

or sudden

JR WHO | THE

explosives is displayed in

terms such as ‘brisance;,
which is the shattering

release of energy
or explosion,

To ease the logistics of booking cast
members for location, a sub-plot with
Rowlinson and Lavel in Part Three was
dropped. The material with Ancelyn
handing Bambera the keys to the Citroén
2CV (a car specified by Aaronovitch
because the roof could be opened) was
a late addition, and the following two
scenes were dropped before production; in
the Range Rover, Bambera comes on the
radio saying that the car will not start, so
Shou Yuing advises her to pull the choke
out half way and hit the clutch twice.
Originally in the roadside ambush, the
Range Rover knocked two
troopers into a ditch, and
Aaronovitch indicated that
as the vehicle moved off, the
men fire their weapons - ‘if
possible shattering the rear
windows’. Just before the
2CV encountered the Men-
at-Arms, another Range
Rover scene was dropped;
in this, the Brigadier assures
the others that Bambera is a

for

of technical

crushing

COMPLETE HISTORY

CNANNNRARR

competent officer, but the Doctor observes,
“War is a destroyer. It makes a mockery
of competence.”

The evacuation of the hotel was heavily
rewritten before recording; originally
the Doctor suggests that the Rowlinsons
and Peter should leave in the helicopter
(Aaronovitch notes, ‘If a helicopter isn’t
available then this should be the truck’).
Peter refuses to leave without Cerebus — his
Irish wolfhound who featured in an earlier
draft of the script. The Doctor summons
the dog with a whistle, after which the
trio depart without protest. The scene
concluded with the Brigadier asking the
quartermaster sergeant for silver bullets.
The scene with Ace and Shou Yuing inside
the protective chalk circle was inspired
by Richard Matheson’s screenplay for
the 1968 Hammer horror film The Devil
Rides Out.

‘Mental battle © |
n Part Four, as the Men-at-Arms
I advance to attack the convoy, there
was an extra scene; the Brigadier
places Bambera in charge and marches
the captured Mordred off so that he and
the Doctor may try ‘the direct approach’.
Another dropped sequence has Major
Husak and four men approaching the
hotel and storming the bar; the men are
obliterated by the Destroyer. A blast of fire
from the kills Husak and the dead men
are left as ‘smoking Hiroshima shadows’.
As Bessie arrives at the scene, the Doctor
comments: “My future is catching up with
me.” The subsequent scenes in the bar
were longer, with the Doctor telling the
Brigadier that they must get Excalibur back
from Morgaine: “I have a cunning plan...
We find Morgaine, overcome her magic.
Defeat the limitless power of the Destroyer
and get Excalibur back!” This sequence

continues with the Brigadier recalling his Mrs Lethbridge-Stewart... A

last brush with interstitial transfer in the message? Yes. Tell him ..?, and Connections:

The Time Monster [1972 - see Volume 18]: then stops, unsure of what to Cop Esmee

“The Master with a Greek accent, Sergeant | say. The Brigadier fires on the am jaities Rls (PetD

Benton as a baby.” When Ace wants to Destroyer - and then Doris wey ie wai met

jump into the vortex, the Doctor warns: continues, “Tell him I lo... tell plying pert Bch NEBL

“The forces loose inside could rip you him he hasn’t finished in uraltiaZ saslaeiiail Tbe

into molecules, if you’re lucky.” When the the garden.” AGES ORINNSS nape

Knight Commander is found dead, his ‘face Outside the farmhouse, the the cast of the series

is that of a sixteen year old, with innocent Doctor originally asked the would ee ee

but dead blue eyes’. Brigadier for his gun to shoot Ip tite aaa Gj Sievert
There were a substantial number of the Destroyer himself. When seven epeade or Me

scenes featuring Doris in her garden, to finding the Brigadier after BES MGSIEF EGG ae

be intercut throughout the climax. As his confrontation, the script “SGe HOMIE] aie

the Destroyer is released, Doris hears a omitted Alistair’s revelation chafactele OUEEnIS

Radio 4 report that Mrs Eva Carlshorst, that he was married. The plantas vee by

the General Secretary of UNIT, has denied Doctor’s note to himself is ihe prsulicenor Eas

reports of casualties in south-west England. signed, ‘Mine sincerely, the

She attempts to phone her husband. As Doctor, and a scene of the Brigadier and

the Brigadier confronts the Destroyer, Ace setting the explosives in the King’s Hall

an angry Doris on the phone says: ‘I am was cut. The spaceship was described as

Left:
Morgaine
wants to
destroy... SO
she summons
the Destroyer.

Connections:

Sibling rivalry

® Nicholas Courtney and Jean
Marsh previously appeared
together in The Daleks’
Master Plan [1965/6
- see Volume 6], playing
brother and sister, Space

BATTLEFIELD » sworvise

looking ‘like a vast crab,
three huge legs dug into the
lake-bed... feeder cables run
down into the mud’.

Thel showdown between
the Doctor and Morgaine
was a mental battle, the
Doctor telling Morgaine
that she will die too. She

\NNNNNRRR

in the middle. Aaronovitch felt that he
should have reworked the story from

top to bottom. The scripts were also
unpopular with incoming Head of Drama
Serials Peter Cregeen.

Kerrigan found the script confusing,
feeling the story lacked credibility. One
particular concern was when Ancelyn flew
through the air into the brewery. Kerrigan

Security Agents
Bret Vyon and
Sara Kingdom.

could not determine if the character could
actually fly or if he was blown by the
grenade; when asked, Aaronovitch said he
meant both!

Delighted with the scripts, Courtney
clarified certain aspects with Cartmel.
He liked the idea of Doris being seen at
last - although he had always imagined
the Brigadier to be married to a woman
called Fiona and that Doris was his
‘bit on the side’; Courtney resolved
this in his own mind by making Doris
the Brigadier’s second wife. Sylvester
McCoy was looking forward to working
with Courtney immensely; the two

then reveals that as long as
Arthur dies, her hatred for
him will be fulfilled after
12 centuries. The Doctor
claims that Arthur died 12 centuries ago.
Morgaine’s reaction allows him to use the
abort button, saying, “You should have
found yourself a more worthy cause.”
Although Cartmel was pleased with
the scripts, Aaronovitch himself was
less happy. He regretted including the
Brigadier, feeling he was juggling too
many characters; the shift from a three-
part story idea to a four-part script meant
that the structure had been distorted

Right:

The Doctor is
very pleased
with his
giant novelty
toothpick.

(120) DOCTOR WHO | THE COMPLETE HISTORY

had met at conventions and McCoy had
watched Courtney in earlier serials. On
meeting Courtney with Nathan-Turner in a
Shepherd’s Bush pub, McCoy gave ‘the Brig’
a swift salute. Courtney again grew a real
moustache (as with The Five Doctors [1983

- see Volume 37]) and would claim to fans
that he was being killed off - and also that
three alternative endings for Battlefield had
been recorded.

On Friday 3 March, Keff McCulloch was
commissioned to provide the incidental
music score for the serial. The Drama Early
Warning Synopsis for Battlefield was issued
on Thursday 16, noting only Courtney as
its guest star. Elements of Parts One and
Two were rewritten on Tuesday 28 March,
including the TARDIS’ arrival, Bambera
being told that Warmsly has arrived, Ace
introducing herself and the Doctor in
Bambera’s car, scenes in the aftermath
of the helicopter crash, the Brigadier’s
meeting with Morgaine, and some of the
spaceship scenes. Various continuity aspects
were introduced, with fan advisor David
Saunders providing a series of clips where
UNIT passes had been previously seen in
the series. It was decided during April that

= Pre-produetion

Battlefield would be shown first in Left:
| challenge you

the new series.
toa duel!

Rehearsals began in Room 201 of the
BBC’s Acton Rehearsal Block on Thursday
27 April. McCoy liked the first half
immensely, although the serious nature
of the later episodes worried him a little.
Aldred also felt Battlefield was a more serious
story and liked the anti-racist comments
from Ace about Shou Yuing, continuing
a theme established in Remembrance of
the Daleks.

\Brigadette’

aa
I n casting Morgaine, Kerrigan

experienced problems in finding an

actress old enough to have a grown
son. The part went to Jean Marsh, who
had previously appeared as Joanna in
The Crusade [1965 - see Volume 5] and as
Sara Kingdom in The Daleks’ Master Plan
[1965/6 - see Volume 6], and had since
found fame starring in and co-creating
Upstairs, Downstairs. Nathan-Turner had
attempted to lure Marsh back to the show
before; this time Marsh was attracted
by the humourous elements of the evil
Morgaine, the actress joking that she
wanted to introduce her character and
Mordred as ‘Vera Son-Killer
and her son Darryl’. She very
much enjoyed working with
Kerrigan who let her find
Morgaine’s humanity.

Kerrigan was delighted

to get Irish actor James
Ellis as Peter Warmsly; Ellis
had established himself in
1962 with Z Cars. During
recording, Ellis suggested
various references to
Arthurian literature that
were incorporated into the

finished serial, feeling his

Connections:
Ace of the lake Ns
® Legend says that after ed
Arthur's last battle, the
sword Excalibur was
returned to the water
where it was grasped by
a hand and drawn under
he surface. This image
depicted in this legend is
reversed in Part 3 as Ace
emerges from the lake,
holding Excalibur.

_ BATTLEFI

Right:

Just your
average
lunchtime pint
and miracle.

Connections:
Bling bullets

® A proud Briga

Lethbridge-Stewart tells

the Doctor U
gold-tipped b

“you know what" The
“you know what" referred

tois presuma

Cybermen, who possess

ELD » storvise

character would be familiar with such

works. Nathan-Turner offered the role of
Bambera to Angela Bruce, a regular on the
BBC hospital drama Angels, which he had
worked on. Bruce decided

to play the part as a female
Errol Flynn, reasoning that
Bambera was bitter because
she had been stuck on the
missile convoy as her skin
colour had prevented her
heading a UN Peace Corps
team in South Africa; she also
drew upon a drill sergeant
who had trained the cast

die

T now uses
ullets for

bly the

a well-kn

vulnerability

tothe

own for a production of Privates
on Parade in Colchester in
1978. On discovering that

Bruce, a Geordie, had been

metal.

DOCTOR WHO | THE COMPLETE HISTORY

YL ANNAARR

cast, Aaronovitch regretted not writing
Bambera as a Geordie; the actress acquired
the nickname ‘Brigadette’. Angela Douglas,
a veteran of the Carry On films, was cast as
Doris Lethbridge-Stewart. Noel Collins,
playing Rowlinson, was best known as
Sergeant Parrish in Juliet Bravo, while his
wife was played by June Bland, who had
appeared in Earthshock [1982 - see Volume
35]. Marcus Gilbert, cast as Ancelyn,

had been in the mini-series Riders, while
Christopher Bowen played Mordred, having
previously been directed by Kerrigan on
Knights of God. Polish-born Dorota Rae (also
known as Dorota Kwiatkowska), playing
Lavel, had been a regular in Crossroads, and
Canadian actor Robert Jezek was cast to
play the Czech Sergeant Zbrigniev. Marek
Anton, featured in the already recorded

The Curse of Fenric [1989 - see Volume

46], was offered the part of the Destroyer
during rehearsals for the earlier serial, and
was selected partly because he was able to
expand his chest for the transformation.
Ling Tai, playing Shou Yuing, had been

an extra in Warriors of the Deep [1984 - see
Volume 38].

