Chapter 42. Doctor Who and the Time Warrior (1978)

Synopsis: Scientists have disappeared from across the country. In an attempt to keep them safe, the remaining experts have been brought to a research centre under the guard of UNIT – but still they continue to vanish. The Doctor identifies the cause must be someone with access to time travel. Following the trail in the TARDIS back to the Middle Ages, the Doctor discovers the time-hopping kidnapper is a Sontaran warrior – unaware that the TARDIS has brought alomg a 20th-Century stowaway aboard in the form of intrepid journalist Sarah Jane Smith. 

Chapter Titles

  • Prologue
  • 1.  Irongron’s Star
  • 2. Linx’s Bargain
  • 3. Sarah’s Bluff
  • 4. Irongron’s Captive
  • 5. The Doctor Disappears
  • 6. A Shock for Sarah
  • 7. Prisoner in the Past
  • 8. The Robot Knight
  • 9. Linx’s Slaves
  • 10. Irongron’s Wizard
  • 11. The Rescue
  • 12. The Doctor’s Magic
  • 13. Counter Attack
  • 14. The Robot’s Return
  • 15. Shooting Gallery
  • 16. Return to Danger
  • 17. Linx’s Departure

Background: Terrance Dicks adapts Robert Holmes’ scripts for the 1973-4 serial, except from the prologue, which Holmes wrote himself before handing the task over to Dicks.

Notes: Three years after the word ‘Sontaran’ first appeared in a Target book [see Terror of the Autons], we finally meet one – in the most exciting prologue ever, written by Robert Holmes! We join Sontaran Commander Jingo Linx as his ship faces certain obliteration after an unsuccessful battle against the Rutans in their third galactic war. We learn that the Sontarans come from the planet Sontara and he listens to the ‘sweet strains of the Sontaran Anthem’ (presumably the same one that accompanies Linx’s flag when he erects it in front of Bloodaxe) as his ship makes a last desperate escape from the black, dart-shaped Rutan pursuit ships. Sontarans are cyborgs, thanks to implants in the back of their neck that allow them to draw energy through a ‘probic vent’. The procedure that allows this is undergone on entry to the Space Corps and although it gives him a rush of energy, Linx always dreads taking a ‘power burn’.

The flood of power through his tissues was like a roaring madness, a chaotic maelstrom of colour and sound depriving him of all sentient knowledge of the outside world. He felt himself clinging like a limpet within some solitary crevice of consciousness, aware only that he still existed… still existed… still… 

His cruiser is destroyed, driven into a sun as a diversion to allow him to escape the Rutans in a small scout ship. As the ship heads towards a little blue planet orbiting the sun, Linx allows himself a smile usually reserved for the ‘ the death throes of an enemy’. Most of the details here have been forgotten by subsequent authors, even Holmes himself [see The Two Doctors], but it should be mandatory reading for any hopeful Sontaran scribes. 

Irongron and his band of men had once ‘roamed the forest like wolves’ before stumbling upon a castle abandoned by a lord away ‘at the wars’. His group attacked the castle at night, its inhabitants massacred, and the castle became his. His nearest neighbour, Sir Edward Fitzroy, is sickly, having returned from the Crusades with a fever. Sir Edward’s son and most of his soldiers are still fighting the king’s crusades overseas, leaving him with a depleted defence. His young squire, Eric, is given a splendid introduction, riding through the forest, wary of being too close to Irongron’s castle and falling victim to a simple trap laid by Bloodaxe.

When he first addresses Irongron, Linx speaks with ‘a booming metallic voice… strangely accented but clearly understandable English’ and the suggestion is that this is due to a translation device, not his natural voice.

The Brigadier brings the Doctor in to investigate the missing scientists and equipment to distract him as he’s missing Jo since she had got married and has refused a new assistant ever since. The Doctor is described as ‘a tall man with a lined young-old face and a shock of white hair’ (we’ll be seeing this description regularly from now on). He insists on having the TARDIS brought to the research centre in case there’s an alien influence he needs to trace. Sarah Jane Smith is introduced, ‘an attractive dark-haired girl’ who is a freelance journalist (the ‘freelance’ bit is new to the book) who has been ‘making her own way in a man’s world for some years now, and she strongly resented any suggestion that her sex doomed her to an inferior role’. The Doctor tells Rubeish that ‘Lavinia Smith’ is a woman in her ‘late sixties’ as well as being in America. The Brigadier reminds the Doctor about his failed attempts to reach Metabelis III (‘I got there eventually’, says the Doctor defensively). We get Sarah’s first reaction to the inside of the TARDIS and she hides inside a wardrobe when the Doctor enters. Realising that the wardrobe is bigger than the police box she entered – and the central control room even bigger again – she quickly forms a theory that the Doctor is an alien responsible for kidnapping the scientists. She also watches the switch the Doctor uses to open the door and uses the same switch to escape.

