Synopsis: International Electromatix is a world leader in developing popular electrical devices. The head of the company is the charming and persuasive Tobias Vaughn. But Vaughn’s company is merely a front for a much grander scheme. The Doctor, Jamie and Zoe accidentally find themselves party to an investigation into Vaughn by an organisation called UNIT. Soon, friends old and new help the Doctor uncover the secret behind Vaughn and his partners, who also know the Doctor of old…
- 1. Home Sweet Home?
- 2. Old Friends
- 3. Cat and Mouse
- 4. Hitching Lifts
- 5. Skeletons and Cupboards
- 6. Secret Weapons
- 7. Underground Operations
- 8. Invasion
- 9. Counter Measures
- 10. The Nick of Time
Background: Ian Marter adapts scripts from the 1968 serial by Kit Pedler and Derrick Sherwin.
Notes: The TARDIS pulls itself together and the Doctor’s companions reappear after the ‘disintegration of the TARDIS in their previous adventure [which] had been a horrifying experience’ [we might assume this follows on from The Mind Robber, but it could also be from some unseen adventure]. Jamie is ‘a robust young Highlander clad in faded kilt and sporran, tattered sleeveless sheepskin waistcoat and sturdy boots’, while Zoe is ‘a bright-eyed teenager with a large face, wide mouth and short black hair and she was wearing a tomboyish trouser-suit’ (not the sparkly catsuit seen on screen or the gaudy mini-skirt and stockings she picks up at Isobel’s apartment). The Doctor has ‘small hands’ apparently, and he looks like ‘an old-fashioned fairground showman’. Later, he’s said to chew the ‘frayed edge of his cravat’.
International ‘Electromatics’ becomes ‘Electromatix’ and its logo is a ‘zig-zag of lightning in the grip of a clenched glove’ rather than the letters ‘IE’ on screen. The introduction of Tobias Vaughn is extraordinarily precise:
The combination of swept-back silver hair and thick black eyebrows gave the older man a disturbing appearance. His right eye was permanently half closed, but his left gazed wide open with chilling pale blue iris and huge black pupil. His clothes were coldly elegant: a plain suit with collarless jacket, round-necked shirt and gleaming black shoes with chrome buckles.
(The detail of his half-closed eye is that of the actor, Kevin Stoney, not the character!)
When Vaughn asks ‘whom I have had the pleasure..?’ the Doctor replies, ‘Not Whom… Who…’ – the closest reminder we’ve had in a while of his proper, official, no-arguments surname. Vaughn opens the hidden panel in his office with a control disguised as a pen. The machine behind the panel – referred to as the Cyber Unit or Cyber Module – claims to recognise the Doctor and Jamie from ‘Planet Sigma Gamma 14’. The Module is about two metres high, resembling ‘a gigantic radio valve’.
Bristling electrodes sprouted from a revolving central crystal suspended within a delicate cage of sparking, fizzing filaments. Cathode tubes were arranged like a belt of glass ammunition around the base of the cage and the whole sparkling mechanism was supported in a lattice of shimmering wires and tubes. The planes of the crystal flickered with millions of tiny points of intense blue light and the apparatus possessed a sinister beauty as it hovered in the darkness.
The Brigadier is introduced as a ‘tall officer’ with a ‘strong square-jawed face and neatly clipped moustache suggesting calm and confident authority.’ The communications device he gives to the Doctor is a ‘Polyvox’ with a range of 100km – slightly more powerful than the onscreen ‘TM-45’, which could cover 50 miles (about 80km). He becomes increasingly irritated by the Doctor’s insistence of signing off a radio transmission with a cheery ‘Under and off” and later ‘Down and out’! Jamie writes ‘Kilroy was here’ in the dust on the top of a lift; it’s a nice reference to a bit of graffiti that Frazer Hines wrote on the lift shaft wall on TV, but it’s odd that Jamie even knows the phrase, while the Doctor doesn’t recognise it. Two of the workmen in the IE complex are named ‘Sangster and Graves’ (as far as I know, this is the only time my surname appears in a Target book, but I suspect it’s more a reference to the Hammer horror writer-director than a teenage me). Major-General Rutlidge becomes ‘Routledge’; he addresses the Brigadier as ‘Alistair’ (the Brig’s first name wasn’t revealed on screen until Planet of the Spiders).
Marter’s description of an emerging Cyberman matches that of the ones he himself saw in Revenge of the Cybermen:
It stood about two metres high, with a square head from which right-angled loops of hydraulic tubing protruded on either side. Its rudimentary face comprised two blank viewing lenses for eyes and a rectangular slit for a mouth. The broad chest contained a grilled ventilator unit which hissed nightmarishly. Thick flexible tubing ran along the arms and down each leg and was connected into a flattened humplike unit on the creature’s back. Faint gasping and whirring noises inside the silvery body accompanied every movement.
It’s a ‘young constable’ who follows the crazy kids down into the sewers to his death (he’s a little older on TV). Gregory is shot dead during the rescue of Professor Watkins, rather than by a rogue Cyberman in the sewers. When Vaughn dies, his screams sound like a Cyberman. There are a few name changes along the way: Watkins’ machine is called the ‘Cerebration Mentor’ (not ‘Cerebraton’); ‘Henlow Downs’ becomes ‘Henlow Flats’ (echoes of Quatermass II there); Major Branwell and Sergeant Peters become ‘Squadron Leader Branwell’ and flight lieutenant Peters; and, famously, the Russian missile base is called ‘Nykortny’ after Ian Marter’s good friend Nicholas Courtney (and I suspect the final chapter title is a tribute to him as well). The missiles target a single Cyber-mothership, rather than an entire fleet. Jamie spends two days in hospital before the time travellers depart – and the Brigadier joins Isobel and Captain Turner in waving them off.
Cover: Andrew Skilleter’s original cover has a Cyberman holding a flaming gun in front of a red UNIT emblem. For the 1993 reprint, Alister Pearson paints the Doctor musing in front of two symmetrically positioned Cybermen.
Final Analysis: We reach peak Marter here, as the author goes all out with gruey violence: Having been compelled to shoot himself, Routledge ‘vomited a stream of blood and pitched forward onto his face at Vaughn’s feet’ while the Cybermen are destroyed by the Cerebration Mentor ‘with smoke and black fluid-like pus oozing from their joints and grilles’. There’s also the return of a singular swearword, as Packer vows ‘We’ll kill the bastard this time’. On publication, this more adult approach was received with some concern, but it does at least make the stakes feel really high. Weirdly, it also makes the Cybermen feel more of a threat, even though they’re possibly even less of a physical presence here than on TV. As in Marter’s Earthshock, the horror of the Cybermen is a sensual experience, from the electric fizzing of the Module to the ‘nightmarish mechanical rasp’ of their breath, ‘rubbery’ with ‘sickly, oily exhalations’. When one of them is struck in the chest unit by an exploding grenade, ‘thick black fluid pump[s] copiously out of the severed tubes’. And, having made Packer even more violent and sadistic than his TV counterpart, it’s satisfying that he gets a particularly gruesome exit:
The Cyberman’s laser unit emitted a series of blinding flashes and Packer’s body seemed to alternate from positive to negative in the blistering discharge. His uniform erupted into flames and his exposed skin crinkled and fused like melted toffee papers.