The Destroyer

he Destroyer went through various
iterations. One notion was that

the Destroyer would look like
an ordinary man who turned into a
demon-like creature. In another draft,
when Morgaine releases the Destroyer, it
holds up its freed hands and ‘The skin on
them peels back to reveal talons... Horns
are growing out of the Destroyer’s head...
Its chest is expanding. Scales can be seen
in dents in the cloth... The Destroyer’s
voice starts escalating in scale [becoming]
inhuman... It has become a huge creature
with glowing green eyes and hide like
armour. An early Destroyer was produced
by visual effects assistant Mike Tucker, but
when Tucker was moved onto The Curse
of Fenric the idea was abandoned. The
idea of the Destroyer transforming was
truncated into the creature breaking its
chains; it would now resemble a demon
from the start. Nathan-Turner recalled a
model macquette of a demon head made
by freelance sculptors Sue Moore and
Stephen Mansfield, who were working on
the Haemovores for The Curse of Fenric.
The two were asked to develop a mask for
the Destroyer. A cast of Marek Anton’s
head was taken, and then used to create
a foam latex head which could be placed
on a fibreglass underskull. Robert Allsopp
made horns from a type of lightweight
orthopaedic bandage, while a cable system
in the brows and lips (hidden by the

creature’s cloak) introduced
movement. Four wax
duplicates of the head were
made for the scene in which
the Destroyer exploded.

An OB locations recce
for Battlefield was held
in the Fulmer area in
Buckinghamshire on
Tuesday 25 April. The
following day, the BBC
contacted Buckinghamshire
County Council about using
Black Park.

The readthrough day at
Room 201 of the BBC’s
Acton Rehearsal Rooms on
Friday 28 April was affected

=
=
sa

Pre-production

Connections:
Top gear
® The Doctor's car Bessie

makes an appearance in
Battlefield. The yellow
Edwardian roadster

made its first appearance
in Doctor Who and the

Silurians [1970 - see
Volume 15] driven by the
Third and Fourth Doctors
with the numberplate
WHO1. For Battlefield

the plate was changed to
WHO7 at the suggestion of
Sylvester McCoy.

by a strike by BETA (the Broadcasting and
Entertainment Trades Alliance), who were
in a pay dispute with the BBC. Rehearsals
then continued through to Thursday 4
May, the same day that June Bland

had a contact lens fitting to play the

blind Elizabeth.

Below:
These
chains must
be broken!

BATTLEFIELD |) stove

ocation recording began at 8am flight and its crash (simulated by the pilot
on Saturday 6 May tothe west of __ activating a smoke canister). Before the
London, starting at Fulmer Plant’ 6pm wrap, interior scenes for the helicopter

Park with the Garden Centre ”” were also recorded, with a black tent erected
2 scenes for Part One; the dialogue —_ around the cockpit for the night sequences.
was amended slightly to refer to On the morning of Sunday 7 May, cast
the Brigadier’s retirement from teaching. and crew travelled to Rutland Water in the
The next venue was Little Paston, also in Midlands; this area was the main location
Fulmer, which appeared as the Brigadier’s for the serial, offering a vast Anglia Water
house; this concluded all Angela Douglas’ reservoir for Lake Vortigern and the islet
scenes and involved the use of a Bell 206A village of Hambleton as Carbury. Work |
; JetRanger helicopter which was then from 2pm to Spm centred around Dowager
” flown to Black Park to record shots of it in House at St Martin’s Without for the

bd 124 DOCTOR WHO | THE COMPLETE HISTORY

aa
ee

Production

derelict farmhouse exterior. Since this was a
listed building, the Part Four explosions '
were recorded separately to be added in
post-production. Michael Kerrigan and
Dorka Nieradzik used stock armour with

a few minimal changes for the knights,
ignoring Aaronovitch’s idea of a futuristic
alien combat suit. Action and swordfights »
were arranged by veteran stuntman

Alf Joint, who doubled for Nicholas
Courtney for a shot of Lethbridge-Stewart
being blown out of the farmhouse.
Unfortunately, the sword fights had been

rehearsed for full-length broadswords, and
the crew found that shorter swords were
then shipped to the location. For the rest’ |
of the OB work, recording was scheduled
from 8.30am to 6pm daily.
Monday 8 saw the crew at Hambleto

Old Hall which appeared as the Gore

Crow Hotel. This was a private house, but
had been so well dressed that James Ellis
believed it to be a real hotel and wandered
inside - only to be discovered by the owner
in one of the bedrooms. The evacuation
scene in Part Three was rewritten to have

= -y

“

| DOCTOR WHO | THE COMPLETE HISTORY 125

Connections:
Battle lines

where both Art
Mordred fell, In

® Dating from the tenth
century, Annales Cambriae,
a collection of Cambro-
Latin chronicles mentions
Camlann, the final battle

‘TLEFIELD » STORY 152

the Doctor using hypnotic
powers and adding references
to weaponry effective

against Daleks, Yeti and
Cybermen. Bessie was also
present, having been brought
back from the Doctor Who
Exhibition that had been
touring the USA; the car

had been refurbished with

hur and
Part

_ TMS chi eld, alterations to its fenders,
y aN “i of eae seating and radiator. The
ys me, SEM OT ICE NG new UNIT uniform was

Below:
Smoke gets in
Mordred's eyes,

THE

from Camlann,

seen for the first time; there
was a new, distinctive UNIT
logo, and the soldiers wore blue berets.
There was a minor continuity problem
with a scene in the hotel gardens early in
Part Iwo, where Bambera carried a pistol
rather than her machine gun. A second
unit covered shots of Ace and Shou Yuing
trying to avoid evacuation; for this serial,
Sophie Aldred wore earrings made by her
mother, a jeweller.

The plan for Tuesday 9 was to start
work around Rutland Water with scenes in
Bambera’s Nissan Patrol command car, on
the roads and ridge, and at the convoy and
the dig. However, BETA staged industrial

COMPLETE HISTORY

action for two days and production had
to be abandoned, with some of the crew
returning to London. With the planned
excavation site shoot on Wednesday 10
also cancelled, Sylvester McCoy, Nicholas
Courtney, Angela Bruce and John Nathan-
Turner enjoyed a day out in Skegness.

The crew attempted to get back to
schedule on Thursday 11 with scenes at
the excavation site, including the major
battle scenes which took place in muddy
conditions; Joint’s stuntmen used hidden
trampettes to give the illusion of being
blown into the air. During one scene,
McCoy drove Bessie too fast over some
uneven ground and lost the spare wheel.
Local archaeologists believed the BBC’s
fake dig to be real. A series of changes
was made to the studio script on this day,
notably the confrontation with the Doctor
and Morgaine over detonating the missile.
This was rewritten by Andrew Cartmel
into a speech from the Doctor which
the script editor referred to as the
‘CND speech’.

Range Rovers and Jeeps

riday 12 was the crew’s day off.

- Recording on Saturday 13 was
scheduled for Twyford Woods at
Corby in Northamptonshire. The TARDIS’

arrival and subsequent car journeys

were recorded, along with scenes inside
Warmsly’s Land Rover Range Rover and
Bambera’s command car (which were
plagued by reflections on the vehicle
windscreens). Action scenes of the knights
fighting in Part One were also recorded.
Nathan-Turner helmed a second unit

for some scenes - including Ancelyn and
Bambera running through the woods - and
also some of the car scenes in the Range
Rover where Courtney had problems with
the vehicle’s gears.

- (Sq

Work continued on Sunday 14 at a
different area of Twyford Woods; this
concentrated on the driving/ambush
scenes in Part Three. Few stuntmen were
used, and a special lens made it look as if
some extras were far closer to an advancing
vehicle then they actually were. Nathan-
Turner’s second unit recorded the arrival
of Ancelyn and his tracking by Mordred
at Castle Cement’s Ketton Quarry near
Stamford; the shot of the knight rising
from the crater was achieved by lifting the
actor manually on a cantilever rig.

Although it had been planned to finish
on Monday 15 at Hambleton Memorial
Cross, the team had been allocated two
extra days to make up for time lost. The
morning went ahead as planned with work
for scenes in Parts Two and Three; one
short scene in which Morgaine learns from
her Knight Commander that Mordred
is at the hostelry was abandoned. After
this, the crew worked at Rutland Water
on the scenes planned for the previous
Tuesday. At 11.00am, Nathan-Turner
staged a photocall for the national press
with the serial’s cast and Bessie. The scenes
with the Convoy for Parts One and Three
were recorded, with Ben Aaronovitch

{ .
34 >* \

a a 3 2%
providing the extra line, “Get that Jeep
back on the road ASAP.” When it became
clear that Bruce needed more time to walk
around Bambera’s command car. McCoy
was required to drive Bessie without his
spectacles - making it rather difficult for
him to place the car as required. Also due
for recording were the scenes at the dig in
Part Two.

Tuesday 16 and the morning of
Wednesday 17 saw the remaining scenes
at Rutland Water recorded with scenes
at the dig, including Aldred’s dive into
the reservoir; the actress had prepared
for this by taking a course of antibiotics
from a BBC doctor, but found the scene
difficult to perform because of the need to
orientate in the shallow water and bring
Excalibur up vertically. This
was an unpopular location
for the cast and cew because
of the mosquitos and midges
which came off the lake after
Spm. Various explosions were
recorded on the first day,
including the destruction of
a dummy fibreglass
helicopter shell for the crash
scene and the underwater

Connections:

A matter of timing

® Ace's Nitro-9 cannister
features a timer
mechanism, a modification
of her explosive
concoction, making its
first appearance here

in Battlefield.

Left:
Caught
between two
Brigadiers.

Above:

The Doctor
looks up to
his old friend.

Connections:
Line of happi
» Mordred's defia

then. Look mei

repeat of the D

see Vol

(120) DOCTOR WHO | THE

to the Doctor, “Come on
end my life,” is almost a
challenge to a gunman

in The Happiness
Patrol [1988 -

explosion which showered the police
observers with mud. Other second unit
shots included the close-ups of the knights’
guns - made by visual effects assistant John
Savage - being fired, with effects assistant
Chris Reynolds as the knight. The UNIT
convoy was also seen in full, featuring a
Bedford MK, DAF YA 328, DAF 2800 and
Volvo TL22.

Rehearsals for the studio sessions began
in Room 403 at Acton on Thursday 18
May. Another day was lost due to BETA’s
strike action on Friday 26. There were also
problems when the props and dressings
needed for the three-day studio session
were not delivered on Bank
Holiday Monday, 29 May,
wasting rehearsal time on
Tuesday morning.

Taping in Studio TC3 at
Television Centre began on
Tuesday 30 May, scheduled to
run from 7.30pm-10.00pm.
Work started with the
farmhouse scenes, including
the stunt of the Brigadier
being blown out of the
building by the Destroyer;

ness
nt taunt

nthe eye,

octor's

ume 44].

COMPLETE HISTORY

S\N NNNARRER

this shot did not go as planned, but there
was no time for a retake. With the regular
TARDIS wall flats having been mistakenly
junked after recording at Elstree on The
Greatest Show in the Galaxy [1988/9 - see
page 48] the previous year, the only
TARDIS control room scene of the season
was recorded on a hastily constructed set,
disguised by low lighting. After this came
scenes in the farmhouse with the Destroyer.

