Synopsis: The Doctor is on trial for his life and the prosecutor, the Valeyard, presents to a jury of Time Lords his first evidence, in which the Doctor and his friend Peri explore the planet Ravalox. There they meet the underground dwellers and their ruler, a robot called Drathro, the Tribe of the Free and their ruler, Queen Katryca, and a pair of intergalactic conmen called Glitz and Dibber, who confirm the Doctor’s suspicions, that the planet Ravalox has been moved across the universe from its original location – where it was known as ‘Earth’.
- 1. The Trial Begins
- 2. Underground
- 3. Barbarian Queen
- 4. The Stoning
- 5. The Reprieve
- 6. Meeting the Immortal
- 7. Escape
- 8. Captives of Queen Katryca
- 9. The Attack of the Robot
- 10. Hunt for the Doctor
- 11. Secrets
- 12. Tradesman’s Entrance
- 13. The Big Bang
- 14. End and Beginning
Background: Terrance Dicks adapts scripts by Robert Holmes for episodes 1-4 of the 1986 serial The Trial of a Time Lord. Holmes had been slated to adapt this himself, prior to his death in 1986.
Notes: The space station that houses the courtroom is hidden within a junkyard floating in space. The Doctor is ‘a tall, strongly built man with a slight tendency towards overweight’ (!) and beneath the ‘mop of curly hair, the face was round, full-lipped and sensual, with a hint of something catlike about the eyes’. The ups and downs of the Doctor’s relationship with the Time Lords are summarised, including his time as a fugitive, his exile to Earth for ‘five years’ (during which he was the scientific adviser to UNIT) and the couple of times he briefly occupied the position of President. Sabalom Glitz is ‘a burly thick-set fellow with a tendency towards fatness’, while his lackey, Dibber, is ‘taller and brawnier with a hard face and coarse bristly black hair’. The final chapter uses a title variation of a Terrance Dicks favourite – ‘End and Beginning’.
Cover: Queen Katryca is dwarfed by the L3 Robot, along with the planet Ravalox and a beam of black light, courtesy of Tony Masero. As before, there’s a flash marking this as part of the Trial of a Time Lord season (and the title page lists this as ‘The Trial of a Time Lord: The Mysterious Planet’.
Final Analysis: Terrance Dicks returns and passes a few milestones’ as he adapts his friend Robert Holmes’ final complete story, tackles the sixth Doctor for his one and only time and it’s also his last novelisation for anything from outside of the 1960s. He matches the impressive opening model shot of the TV version with one of the best single pages of description he’s done for a while.
Massive, arrogant, invincible, the great complex hovered in space, dwarfing the shattered hulks that drifted around it, dominating its section of space like some enormous baroque cathedral. There was an eerie, almost mystical quality about it. It seemed to be brooding… waiting.
This enthusiasm to capture everything we might have felt on screen continues with the Doctor’s arrival; the insanity of his costume has never been described so thoroughly but in particular the ‘multi-coloured coat that might have made Joseph himself feel a pang of envy’. I can imagine Terrance chuckling as he wrote about ‘the jutting beak that was his nose [which] seemed to pursue the Doctor through most of his incarnations’. So cheeky!
Some years ago, I was hired as a ‘talking head’ contributor for the Doctor Who DVD range (subsequently released on Blu-Ray). My role there was to represent the views of the contributors who were no longer with us, so my interjections were deliberately on the side of the producer and less supportive of his more vocal critics, who I knew would also be interviewed. My own opinions were put aside, partly so that I didn’t stand in the way of the people I was representing, but also because my feelings towards the overall story – and this segment in particular – are very conflicted. The huge disappointment I felt on first viewing was replaced at first by mockery (a friend used to act out a hilarious ‘Trial in 14 minutes’ routine that had us guffawing for months) and then a desperation to ‘fix’ the story in our minds – a process fans now call ‘head-canon’. I didn’t read this novelisation at the time and it’s rewarding after all these years to find Terrance Dicks trying his best to nudge the narrative a little, hinting at things the reader might discover later or enhancing the mood with a well-chosen description; that thing on the Valeyard’s head might well be a ‘skull-cap’, but coming between the ‘all in black’ ensemble and the ‘gaunt-faced’ description, it just adds to the idea that the Time Lord prosecutor is Death personified. He’s not breaking any new ground here, but Dicks is definitely putting the effort where it’s needed most.