“Trashed set

ecording on Wednesday 31 was
FR scheduled for both afternoon

(2.30pm-6pm) and evening sessions
(7.30pm-10pm). Scenes were recorded
with the hotel bar set first, as far as the
Destroyer asking for freedom, after which
the set had to be ‘trashed’. Jean Marsh was
disappointed that the idea of Morgaine’s
crystal ball floating was largely dropped,
and carried on her maniacal cackle for
the end of Part Three for ages until both
Aldred and Tai joined in; Aldred refused
to let Ace scream as the bar fell in. Visual
effects designer Dave Bezkorowajny
adapted a commercially available Zoid toy
for the alien coinage used by the Doctor.
While the bar was being ‘trashed’, early
scenes in the Command Trailer were
recorded, and after that the remaining
bar scenes were recorded. The crew was
now running behind, and the Command
Trailer scenes for Part Four were left to
the next day.

The final studio day, Thursday 1, was
once more scheduled to begin at 2.30pm,
with the postponed Command Trailer
scenes. Lighting problems caused the start
to be delayed. The confrontation with
Morgaine was completely rewritten by
Cartmel when Aaronovitch felt that the
original scene did not work. The scenes in
the brewery were recorded next, but there

was a problem with the effect of Mordred’s
knights blowing their way in through a
wall. As the team was running out of time,
Nathan-Turner decided to drop this and
achieve it as a sound effect; the complex
fight sequence was also cut to save time.
The shots of Morgaine seen in her crystal
were recorded next before more brewery
scenes, and then came the sequences of
Ace and the Doctor in the tunnel, where
McCoy and Aldred ad-libbed their ‘fishy’
gag. Various scenes in the King’s Hall set
were then recorded, with some of the
action sequence with the snake simplified
for time.

Although recording was meant to
conclude at 10pm, an over-run to

PRODUCTION

Sat 6 May 89 Fulmer Plant Park,
Fulmer, Bucks (Garden Centre); Little
Paston, Fulmer (Brigadier's House/
Garden); Black Park, Bucks (Ext/Int
Helicopter)

Sun 7 May 89 Dowager House, St
Martin’s Without, Lincs (Farmhouse)
Mon 8 May 89 Hambleton Old Hall,
Hambleton, Leics (Hotel Back Garden/
Front of Hotel)

Thu 11 May 89 Hambleton Excavation

Site (Convoy/

Colsterworth

Lincs (Crater)

Landscape/R

Tue 16 May

Sat 13 May 89 Twyford Woods, nr
Range Rover/Int Command Car)
Sun 14 May 89 Twyford Woods (Wooded

Roads); Castle Cement Quarry, Ketton,

Mon 15 May 89 Hambleton Ridge,
Hambleton (Int. & Ext. Command Car/

Church, Hambleton (Memorial)

Producti on

10.30pm was necessary. The
only sequences remaining
were the shots requiring the
airlock filling with water.

Connections:
Interstitial past
® The Doctor, Ace and

Aldred climbed down the ek sataiaaai
ladder into the tank and the antes VarTEN
ladder was removed; the fader tromniiiie mare
tank had already been partly (iconiiont Metalic
filled with water. Recording and oe Estey eee
began for some insert shots, Bogedier ist encauniecd
interstitial science in The

and then McCoy - who was
closest to Aldred on the
studio floor - noticed cracks
appear in the glass frontage.
McCoy called out to have
Aldred lifted out; the actress
was pulled up just as the
glass gave way and the water surged out
onto the studio floor. It transpired that the
contractor who had made the prop had
not used glass to the thickness specified,
and Nathan-Turner took responsibility

for the accident. Aldred escaped with only
minor cuts to her hand.

An investigation into the water tank
accident was launched at the BBC on
Thursday 8 June, with the incident getting
into the pages of News of the World on
Sunday 18; the tape of the cracked tank
was subsequently preserved as part of a
BBC safety training video. Hi

Time Monster [1972 - see
Volume 18] when the
Master used TOMTIT -
Transmission of Matter
Through Interstitial Time.

Battlefield) Site (Site/Ext Range Rover/Crash Site)
Wed 17 May 89 Hambleton
Excavation Site, Hambleton

(Int Command Car/Convoy/Dig)

Tue 30 May 89 Television Centre Studio
3; Farmhouse; TARDIS

Wed 31 May 89 Television Centre Studio
3: Hotel Bar; Command Trailer

Thu 1 Jun 89 Television Centre

Studio 3: Brewery; Crystal Ball;

Tunnel; Spiral Staircase; King's

Hall; Airlock

, Lincs (Wooded Roads/Int

idge/Road); St Andrew's

89 Hambleton Excavation

Below:
“ust like that!”

here was very little modelwork
carried out on Battlefield, but
the biomechanical spacecraft
was constructed in plastic and
fibreglass by Chris Reynolds;
the illusion of it being
underwater was achieved by placing it
behind a thick glass tank of water. A
wax copy of the ship was used for its
final destruction. For shots of knights
flying through space to crash onto
Earth, two toy soldiers were remodelled.
Editing was planned to run from
Tuesday 20 June to Wednesday 26 July.
Various video effects were added, along
with the insertion of a stock sunrise into
Part Two. Paintbox was used to discolour
the bright May skies and make them
more atmospheric. Footage of the model
spaceship was electronically slowed down;
other video effects included the images
seen in Morgaine’s globe, the energy bolts
which shot from her fingers, the snake-like
defence systems and explosions at the

SN ANNA RRR

Post-production

farmhouse. An extra video effects day was
booked for Sunday 23 July, after which
further editing took place from Friday 21
to Sunday 30 July.

The first edit of Part One was done on
Monday 26 June and ran 24 seconds longer
than the broadcast version; the minor
differences included a shot of Ancelyn
emerging from his crater, the Brigadier
wondering how high the tree in his garden
would grow and Doris telling him that the
helicopter was waiting. Ancelyn drunkenly
saying, “Darkness must not prevail” in the
Brewery was also removed, and the closing
camera shots were later altered. Part Two’s
first edit ran about a minute longer than
broadcast with the two main deletions
being dialogue with Lavel explaining
that most European UNIT troops were
handling the Azanian cease, and a scene
as the Doctor and Ace ascended a
staircase in the spaceship (restored in
the video release).

—_ =
,
<

p art Three, edited on Monday 10

July, ran to 27 minutes, 21 seconds

and had four cuts made. A scene of
the Doctor’s party at the dig where the
Brigadier referred to Ace as “the latest
one” was removed, as was the end of a
hotel scene in which Ace says that she
dislikes the Brigadier because she sees
guarding ‘the Professor’ as her job.
A brief cut was the start of the scene with
Ace and Shou Yuing in the circle, but the
major deletion was a hotel bar scene: Ace
and Shou Yuing announce that they have
worked out how the internment of the

frozen king by Ancelyn’s people entered
local legend. The Brigadier says that
Husak has gone to recover the bodies of
Ancelyn and Bambera, and comments,
“UNIT looks after its own, alive or dead.
And I want these ashes buried with
honour,’ as he looks at the remains of
Lavel. The original Part Four ran to 26
minutes, 32 seconds, as edited on Monday
31 July. The first cut was a scene of the
Knight Commander telling his men to
“make honour our standard” in the attack
on the convoy; the men put down their
guns and draw swords. A few seconds were
trimmed off the scene outside the hotel
where the Brigadier watches Mordred
escape and mutters, “Decisions, decisions.”
A brief scene of Ancelyn dressing
Bambera’s wounded hand was dropped,
along with Mordred finding the prone
Brigadier and asking where his mother is,
and the extended dialogue between the
Doctor and Morgaine in the command
trailer. The final cut was from Ace and
the Brigadier watching the explosion,
with the former shouting “You said two
kilos wouldn't be enough!” All of these
early edits are retained by the BBC,
along with two recording spools for
Part Three.

Following the editing work, dubbing
then took place on Sunday 13 August,
Sunday 20 and Monday 21 August,

Saturday 26 and Sunday 27 August
and finally Saturday 16 and Sunday 17
September. On Tuesday 5 September,
Nathan-Turner indicated that he
needed Part Four to show to his head of
department on Tuesday 19 September
before he went on leave.

Because of the deletion of the staircase
scene from Part Two, it was decided to
establish the first King’s Hall scene by
reusing a model shot of the spacecraft,
accompanied by a new voiceover from
Aldred and McCoy; Nathan-Turner
arranged for this recording to be done
during the final studio recording on Ghost
Light [1989 - see Volume 46]. On Sunday
13 August, David Bingham recorded
voiceovers for Part One - including Lt
Richards, the phone voice and the voice
on Bambera’s radio.

Keff McCulloch provided around
55 minutes of musical score, with the
composer modulating his own voice
to create ‘mystical’ backgrounds, and
using guitar feedback for the appearance
of the knights.

On Saturday 16 September, Nicholas
Courtney dubbed the line: “Sorry Doctor,
but I think I am rather more expendable
than you are,” for Part Four. Nathan-
Turner booked him to record this on
Thursday 24 August. Second edits of
all episodes were broadcast.

Post-production

Left:
The Doctor
and Ace top
up their tans.

ublicit

® A press release issued in July 1989
promoted Battlefield as the début

serial of the 1989 series of Doctor Who,

indicating it was set in ‘Cornwall in
the near future’.

®D On Wednesday 16 August, Marsh
joined Aldred and Nathan-Turner
to promote the new series at a BBC
Press Launch. By now, it seemed
that the BBC would be delaying
production of the 1990 series and
intended to make it a co-production,

having been approached by producer

Philip Segal representing a US-based
production company.

» On Thursday 31 August, the Radio

Times promoted the season with
Monster Bash, a half-page Back Page

article written by Sophie Aldred
about the creatures in the new stories.
McCoy and Nathan-Turner then
helped launch the new series with

an appearance at the Doctor Who
Space Adventure exhibition in
London on Saturday 2 September.

» Battlefield Part One was promoted in

the Daily Mail, Daily Mirror and Today
on Wednesday 6 September, and
McCoy was a guest on a Space Special
of Radio 2’s The Gloria Hunniford Show
on Friday 8.

® In some versions of the Thursday

14 September edition of the Radio
Times, the listing for Part Three was
accompanied by a monochrome shot
of the Doctor fighting Mordred.

Broadc

® Battlefield launched the season on

Wednesday 6 September, but received

generally poor critical reaction
from papers such as the Daily Star
and Sunday Express. Television Today
reviewed the serial on Thursday 21

September but Nicolas Davies found

it ‘too soft’ and declared that what

the Doctor needs ‘is a good script and

more blood and gore’. On Saturday

23 September, Peter Tory of the Daily

Express described the show as ‘very,
very bad indeed’, and the same day
Sophie Aldred was featured in some
fashion shots in the Daily Mail.

» By now, Nathan-Turner had informed
McCoy and Aldred that their options

for the 1990 series would not be

taken up and formally wrote to them

about the situation on Monday 11
September; McCoy appeared as the

Doctor on The Noel Edmonds Saturday

Roadshow in a sketch about the

TARDIS breaking down on Saturday

16 September (pre-recorded on

Tuesday 12), the day after Cartmel left
Doctor Who to take up the post of script
editor on Casualty. Out-takes from The
Noel Edmonds Saturday Roadshow sketch
were then shown in the later edition of

Saturday 23 September.

® In the Radio Times, a letter in the issue
covering 23-29 September saw Hazel
Ford of Bromley asking why the BBC

was giving Doctor Who such ‘shoddy
treatment’ with the earlier article
appearing in the children’s pages. A

Publicity | Broadcast

week later in the same column, Robert
Edwards of Hornchurch wrote to the
effect that he hated Ace calling the
Doctor “Professor”.

» Battlefield garnered poor ratings on its
first night, broadcast opposite top-
rated soap opera Coronation Street on
ITV and a major football game on
BBC2. Outside the top 100, Part
One got the lowest rating to date
for a first run Doctor Who episode

ever with just 3.1 million viewers.

Dy,
a "ee
_,

® The serial was sold overseas to ABC
in Australia, New Zealand, North
America and RTL in Germany (as
Excalibus Vermachtnis [Excalibur’s
Legacy]). Following the broadcast of

ORIGINAL TRANSMISSION

EPISODE DATE TIME

PartOne Wednesday 6 September 1989 7.35pm-8.00pm
Part Two Wednesday 13 September 1989 735pm-8.00pm
Part Three Wednesday 20 September1989 735pm-8.00pm
Part Four Wednesday 27 September 1989 735pm-8.00pm

REPEAT TRANSMISSION

PartOne Friday 23 April 1993 7.20pm-745pm
Part Two Friday 30 April 1993 7.10pm-7.35pm
Part Three Friday 7 May 1993 7.20pm-7.45pm
Part Four Friday 14 May 1993 7.20pm-7.45pm

Part Four, a BARB Audience Research
Report conducted a survey of 2,970
viewers of which 14% had seen the
serial. 64% enjoyed it and 49% felt it
was ‘high drama’, 59% felt it was not
as good as the previous season, 23%
found it too frightening, 42% found
the slot inconvenient (with 38%
feeling Wednesday was the wrong
night for Doctor Who), 77% liked the
character of the Doctor, 62% enjoyed
McCoy’s performance (with 42%
feeling he was miscast), 66% enjoyed
Aldred’s portrayal of Ace, 72% liked
the return of the Brigadier, 56% liked
the new monsters, 43% found it not
serious enough and 61% said they
would tune into the next serial.

» Battlefield was selected to represent
the McCoy era of Doctor Who in a
season of repeats on BBC2 during
April 1993; this broadcast was
in mono.

® The serial aired on UKGold in
episodic and compilation forms from
January 1995 and on Horror Channel
from July 2015.

CHANNEL DURATION RATING(CHART POS) —APPINDEX

BBC1 24°06" 3.1M(102nd) 69
BBC1 2407" «3.9M(9Ist) 68
BBC1 24113" = 3.6M(95th) 67
BBC1 24114" = 40M(B9th) 65

BBC2 24'06" 1,6M -
BBC2 24'07" 12M -
BBC2 24'13" 13M 2
BBC2 2414" 12M 7

Waa

Merchandise

he novel Battlefield by Marc

Platt was published by

Target/Virgin in July 1991.

Between
1997 and 1999
Harlequin

Miniatures produced a

variety of figurines from

Battlefield including the

Brigadier, the Seventh

Doctor, Ace, the Destroyer

and Morgaine.

A BBC video of an extended
version of Battlefield was
released in March 1998;
around three minutes of
material was added. Then
in 2008, it was released ona
two-disc BBC DVD, with the
following extras:

» Commentary by Sophie Aldred, Nicholas
Courtney, Angela Bruce, Andrew Cartmel,
Ben Aaronvitch

» Storm over Avallion
documentary - cast and crew
talk about the making
of Battlefield

® Past and Future King
documentary - Ben
Aaronovitch and Andrew
Cartmel discuss how Battlefield
was written

» Watertank - recalling Sophie
Aldred's on-set accident

® From Kingdom to Queen -
Jean Marsh looks back on
her three appearances in
Doctor Who

® Studio Recording - behind
the scenes footage from a VHS

» Trails and continuity

MARC PLATT

_ 7
é sete SHUMESTER WoL,
~_SERTURES PREVIODSLY UNTBANGSITTE MATEEIAD

‘ Broadcast | Merchandise

of the live studio output isolated
music score

» Radio Times billings
» Photo gallery
» Production
information
subtitles
» Battlefield: Special
Edition - a brand-new extended
feature-length edit
» Season 26 Trailer from the 1989
press launch
Battlefield featured on GE
Fabbri’s Doctor Who — DVD Files
collection in April 2011.
Music and sound effects from
Battlefield were included on
the BBC CD 30 Years at the Radiophonic
Workshop in July 1993. Some of these tracks
were later featured on Silva Screen’s The 50
thAnniversary Collection (December 2013)
and Doctor Who: The TARDIS Edition CD

f. In May 2002, the Samp
Centre produced a pack of

4 four photographic collage

Mee creetings cards, featuring
% images (designed by Ian

Burgess) from Battlefield

(along with City of Death

[1979 - see Volume 31],

| Earthshock [1982 - see

| Volume 35] and The Trial

| of a Time Lord [1986 - see

| Volume 42]). Later in 2009,

the Stamp Centre issued a

Battlefield cover, signed by

Angela Bruce and limited

to 1,000 copies. Mf

3 SES

the SYLVESTER McCOY Years 1987-89

This page:
Covers for
the Target
novelisation,
the DVD and
the video.

DOCTOR WI al | THE COMPLI

Below:
"Say cheese!”

€& DOCTOR WHO | THE COMPLETE HISTORY

BATTLEFIELD > STORY 152

CNN NNNRARR

Cast and credits

CAST

Sylvester MCCOY... The Doctor
Sophie Aldred..

I GRCAMMINV AS UM ertrrriteecscccsssssstssssssvscssessssssssssscnsevssssses
Nicholas Courtney...
Myc ieysaasetsreveescons Brigadier Lethbridge-Stewart
JAMES EMIS ees Peter Warmsly [1-3]
Angela Bruce.............. Brigadier Winifred Bambera
Christopher BOWEN. Mordred
MarcuS GiID@Ft a... ssssssssssssssssssssscssssseesssccseee Ancelyn
Angela Doug] aS... Doris [1,4]
Noel CoIlins ou... Pat Rowlinson [1-3]
June Bland... Elizabeth Rowlinson [1-3]
MEUEN GMa reerereterssserccecesesssscsvsvvsessccsvssesisssssnservsssnase Shou Yuing
Robert Jezek...........:ce Sergeant Zbrigniev [1]
Dorota Rae... Flight Lieutenant Lavel [2-3]
Stefan Schwartz.............. Knight Commander [2-4]
Marek Anton...... [he Destroyer [3 (uncredited),4]

EXTRAS

Annette Clarke, Martin Clarke..............cccccc00:
sitaisusnsssieanteorssetinuces tere . Couple at Garden Centre
David Bingham ................... Voices (inc Lt Richards)

Gary Lovini, Kevin Maltby, Adrian Bean,
Andrew Davoile, Peter Davoile, Gary Haigh,
lant DO an rrr rer cr tier itirtisteersucnaeinsedie
ines Missile Convoy Drivers, Attendants and Soldiers
Steven Woodhouse, Laurie Goode, Howard
Buttriss, Paul Gorman Craig Gilman, Mark
MOONY fevaccsenicirsciecsnan, British UNIT Troops
Martin Kennedy, Danny Lawrence,

Mark Jardine, Kevin Ashford.......... Grey Knights
Robert Vor Kaphengst, David Spicer,
Andrew Buttery, Chris Ponka, Tony Wayne,
Simon Freeman, Martin Hughes, Carl Harris,
Murray McGrath, Keith Fradley, Robin
Holland, lan Fox, Richard Brennan, Neil
Coker, Bob Wooding, Peter Novack...................
TT reece erie ceisiiasecisissnssesiniaes Men-at-Arms
Kemle@en erin jn dencousscne Czech UNIT Sergeant
Paul TOMANY vss Major Husak
David Spicer, Andrew Jones, Phil Player,
Wilson Dubois.........00.60008 Czech UNIT Soldiers
Ken Barker, Mark Anthony Newman, Rod
Woodruff .....Stuntmen Men at Arms/Grey Knights
ATES) OMA Ceerrrscrrcratttattas sss sscsssssivvesisssseuisesdisinsenvvasiesssratisiin
tant Stunt Double for Brigadier Lethbridge-Stewart

CREDITS

Written by Ben Aaronovitch

Stunt Arranger: Alf Joint [1,3-4]

Theme Music Composed by Ron Grainer

Incidental Music: Keff McCulloch

Special Sound: Dick Mills

Production Manager: Ritta Lynn

Production Assistant: Rosemary Parsons

Assistant Floor Managers: Matthew Purves?,
Julian Herne

OB Lighting: lan Dow

Engineering Manager: Brian Jones

OB Sound: Martin Broadfoot

OB Cameramen: Paul Harding’, Alan Jessop

Visual Effects Designer: Dave Bezkorowajny

Video Effects: Dave Chapman

Vision Mixer: Dinah Long

Graphic Designer: Oliver Elmes

Technical Co-ordinator: Richard Wilson
Camera Supervisor: Geoff Clark
Videotape Editor: Hugh Parson
Properties Buyer: Sara Richardson
Studio Lighting: David Lock

Studio Sound: Scott Talbott

Costume Designer: Anushia Nieradzik
Make-Up Designer: Juliette Mayer
Script Editor: Andrew Cartmel
Production Associate: June Collins
Designer: Martin Collins

Producer: John Nathan- Turner
Director: Michael Kerrigan

7OB only
2 Supervisor

DOCTOR WHO | THE COMPLETE HIST

Above:
Morgaine and
the Destroyer
compare
manicures,

Below:

In Battlefield,
we finally met
Doris, as played
by Angela
Douglas.

HO | THE

BATTLEFIELD » storvise

Profile

ANGELA DOUGLAS

Doris Lethbridge-Stewart

orn 29 October 1940 as
Angela Josephine McDonaugh
in Gerrards Cross,
Buckinghamshire, her parents
were restaurateurs and she
was named after her father’s
boss, Angelino.

She started acting at 12 and attended the
Aida Foster stage school in Golders Green
but left before completing the course. The
family relocated to Brighton, then Ealing
and then West Sussex when Douglas was
in her teens and here she joined the local
Worthing repertory company.

Douglas made both her West End
and movie debuts in 1958, the latter an
uncredited background part as an audience
member in a film version of TV pop show
Six-Five Special. Her proper film début was
in B-picture The Shakedown (1960) after

COMPLETE HISTORY

SNANNNAARR

which she appeared in a clutch of Danziger
Brothers second features in 1960-2.

Douglas’ first onscreen television credit
was a 1958 episode of Dixon of Dock Green
(she would make a second appearance in
the series in 1959). An early comedy role
came in Bootsie and Snudge (1960).

1961 was a busy year, with an early
episode of The Avengers, Dance with Death,
and an appearance in Coronation Street as
Eunice Bond, an exotic dancer with a
boa constrictor. The same year brought
parts in Knight Errant Limited, Harpers West
One, No Hiding Place and four episodes
of hospital soap Emergency — Ward 10 as
Yvonne Carpenter.

Soon Douglas was appearing in film
musicals, including Some People (1962) and
Tommy Steele vehicle It’s All Happening
(1963). Shooting Some People, a wholesome
youth movie promoting the Duke of
Edinburgh Award Scheme, she embarked
on an affair with star Kenneth More, one of
British cinema’s biggest names, though she
was 21 and he was 47. After waiting seven
years for his divorce, Douglas became his
third wife in 1968.

More was shunned by many in the film
business over the affair, so much so that he
pursued a career in television. But to More,
being with ‘Shrimp’, as he nicknamed her,
was all that mattered. The couple appeared
together in The Comedy Man (1964), an
episode of More’s TV detective drama
Father Brown (1974) and Anglia TV play
Goose with Pepper (1975) where More played
an elderly Brigadier who was father to
Douglas as his daughter.

Douglas’ career had flourished in the
early 60s, with three appearances in
Z Cars (1962-3), playing Janet Moon in
five episodes of BBC soap Compact (1962)
and taking two guest roles in Gideon’s
Way (1964; 1966). Single plays included
Armchair Theatre: The Hard Knock (1962),

Drama 63: Rosemary (1963), Armchair
Mystery Theatre: The Lodger (1965) and
several BBC plays including So Long Charlie
(1963), The Way with Reggie (1963) and Ted’s
Cathedral (1964). She was also a panellist
on Juke Box Jury during 1963-5 and Call
My Bluff (1966).

At this time most roles were in straight
drama - a guest part in Charlie Drake
sitcom The Worker (1965) was a rare
comedy performance. This changed when
she joined the Carry On movie comedies
with Carry On Cowboy (1966). Appearing in
four films, Douglas added glamour as the
straight(er) woman to some of the regular
cast’s comic turns. She featured in Carry
On Screaming (1966), Follow That Camel
(1967) and Carry On Up the Khyber (1968).

Although asked to return for the next
Carry On, Douglas decided to take time
out, intending to raise a family. Husband
More also forbade her from stage touring
as he would be left alone in the evenings,
thus her career faltered in the late 60s and
early 70s.

She returned as a panellist on Call My
Bluff in 1970 and made one-off guest
appearances in The Saint (1967), The
Avengers (1969), Jason King (1972),

The Adventurer (1972) and The Protectors
(1973). She also starred in children’s
comedy film Digby, the Biggest Dog in the
World (1973) alongside her in old Carry
On ‘boyfriend’ Jim Dale.

Douglas had taken her first major TV
role in years, playing Julie Ward in 13
episodes of North Sea melodrama Oil Strike
North (1975), when More was diagnosed
with Parkinson's disease. Douglas put
her career on hold to look after him until
his death in 1982. She recalled these
experiences in autobiography Swings
and Roundabouts (1983).

She returned to acting in the 80s, finally
taking stage roles including The Seven Year

Itch (1984), Season’s Greetings (1985) and
Killing Jessica (1986). She also diversified
into writing and journalism.

TV appearances since have included
The Gentle Touch (1984), Strathblair (1993),
Soldier, Soldier (1994), Casualty (1994),
Cardiac Arrest (1995-6) as Mrs Trimble,
Deceit (2000), Peak Practice (2001), Heartbeat
(2001), Where the Heart Is (2003), Holby City
(2004) and Four Seasons (2008-9). Films
included Shadow Run (1998), This Year’s
Love (1999) and The Four Feathers (2002).

She met playwright and director Bill
Bryden in 1988 and they eventually
married in New York in 2009.

Above:
Angela
Douglas in
Deceitfrom
2000.

(140

Index

Page numbers in italictype refer to pictures.

1SBS SETIES jovetieninaenesieiany 90-91, 92-93, 94, 95-98, 99
ZO AMMIVERSANY wetsscinschwinscecscernnaciindeanineeninaricsesenarnertirrpatintenten 8
25th Anniversary ....... wn 4, 6, 14,15, 23, 31, 38, 39, 41, 84
30 Years at the Radiophonic WOrkKSHOPssecsscssssssesssssisecen 43
AaPOnOVitch, Benes 14,15, 47, 58, 102, 108, 109,

112,113, 114, 115, 116, 118, 120,122,125, 127,128,135
Abominable SNOWMEN, THE vesssssssesssesssesesssesneisssesnsiessiee V7
ACC imannccniinmninan 10, 11,12, 15, 16, 17, 18, 20, 21, 22,

23, 26, 27, 28, 29, 31, 34, 35, 36, 37, 40, 42, 46, 47,

48,50, 51,52, 53, 54,55, 58, 59, 60, 65, 67, 68,

69, 70, 78, 81, 83, 90, 92, 93, 95, 96, 98, 99, 100,

104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 117,

118, 119, 121, 126, 127, 128, 129, 130, 131,

133,134,135

Acton RehearSal ROOMS wesc 23,65, 121,123,128

ATMSTONG LOUIS teniacacmanmanenndaminnientinas
ANU CTOUGM Es scness caducus acgeivtaavesvadinchans tssasitcapdsancesguittesearasetndiahis ies Gimanciies 42
asbestos scare... «20; 22; 71
ASDMAGE, |ONMicciiiniettinccaienninasemuninienniaieniae 18,29
ASHTON, DAWG svissvsreiiivpscascatiieniaiormuanindenniantdedvonnman 79
Attack of the CYDEFME Nunes 20, 39, 98,115
AVENGERS: ThE meanimmvancacwanconineies 46, 56, 64, 88, 89,139
Ayres, Mark. 60, 63, 73, 75, 76, 81, 82, 85
Bambera, Brigadier uses 95, 97,104, 106, 107, 109,

110, 111, 112, 113, 116, 117, 118, 121, 122, 126, 127, 131
Banks; David saniiwnumiacannnmcnmmnnnenn 19, 28, 31, 38, 44
Baron, Dee
Bate P ONG casssevesseivvreszeiennnsyass 4,91, 94,95, 96, 97, 98, 100-101,

102, 103, 104-123, 124-125, 126-139

DPOSd CdS titinminivennnonniiainnnmmmmnTnT

CASUANG GHEE IES ass assrisvassisasi ranssverdoavssunincrsasaciusinnasas

CILIA ssssccavvesvenvescinva

industrial action..

merchandise wu.

DOCTOR WHO | THE COMPLETE HISTORY

POST DOGUCTON yaar tisinstcnsuaineainjaaesaudness 130-131
PIPEX PLOMUGE OM ceacccsisuvccaesivatesneveseveaisvasivevevnnietusescieiitens 108-123
PRODUCTION ccsseeassvsaccccssisavesccopeaveavescrevvassesitvsswanetvivecnsivaey 124-129
FOTT Gicasssvecsenseessuensnncivssnstecevitviensivetsricasinantiatiessinugiiaccaiitais 138-139
DUBIICIEY siiicpscmmanmncanmnmnimumnnnaannmennnt, 132
FaLINGSisvsicinwis 133, 134
POAC EATOUG Misiiiscccvectsiscesnsanesarcommninanipernniaciecnreraeontrncn 123
REO MEASAS sisssiisisssssivrsiiraveersinwicsinviiwevie 121,123,125, 128
Storm Over Avallion (working title).....109, 112, 114, 115
SLO MV iiiincmaivmunimmnuiannananiumnuintans 104-107
Water tankaeclden it xcincninnminirannnnennartan 129,135
BBE EISHEG sistisisnsisinisssmvasine 22;,,23,39; 12; 13) 15; 77/81, 128
BBC Television CENtre wissscsssessses 20,32, 71,7273; 97,128
BEOFETNG FOO G siceissicisccsccrnnainninmannamianannennammmnins 102
BEHINA THE SGN, wiisnsidineinaaimnminanuaninin 38, 41, 82
BelIDOY ...sscssssssserees 52, 53, 54, 58, 59, 63, 68, 69, 70, 76, 79, 81
BeNLON, SEMGEAN Cirsiaisiinsssonnasisiieanmnaiienacenesen 97,111, 9
BEZKOTOWAIMY, DAVE a iisssissiivasencsivesisvssassvvcacsasstsiessennscinnannansianien 115,128
BIGBGNG: The sic mamnmacinmnnnciannammnmnainiin 102
Bingham, David... scold.

BIG ONCIUG sssctsvusccieavcoosevsssesnssevanssiusescassevuasestacecsezeseensse iseeseeratbiens 61
BIKE'S Zasssis 89g
Bland, [UMS issssisssicsinssiiiansssroiniianininaananaianaiaananind 123
BLA: scccsviennntniccanmucenacontninnamnntenraiiamtaat ntti 102
BOWEN, CRISTO PIE ai sssessvvasvaiessiscevocssssvinvasennsavunsdaiseisnstannsivicnivige 122
BOWIM AM) SLOVG biissisatisissnesiaivaasnsnveiscaessearasiasrnestiarieeaniansenitiinidenniaiieten 61
Brahan; PAIty isiiissniicincimnnniinaumpnmamnnanans 18;;27,35
EGLO Spel chesccas ea eesnvan tieeaeieivntaennsienanstaeats adavacrnaeediraltineaveneatetninn 16, 46
Br GGpANGEl Ai wiscnsanscercansentanernnin 95,122,126,127,135
BUS CONCUCTOF witsesereeen 52,55, 64, 69, 70, 77, 78, 80, 81, 85
BUSH; MG sisi cnniiiniineninianmmatinnmninnaniit 46, 57,58, 59
Captain, the (Captain COOK) ws 52,53; 54,55;,58,.59;
60, 63, 64, 67, 68, 70, 76, 77, 81, 88, 89
Cartmel, ANGrOW iisiessssssssssssnnsenn 13, 14,15, 16, 17,18, 26, 33,
36, 42, 46-47, 56, 58, 59, 85, 108, 114,
115, 120, 126, 128, 133,135
COS UIGIEY s sescseicstssvinisititieaiseninancie avin 13, 47, 60, 64, 72, 133,139
GAVES OFANGHOZGN, THE tisisianiindaminmanninmmnanes 114
CGlEStial TOVMGKEE. THE cimunmnnninnwnnimninnnnaiinanenin 50
Chapman, DaVe@rivenen 27,29, 36
CHESLAN: PRODI ssscecscsvssssveseceessceseiysaveascsvecsesuiasencousncicinvaneveaesteccceveieise 97
Chief ClOWN, the wuss 50, 52,53;04,55,97, 00;
64,65, 68, 69, 81

Chisholm, Winifred ‘Freddie’
Christmas Morning With NOCh sss 83
ClaRKE; KEV iMisinissisccreutscetinvress 8, 13, 14,15, 16, 17, 23, 26, 30,

33, 34, 37,42

feiacahcosuitihssaesabasduia di ctetsseuteinan canta tiieamnnistntonalerinaii 71

COU Qh GNIS issivseriesvivnseevice 15, 18, 19, 20, 22, 26, 28, 30, 38, 42
ClOWNS savsisiiassivinss .50, 52, 53, 56, 61,64, 65, 67, 68, 76, 78
GOlIAS; MAG Mandi innncinnnsnnamaminmmnagtinninmnguan 115
Collins; NOEl wiicnsannicemamenonumencminnan nanan 122
COrONATION StOCt vse 40, 83, 133, 138
COUGAF CUSTOM ICOMPOMEMES ssi icsessceresssixesssisscoensevessnsaedaysavessiienennesss 68

COUPES; NICHOLAS ssesseessssnseciessontvesiersennesssesiannies 4,30, 112, 114,120,

121,125, 126,131,135
CREGHUE FLOM THE PIE THE sivuiccrsnnrsicisisinimnyursnisin 19,61
ChEQESM, PETS Mi ivstrast scicssnsienssearnrenioniennnariraanauaaeotaintenpisewedi asians 120

Croft, Richard...... 18523; 27
HIS ETI VC sas cciscac seve scvsbaccscuctusvensdicotescuaniocssivishtsveiveatstninieavisesttin 121
CSO! siimiiincnoniimtcranmanmnam nmin inna 36
CUMMING, FON es rncncconacmimmmn maa 30
CUO WWE stats nntotn anaaenitanmiininamnnnaT 102
CUPTY, GFACME sisvssrestsssssesessssssseseecsssseessssessssieessasssiecsnasnien 15, 30
CUPS OF FENG. TAG sscscssssscvcevevsscstesvscsevvvevveseeese 91,92, 95, 114, 123
CUESCOF PEIGGON, TIC ss isscussiisscscscesasssdsitaisttnsserestninain cOiaiesientnn 76
Cyber FIGSE smnannsnisnmminninansnmmanmmmannmamnan 11,12,18
Cyber Leader.. 12,18,19, 21, 31, 32, 36, 37, 43, 44
HELENS Till AUSF ss scavdin Sa aocutinansssntdecavaiaaavtasavisidhistanrsastinvinmennnanssdtiotinnenntiteiid 26
CyberMen Metal MINIAtUES..ccccsesssssssssssssssssssssssessens 43
CYDEPMENivvsssssssssssssssssssen 4,6,8,10, 11,12, 14,15, 16, 17, 18,19,

20,21, 22,,23;:26;27; 28; 29,,30,.31,32,.35;
36, 38, 39, 40, 43,102, 113, 117,122,126

DGUY EXPIRES Sivccrasiusijrninicrermavicserecnemeniiinansnennniaisais 133
PUVA scscscctecssasssteseuatayuteye assess ipeancutdaggr anti 33, 38, 132, 133
DGUV MIT OF scsniciitincnnnrangreanninenniaarsnuan 32/38, 83,132

DGIVAS CO fe sccisciuarcrsmsccnaniiniianaiudmesniasausadin 32,39,.83,.133

DGIY TElEGKOPH: TO ssscivcsscivecccessszivscenesvssccecesrcerasctoosiunveesnetanaaatan 41
Daleks’ Master PIGN, TR@ wissen 119,120,121
DalOKS sisssissscvassscessisissnsewearcis 14, 22, 34, 78,126
DAViS RUSSEL Tinnnaitcnciansauntmminnmmmmiannaniananis 98
DAViS; GEC Vinaiancanacnmmmanconnmmmmamancanmmnaminncne
Day of the DOCTOR THE vis
Daytime Live from Pebble Mill
De FIOFeS vss 10,11, 12, 15, 16, 18, 19, 21, 26, 30, 34, 36, 37
Deadbeat (See alSO KINGPIN) wuss
Deadly ASSASSIN, THE wesc
Delta and the BANNeErME Nuveen
Derek Jameson Show, The (Radio 2)...
DEStIAYOF THE DGIEKS sscssnaiiimisniniimnianiianuaauiaiinacinl
DESTIOV EI TE: wtitesncicammacatsianatn 98, 106, 107, 118, 119,
123,128,129, 135, 137
Did YOU SOG sic? ccsccsiciccninnciannnincnmtrmiminnaniannraTicins 39
DIFFrING, ANTON vesssssssecsssssssenee 15,19, 20,24, 27
Doctor Who. BQtHOPIOI scsi sccciiiccsciecssciensintinainenceninit 135
Doctor WhO - CYBEFMEN essere si LOL27
Doctor Who - DVD FiIl€S MAG OZING isis 43
DOCLOF WhO =SIVEFNGMESIS sicsisisssvsuesstscsevesvecsevecsesvsesenccnsvevveatieunie 42
Doctor Who - The Greatest SHOW in the GAIOXY vse 85
Doctor Who 25th Anniversary AIDUM, THO wuss 42
DOGLOF WHO: GHG THE SHOPIGHS ssacsccsscssissscersssiasevceeceenssceessensesseaie 117
Doctor WHO Bulletin (FAMZING) ssccsssesssssssssessesessesssssnsssassesees 33
Doctor Who exhibition... 38, 56, 126, 132
DO GLO WhO: MEGGZING i sinsucnannamaminimmanmunamanimmannt 38
DOGEOR WIG TONIC sas cecsrsvesvssseysessnsazay vcoserrrveeseneseusinatecvsssasaseeecnitnaaaea ion 39
Doctor Who Silver ANNIVErSAary CrUiSC rss 39
Doctor Who: THE TARDIS EqHOR sissies 43
DOGCLOF SORGINS; Lhe ia iaaiuuninananiinntinvammagmatinens 8:15
Doctor's secret, the... wli2, Lo2e
DOAG: -auiarciiniscieinwitdnnnmeuniuen cumnuneniacanmnNbnienncuiutdies 50

FFONtiOS ws

DOUGIAS, AMG El eiscsssaisctsscesvss spaces nsviesvevnepasssteanisonive 122,124, 138-139
DOW? laNktnttiandinainnniiendiamniiinianiaT 29
Downie, Gary... 20, 29, 33, 34, 73, 75, 76, 78
Dragonfire....... 15, 16, 18, 19, 29, 32, 46, 108
Didha iy Bill ainiinaiinininnaanicnninancnninmnimentaanaeivt 35
BUMS COR RAY MOM Gis esccaisssrieceriereannartvavniecaseat ian eneeueains 73
Durham, Geoffrey (the Great SOPreNndO) cesses 71,79
DVD COMMENTARY crasncmmuiemncinae 42,85,135
DVD Ext Sinininnntnanatrmcninnnannnnninnaunmnn 42,85,135
Fatt Genancnnnnintnaiannemamantiinniianamitren nim 73
en 10, 11, 14, 15, 18, 27,60, 90,102, 104, 111, 115, 116
EOrtASAOGK sivsississeivviaivesinisiesvenviein 19, 29, 31, 32, 61,122,135
FOSTENGEDS iiiiisncrinanncnnimnnnnanmaniiaunmenmiinnin 60, 72
DUE RO Sal IM Gainiahecnniarictnastnannssnaninndiciasaves 61,63, 79
FleVen th DO CO iitnnincnninccnimnmimaimmmanteantinatni 102
ENS; AMES: scciicicineanaiicniiiacivinuaianadninnte 119,121,125
EXCall DU Risivnjremimanninnas 105, 106, 107, 108, 110, 111, 112,
113, 118, 119, 121,127

FEN fil GasiivcnnunaasannmnaniieninnnmiananaamT RT 92,93
First DOCtOF sess 37,50, 102
Five Doctors, The... cunnnaMTARI AIRS 4,8,121
FIOWEFCHIIC v.ssssssesssees .22, 52,54, 59,64, 68, 81, 83
FOF Mian; SUSAN sivisitsiiniccinmmnaniiciiniinianninaiNian 37
FOUR DOCOR iiniiininnantniianminnan 4,29, 64, 102, 123
FOU nt RElChitasneivanroutnmeininancmnnanetsannint 10,18, 28
IASC LAN sevccscinssesentinaisecdranaisiiinnnan cn uinminainagriiiaitaiieuinentio 30
Frenchy LOSIi@ isvevssciseassasenereuivnvuieaceiatensvansvavivvenvestveeeaveistsccsrdcivveesteoeseg 19

GalliFPEY istinnnnccitcitianneemmnnanammiminamaNT: 21,102
GHEELO DIESER: sscisinnsnsiarmunmansriiinrnnaminiasananes 10,11,15
Ghost Light... 91, 92, 95, 96, 97, 131
GIIDET Mal CUS icacisiircrtscomanniimminaanimnnuninaaminmnntines 122
Gila FG; NiCKriccissicccmnciiinnnnnnnnnrnimimemimaTae 27,42
COG: COMPION,. HEC secucssayeescanscatipenveicasene iesiu ssseapevesuygies quistaiserieeresessee 50
Gods of Ragnarok.... 55, 70, 73, 75, 76, 77, 79, 80, 83
GaiHEEROM siiimommunaiimusinnumneananhsnmuninnanig 37,81
Gita DOIGIES ir iisissseccetonatctesrecanserasininniee reins 20, 22, 23, 26, 32-33
Greatest Show in the Galaxy, The......4, 20, 22, 23, 34, 36, 38,

40, 48-49, 50, 51, 52-61, 62,

63-65, 66-67, 68-89, 96, 128

DrOAdGa SE ccpsicanarasicsninsdrdimmanuimanannenen 83-84
CASTING CHET IS icisiiistssinraivncumidunnaiausanvivinrns 86-87

CASTING iericeniinnimnnininninannma mama 63-64
Costumes... .61, 63, 75-76
Caf ESCH DSi iiasioutinnienattimmmndaamnyintas 59-60
SGA psc ssscsazesisacssssscivevnsscesivetaaazavessivontsseieeerndaneitinanniiiteaniyy 80-81
METCHANGISE wasiardnnicisavintanmnrnanncarrimnviath 85
ULES a ssscsssssisnisssaarivinisinessisnensieninionnismndinntiicieancewsnaies 56-57
POSH DO CUCTON iisisscmnnnnmancimemnnmaniumenn: 80-81
DIE=PROCUCHOM sisruisenicmuuroiinmyrameanunameiin 56-65

DOCTOR WHO | THE COMPLETE HISTORY (an
=

readthrough
rehearsals...

Hackensack, Miss...

HACMOVOTES were

Haisman, Mervyn...

HaAd OF OMEGA, THE ssssississsiievinsssisariosassainaiianniiarsianansssenine B, 34
HGBPINGSS:PAGUOL TG :ssscstsrsesissecviscnneenssiscs 18, 40, 83, 96, 128
Hardy Math iiivnatneinannnnmmmnimmnnanniinnccmnnratinin 19; 23
HAPQTEAVES;. [AM GC rissiscscsssivasacesesereaserusegsasasecevsissnstasdiaienvavensvin sieustsivanse 79
Harlequin Miniatures... 85, 135
Harper, Grae Me) ssiiisisisiiinninsninsannnimimncnnnaissaienmnnn 114
Heap Alan sims amamcamminmermanninancnmanmmncramcaty 68
HEGIS O AGO! Gis iiccaignrcinia niu jamanigamatinindignsientass 38
HEASMAN, PAUL sssssssssesssssssiessseesssssecsssneessssesessen 27,31, 35
Hollingsworth, Dean

TCS AG Mica] OI ficesasesaavaussvatusvstescacvassancitsscecentetetashaaseaatetesatin

IAPOSSIDICAS TONGUE, TAG i issisiersccctnesvceniineiatidncvaiciises 102
INGEPCRAEAE THe iiiiiicinncnmnnnnminnnnimannmmnnd 38
HAP CUMO aueicianimnsaitadntieenuioinauecniiinatintaiinsadininuie 102
Invasion, The.. ww 31, 111,117
NENT Meats csvesstecasvnseescensvebcacicecsarad aay sccsvedcsvuntnecaiaidanievceen ivevsreunvenntnite 115

Jameson, Louise

JAZZ sastieesviinaies

Jezek, Robert...

John, Caroline...

Ulelignee .licemerrerer

JOTYZCINGS seisensasercnenniartersratseritesccperguontiuneniseiiinneiniae dub

Kall stisinannawninnenniannmmenninmeninencaumimmanni

Keeper Of Trak my TVG sessiisicivscessusasaseesccssuneiutatinincessyvaititaniiit

Kerrigan, Michie lisissssisisssssiisseriesessesianas

Keys of Marinus, The....

KRUG TILE ‘sssseasssinceisveonasuscontsvessicovsouizansiestnts 105, 108, 109, 115, 117,
120,121,126

KiINQdOM; Sdlaissivninnnmenimnaniemniimmannmmmmnmnn 120,121

Kingpin (see also Deadbeat)... «94,55;08,./5

KiNG'S'DOMOAS) TH ssisiisivesvvessissseswis visecscssvstsnbesseeveciiassoveneistidivenseniate 38

KEG. shosnaitimntnn mannamantmarnntemneremaveTa ie 52, 68, 71

kite WorkShop wee 53,:04,./5; 71,79

Knight: COmMAaNd Chiswsiscascinnmancdnrmannaien 119, 127,131

KOFAIL, MANGO IIs ssisasssineesssstoniezivassasrinsegaaanglanivariesvnavesiausyvinnesiainisenesiags 46

“1a DOCTOR WHO | THE COMPLETE HISTORY
/

LAGY PEINFOFES. vss 8, 10, 11, 12, 14, 15, 16, 17, 19,
20, 21, 22, 27, 28, 29, 33, 34, 35, 36, 37, 40

Lake Vortigern.....

Lambert, Verity...

Lancaster, Jim wu

LAIGFOE BOM US ssctccssevessisecssnsiy dvscsssvesisecsccesevas scssties aaascasinnvcaestcantionsnn

LAaSKEY, DAVIE siisviceavsissiverseasisvessasviesieced

Lavel , Lieutenant..

LOLS sisiiioninnnisiian

L@ISUFE HIVE, THE wissen

Lethbridge-Stewart, Brigadier .....0... 4,94, 97,104, 105, 106,
107, 108, 109, 111, 112, 115, 116,
117,118, 119, 120, 121, 122,124,
127,128, 129, 130, 131, 134, 135

Lethbridge-Stewart, DOs vss 104, 107, 109, 111,
119, 120, 122, 130, 138

Lime Grove Studios es
Lincoln, HENTY..e ww ll4
LISTON TGs sisccevssissiscsunssavscrscesvssnsgiciisiarns 4l
Lively Arts: Whose Doctor WhO, ThE wiiiininien 38, 39
LOCATION FIIMING vrs 15, 20, 27, 29, 31, 118, 123, 124
PATUIMCERCAS TO sscistiicasset seamtinicrceneaiieniais 20, 30, 31, 32

Black Jack's Mill RESTAUFAME sssssessssccsesstenssssessssieneeetn 20, 34

Black Park, Buckinghamshire... 123,124

Blue Lagoon, Warmwell QUALITY visser 70
Boiler House Car Park, BBC EIStr@@.issssssssnesssssssssses 72

Casa Del Mar, Goring-Dy-S@a wissen 20, 34
Dowager House, St Martin’s Without... 124
Fulmer Plant Park, Buckinghamshire... 124
Fulmer, BUCKINGHAMSHITE vse wes
Golden Pond, Warmwell QUALITY sissies 69
Greenwich Gas Works, LONGON wisn 20, 24, 26, 32
AMDBIETON VINAGS ss sssesscssscssssessscssssssetseeessssseeesssenseess 124,127

OME TOWEL sisseissicivecssenvstavessvenve e335

Ketton Quarry near Stamford... icked

Little Paston; FUIMEN sii canimncicininmunaniinnain 124
Rutland Water, Midlands wasn 124,126, 127
Skinner's Road, Warmwell QUALITY wissen 67

St Mary's House and Gardens, Bramberf........ 20, 33, 34
Twyford Woods; COPY isisisscivissisessnvenieneevien 126,127
Warmwell Quarry nN@ar DOFCheStePissesssssesssssssen 67
LORGIMEG: VELOC nnaniananinnaniaadhnwimanamaaninnnanniaunel 30
LUI GW, Kathy tinnwicinnncrcmniinnn nancinnmciirandianaarinenin 79
LUSK Fos ENG ico savcaus a cozeasnanaes acs asc vnsitovavivvasasanactccaudtecavievesitans 22,23
MAGS: sscascccssseeserseiun 52, 53,54, 55, 59, 60, 63, 64, 68, 70, 75, 81

Marshall, Alan..
Martin, JOSSICA sessssssessssssssessesssssseres

MaSTER THES i ssicarssisussininencmmeniepisnincinnatnitanais 93,95; 97,119
Mathematician; the winiainsininimcmmnmnnian 19, 20, 33, 41
MEIN HO has satannntnstarusidionunnmeiemanndinincuiamnintuys 50
MGWORYVIT OGOGGiscccriixincenncasonntasioacitneoniyaitgienptccmetransctes 109
MAYER [GCE s.. isiscisescsarsissrmniniiiamanavcinristinnrnianianiticn 115
MEGSETAYE JL scivessidaaieoattaniusieccovaienttivainsnantasiuisnenisentniaaiies 36
McCoy SYIVES tel itmsiccinacmnmanremnanicons 4,13,.14,.15,.23;.25,
26, 39, 41, 42, 45, 46, 56, 61, 67, 74,

83, 93, 113, 120, 123,126

MEGUITG CH: KOT sicitsscssccssicesssssieicecasnissccsscveiniy 23, 37, 38, 42,121,131
McCulloch, LOM aiauiaininoninumaiminnnnnnemanmnmminancanir 79
MIGGUIMESS PALM ca ssasectissisastetvnissaincsctiscesasteieuaisassiatttarivanctines 31,.32,,35
McKenna, TPusn 63, 64, 70, 75, 77, 88-89
MGCKIIOD, TON wisiinicnnenninrainnnannnaneuiniamiann 67,70, 78
MCKINNAWE, MajOFsssssssssssessessssssssssesssssssssesssssseeessssness 110, 112,113
Mer itissssssasssssnsssas 93, 98, 100, 102, 103, 104, 105, 114, 115, 116
IMIUIIS jsIDIUG Keccissstceesststatoveordssuvaveenssiaaaud ecncadstvenvansvanirecanivisinvtier 18,.61,115
Moffat: Steven snisinaniinninnaaninenmenmannnianiuntionmentin 98
MOTE Pte siincneicinisiminniiminaninianimantinimatimnnet’ 30
Monster OF PEIGON,. PAG siisssinormmningsiemainnnoumaiaiiias 76
MOOLE, SU Cini iinaminnmimianinuadnaniimdimnnnes 68, 79,123
MOOG G sscccssssartcescevtsansretees 104, 105, 106, 107, 110, 111, 112, 113,
116, 118, 121, 122, 126, 127, 128, 129, 131,132

MORGANE visssvnscnissecssaisssssaisiiee 93, 95, 96, 97, 102, 105, 106, 107,
110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120,

121, 123, 126, 127, 128, 129, 130, 131, 135, 137

MO ran: ANG OWirassiscccussisciavaaatisenascsisrieiearnsnaeitt 30,114,115
MOFGA visser wo D2, 53,.55,60,-63, 75, 76, 80
MOTE; EMSC ivsiasisiiscciicnisiniviencincinnnitiinmiaiionnin 34
MOU PEGGY snniisiinnninanniannnaniinnmnnaanncies 64,65, 68
MUNRO; ROM d tisnccnccmnnmanimnmeanianantuimanauaninenaain 47
MULE EW. GORA a rvsiscsccessvesvessanssndeasccenvanernveesesnsssisiicesscisn 19, 20, 27,42
ITUSIC vaviseevevveivevensvenecaseenecescivece 37, 42, 60, 63, 75, 81, 82, 121, 131
NGMEOF THE DOGLOR. TRE sccssrsicsassissscacasvesescvsvevvosccccvsepaisaesvisigevsvnngcrivies 8
Nathan-Turne ry JOAN secs 13, 14,15, 17,18, 19, 20,

22,26, 30, 33, 34, 35, 36, 38, 39, 40, 41, 42, 46, 47,
56, 59, 60, 63, 64, 66, 68, 70, 71, 72, 73, 79, 83,
85, 97, 108, 112, 114, 115, 121, 122, 123,126,127,

129, 131, 132, 133

NGG livetia, DOUG i acsisisssaneveschadeeqavenvacetyidserssiptanvacesvviss qnlatiayvusrtvedasvate 23,27
N@MeSIS'A0 0 Wivtinsinniaianinanimnnaniannn 10, 11,17, 26, 35
Nemesis bow....... 20,11, 12,17,21,.23;26,35
NEMESIS MELEOF esses 10, 11,12, 14,15, 16, 24,
26, 27, 29, 31, 32, 33, 36

Nemesis of the Doctor (WOFKING title) vcs 14
N@MESIS STATUC vrscsssessssseesssseeessssesessseees 10, 11, 12,18, 21, 23, 24,
28, 29, 31, 33, 34, 36

NEMESIS) THE isisccsinieisssivsivsiniostiainndginmernuncnnnniisiiean 34, 35, 36, 37
NEO-NAZIS vss ..6, 11, 17,18, 19, 20, 21, 26, 33, 36
New Statesman, The scaccnnmnnmanicnmaimamuannnantan 41
News of the World... 41,129
NGA Zi: ANUS a iiiiinsisssnieiiininniarcnimnrtincdiinnaianiianeni 115
NieiadZilG, DOF Ka iancivnniiiaiiainmnnntmuvndiaens 18, 23, 29,125
NIQHETONOES. wisitisianiinsaintssniiiinidininaninauaticniinaniinndiind 50
NTF O Gl sscsitenineerarmccnntaranimnamnnineaainnamn 96
NichO- 9: cadunmcuninaiimatnnnuatet 11, 29, 78, 105, 111, 127

Noel Edmonds Saturday ROGdSHOW wise 32,/35,38, 133
Nord the Vandal vcs 52, 53, 57,58, 62, 63, 64, 68, 81
OB TECOTCING sissasessinnsinaesins 17,19, 24, 32, 58, 59, 65, 67,

70, 72,73, 75,77, 79, 81, 108, 109, 117,125

Ould, Dave and John...
OVENSSAS' SASS a sicssinesvensstsivssaviccessisstselinatiasstedecidesiiesitecaee

Pale BiIddY iiiisaninnonemammaninmmmmainimmnnsaanien 70
PORES OWES iininnmesniinsdrivaneireniints 46, 56, 57, 58, 59, 60,
64, 89, 96,108,115

paramilitaries see Neo-Nazis

Peacock; Dan él iniinsaviimemncmaninimmmnmuninagiinnts
Pearson, Alister...
Pedler, Kitson
PEFEWEG, JOD wsitsarsssaneisiosnsivaiaceceureenauiivuattiereiaiarneserinesemin
PATO Cellos ccvcassnsisccscasaveisssssiespeseanecyeiageessipesasienssdauiasbaniecvsssiesauiaies
Pied Piper, The.....
Pine, Courtney.
AGAIN 'S Asp Gl ticccsciseescaretsccanniscvcvsericcccunavensnscnssieaacetevvecte
FRGAKS QUESE cssvecesiviersseenvinagsceeneigsessinenit annmeapinaareey ican
PO PH PO tssisssviss
PIPE BIE cititniinnicinmainionmnini enna nina naNaTiai
Planet of the Spiders
Platt; Man Gccscetnances
Points of View...
Powell, Jonathan
Prince Edward.......
PriSONEL, THE vse F
PSYGHIGCIFCUS, CHG sssssesscervieenensaiecns 48, 50, 52,53, 56, 59, 60,
61,68, 75, 82
QUGTEFINGSS GAG THE: PIE sssssiveseecccsssisinveevessciveteesseavesveencvinsscniseauiis 108
ROGIO THMOS ccssussassvcesevsacscscsivvvensscsvvessssniive 39, 68, 76, 82, 132, 133
Radiophonic Workshop... 18;61,97,115
ROG} DOROTA wirininssncannartieeaacinivnentininwiiciinimimenimentiti ns 122
Ramanee: Sakuintal dininnnaninmannmenncnninmamnaananneas 95
RASS || OI ss scsscansvanssassscsersazzcoccaypenneoenccnanenssctsnasnnssadumatnisenmnetneesioiaiacies reall
Reddington, lan... 64,65,67,85
ReIG, AGI aN viannacnmnancmminnnniuantatininanminmenniinas 34
RelaxiGon:(COAVENTON) iinunsicsaanmmaniminmnmmndennricscaes 65
Remembrance of the DaleKS wc 8, 14,17, 22, 23, 31,
34, 38, 40, 60, 63, 70, 78, 83, 95, 102, 109, 114, 115, 121
REMI GTO, MIME Pisssesianvessespiviiainsarmunicinvnntnsaveariie aii 17,21
REMINGTON, MiSiicsiiiaisiniianasiiaianimniieniisaicin 12,.22,33
Revelation ofthe DGleKS veiciinccsanmnnnimemamanmnnn 40, 114
Revenge of the CYDErMEN cscs 32,42

DOCTOR WHO | THE COMPLETE HISTORY (443)

FREVINGIGSH GHGS sideuassssivinsiavs ctavsavsstanivevesturiplesttaanijsstiteaguescentin
Reynolds, Mary...
Ribos Operation, The...
PRICING sisccccsviszessveisiassassecssarnen 10,11, 12, 14,15, 16, 17,18, 19, 21,
22,28; 29,31, 33,35, 360237
RIMGMASTSEP TS siscisdssecaisiesseciersssasecevsenesrnaine De, 03,54;55; 00,57,
58, 60, 63, 64, 65, 73, 76
RISGOF THE CY DENNEN sissinconcasicionmnnnaanncnaunmiinmans 102
ROBO EicniatenransanimnntiniaunaianinmdaacndinoianminnatiT 58
ROSS; RGEC scsi cvcinssiacscsvvcvacovasysiazacsazisvovevscnssvesesnctaccvei cer 64, 73,76
ROWAG: MIGHIGHE(RAGIO:Z) siarvssirsscccsininsrccecinneccencecntmimnncttie 83
ROWIINSON, ElIZADETH wrcceecsesseeeseesssses 104, 106, 118, 122,123
Rowlinson, Pab.ccnennnnmaae 104, 106, 112, 116, 118, 122
Sell Gj, DSS av ssssscencscasnctveeevessandsvaitaneneesteptnsestivasacaiieineceeanveviescnasiveed 64,65
Sammarco, Gian. 63, 64,68
SAVAGE; OMA: sicisiccinicessinnvnisnivmovianiaamnaincamneivinaisine 128
SaWald) EriG cannavniiareniantwnamninmnananpis 60, 61
Secret Diary of Adrian Mole Aged 13 94, Th@ ures 63,64
SEQ Oe Xtnicscneaneiannnnes 48, 50, 52, 53, 54, 60, 67, 70, 80
SHAW, LIZ wiirastasissirecsesiscarniirnnnconinyiaeriataenmmatnieaaiinniius 97,116
Silver NEMESIS sss. 4, 6-7,8, 9,10-23, 24-25, 26-47, 50, 83
DlOdd CAS Eetcsiniimicainceimminmumnneinainnennie 40-41
cameo extras ....... 30 3S
cast and credits. 44-45
CASHING vicisgsrssvisdsreasaiivessrrenicieemmerariiemaniigeiamoaiiatoacinin 18-19
chess theme 20) -21,28;32;33
COSTUMES ainannidronnninnaniiaronsaniammans 23,20-27;33
COILING sontrminmnnnnninmormmmmememncnen 36-37
ITSP CI AIGIS Ss scsceacsisssesassnoesvaecisenceessiaiasssossensctentnseisaianseaivese 42-43
Nemesis (working title). i15,,16,18
DOSE DOG MGTIO Mt aasterissaneiaycenerecemmnvivianuiienierois 36-37
FDEP POCUCLUN CNOA aida saa ccasacscnssa casa ussersasesnsnssnviandy cagtnacctianseat 13-23
PFOCUCTION vases wn 24-35
EO TTS ccvvanavinavenvesaaversovstivvunnectivevonsnesysnnicenvaceronaeouivessuviyins 46-47
DU DI Clitycninwiiitainnninimnnymrennrannnitaninienniens 38-39
PALMS seserescvianrane wn 40-41
EA TAN OU GAs sasssiceasesansvasstscariaeperviasiseaisnnsesicacetaaatineanistiainas ian 23
rehearsal wn 20, 25, 26, 28, 29
SLORY tissisiactencciscccinrannergnmnaniincnnenninpeatanncnaintiaiianariieate 10-12
The Harbinger (Working title) wesc 14
SIXtM DO CLO Kinison nannammnnnvannainnnnaiimitinni 4
SKEET: ARG EW ii isscansssasnennastsainiansaannissdaiasnnnasiairiansieaarnaseaisiaine 27
SPEGKHEGE FLOMES PGE sassccsvesvssivssassseseissessevvdsascosssteaeesi 116,117,123
StallSlAGY scnvvisescnnisaennranvenmaninrennnnerniiene 52, 64, 67, 68, 82
SURVIVG vascscvessnitarearnarrcivnennsccranapioniincies 91, 92,93/95,97,98
Tai, LING.
Take Two
WARDS sessdeastisesttarasestitensategtiany 10,.11,,12, 15, 16,17,27,.28;

29, 30, 34, 35, 37, 38, 39, 52, 58, 59, 60, 67, 68,

70, 71,76, 77, 78, 80, 93, 104, 109, 110,

111, 112, 116, 121,126, 128, 129, 133

Taf Get NOVELlISAH OM iscsnsssscenmmnrcennvanemmanmaennantecnctene: 42,85
TaVlOG STEVEN sicinnieormemaneamanrnanedniamninenuuneedns 50,115

1M DOCTOR WHO | THE COMPLETE HISTORY

Thi DOC1OF iniinsaniramamincnncnnroraminnneats 38, 116,123
TEDIEC DOGIOLS; THC iiisssnisiieansigiaiginie tunisia 4,8
Time and the Rani... 46, 58,60
Time LOIS vives 4, 8, 14,18
PUT MOMSTCT Cs sevssessssesseussinccienesvcs csveveuvsvedesssedssdehsecessv sien 119, 129
Time Space VISUGIISEL (FANZIME) wissen 46
TIME GS hivcasiiaasannuwnicanianmnnnnncniimnmmammaaiaten 644
Timelords, The
DOGLOFIN CHE TARDIS vsisisisssessstnssissassisevnnssiiinenutineie 39,71
PIDPIAG) TD isvveveaerersnsnverarpocetarenieiveanationinennaniwana incites 27,76
TOMO Fra Gi iitsnncisivsnsiasniieaactananiaidntsnleninin damutasiurtenened 34
TOPE FS: Lane sasnndinanmmtannnannntntmrman inne 8
THANE sasuisoniinwcaiviees 35, 38, 39, 42,135
TrGh Of G TIMELOFE, TAGs sissivvancsnamuanissisiieeiencinen 15,61
TUCKEG Mi KG iiiisisssssisisasssssrnacns 26, 31, 34, 67, 69, 76, 85, 123
IVA DNCMIMG: LO sirxccccovinsntionaahwanabimadiiitsainitesty 61,63
TWO DOCOFS;. TRG sacccevininmancmennnnnimnnninmnninnntatas 8
LI NIT scccccecevcesenseeccasstcretnencens 96, 104, 106, 108, 109, 110, 111, 112,
113, 114, 116, 117,119, 121, 122, 126, 128, 130, 131
A eLINCL CAT isaac ccesececosscesssasssviaaisteut uaccpessissiaiuiestakecaesbsnvediestaay gates’ 10, 21
visual effects.. 26-27, 29, 32, 36, 61, 67, 68, 69, 70, 123, 128
NOI, EUG a tcaseasteay tastes eaerecaatsttecsaycvansa sayaaedcvesastcinvage edvnaaepsvinvcnsciss dtr 120
Wagner, Richard
Rid&iof the Valkyries (ACEI) isiwiseiasansamniaanin 37
WalkKEE FiO ahs sisitniniiisiiguacannineniniininiaian 19, 20, 23, 29, 32
Walken) the isiicsnnniniaincnimancimmna 15,17, 21, 24, 28, 36
Wareing, Alan............36, 60, 61,63, 64,67, 68, 72, 75, 79, 80
WaTtShY; PObOD siscsssssssisicsssarssisssscssstesessnsssieie 104, 105, 106, 112, 116,
117,118,119, 121,126
WGPTIOFS Of THELDOED sissies ianisiwenineetiniiianininieite tae 123
Web of Fear, The... mel
WED :PIGNCE,. THE wisn ascininciunaninm canadian
ZORA sssssisisvsasiisiesses 39
Wedding of River Song, Theé...... ii
werewolf 54,55, 57,58, 59,61, 75
WEAIEMinscnvinnritnnianrelamediinaninrcndannnusenunianeti 42,85
WhiIZZKid.....00 0 52, 53, 54, 58, 59, 60, 63, 64, 68
Windsor Castle 10;11,.16,17, 23;30;,31,37
Wyatt, Stephen 15, 30, 47, 56, 57, 58, 59, 64,
81, 84, 85, 89
VSU* ccdevivvsvessessisisiscccstiernesntivivaasioyininmeeresininaiiniiaee 96, 117,126
95, 104, 106, 107, 112, 113, 116,
118, 121, 123, 126, 130
FZ CGES scsi sisiseesvnssiieciatnasidintaiteniianaanietenataaseenncics 119, 121, 138
Zbrigniev, Sergeant 104, 112, 116, 122
ZYGONS 'scoisicceccodanietrernsienininmmsaronnnegnutianin jeamiisidiunineesn 34,

1B 1B IC}

OOCTOR

WHO

THE COMPLETE HISTORY

STORIES 150-152

SILVER NEMESIS
An ancient Time Lord weapon crashes to Earth, drawing the
Doctor and Ace into a battle with Cybermen, neo-Nazis and
the sinister Lady Peinforte. Can the Doctor Reep his darkest of
secrets: Doctor who?

THE GREATEST SHOW IN THE GALAHY
Roll up, roll up! The Psychic Circus has come to Segonak, and it
needs acts to Reep the audience entertained. The Doctor and
Ace are among a weird troupe of performers in the ring - where
something sinister waits...

BATTLEFIELD
A mysterious message pulls the Doctor and Ace into an ancient
battle with an evil battle queen and knights from space. Can the
Doctor - or Merlin - prevent his oldest friend getting caught in
the crossfire?

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