Linx rides on horseback for the attack on Sir Edward’s castle. The attack on Linx, the destruction of Irongron’s castle and the Doctor’s departure with Sarah all happen at night. Although Hal’s arrow kills Linx, the hand of the dead warrior hits the launch button and his ship escapes the burning castle to be returned with Linx’s corpse to the war in the stars. And hurrah for Hal as he rescues Squire Eric from the dungeon!

Oh and there’s a chapter title called ‘Return to Danger’ – so close!!

Cover: Linx the Sontaran strikes a dramatic pose before his globe-shaped craft, a superb photorealistic portrait by Roy Knipe. The cover for the 1993 reprint by Alister Pearson places the Doctor, Sarah and Irongron in square tiles behind Linx, who’s side on and holding his helmet by his side.

Final Analysis: It might be heresy but I’m not a fan of this story on TV and reading this story I can put it down to Alan Bromly’s static, leaden direction. But look at all the notes in this chapter and join me in wondering if Terrance Dicks was spurred on by his friend Holmes’ wonderful opening prologue – top three in the series so far*. Compare the two descriptions of Linx’s face – the first is by Holmes, the second by Dicks, picking up the baton:

… the heavy bones, the flat powerful muscles, the leathery, hairless epidermis, the calculating brain.… little, red eyes that were like fire-lit caves under the great green-brown dome of a skull…

The face beneath was something out of a nightmare. The head was huge and round, emerging directly from the massive shoulders. The hairless skull was greenish-brown in colour, the eyes small and red. The little nose was a pig-like snout, the mouth long and lipless. It was a face from one of Earth’s dark legends, the face of a goblin or a troll. 

This extends to the major and minor characters – how Sir Edward waits for his wife to ‘run out of words’ and on the very next line ‘It was a considerable wait.’ It’s clear Dicks enjoyed this. I know I did. 

* – See also Doctor Who and the Crusaders and Doctor Who and the Day of the Daleks.

Chapter 40. Doctor Who and the Horror of Fang Rock (1978)

Synopsis: A lighthouse off the coast of England at the start of the 20th Century. A light in the sky heralds the arrival of an alien warrior separated from its fleet, far from the battlefield. It explores the lighthouse, examines and dismembers one of its staff – and takes his form. The Doctor and Leela arrive shortly before they are joined by the survivors of a shipwreck. When the body of the lighthouse crewman is discovered, the Doctor realises they are locked inside the lighthouse with a murderer…

Chapter Titles

  • Prologue
  • 1. The Terror Begins
  • 2. Strange Visitors
  • 3. Shipwreck
  • 4. The Survivors
  • 5. Return of the Dead
  • 6. Attack from the Unknown
  • 7. The Enemy Within
  • 8. The Bribe
  • 9. The Chameleon Factor
  • 10. The Rutan
  • 11. Ambush
  • 12. The Last Battle

Background: Terrance Dicks adapts his own scripts from the 1977 serial.

Notes: A prologue! Dicks sets up the location, a craggy rock in a furious sea, upon which stands a lighthouse. He tells of the legends of Fang Rock, the historic deaths and the glowing beast said to inhabit the waters that surround it. The Doctor wears a soft floppy hat and not the bowler hat he sports on the cover. Reuben, Vince and the Doctor help the survivors of the shipwreck from their lifeboat onto the shore of the east crag. As Leela ponders Reuben’s tale about the ‘Beast of Fang Rock’, the Doctor tries to rationalise the story, surmising that two men fought, one was killed, the other jumped into the sea, full of remorse, the third man was sent ‘out of his mind’ after spending weeks with a corpse for company. When Skinsale mocks Leela for sensing the temperature drop, Adelaide enters the room and complains about suddenly feeling cold. After Palmerdale’s death, Vince realises that he has his Lordship’s money and coded message in his pocket. Worried that it might incriminate himself in Palmerdale’s death, Vince sets fire to the evidence. There’s a detailed description of the Rutan that’s not quite what we see on screen.

In place of Reuben’s form there was a huge, dimly glowing gelatinous mass, internal organs pulsing gently inside the semi-transparent body. Somewhere near the centre were huge many-faceted eyes, and a shapeless orifice that could have been a mouth.

The Rutan’s habit of speaking in the first-person plural isn’t an affectation; Rutans don’t have individual identity, but are just one element of the whole race. It can move with ‘appalling speed’. The Doctor’s improvised rocket launcher is backed with ‘nuts and bolts, nails, cogs and other engineering debris’, as opposed to coins from various pockets. 

Cover: For the first edition, Jeff Cummins paints a superbly creepy scene of the Doctor standing in front of the lighthouse (which Clayton Hickman later mimicked for the DVD cover). Such a shame that the reprints were canceled, as we lost Alister Pearson’s cover, featuring a lesser-seen Doctor pic with a Rutan and the lighthouse.

Final Analysis: The legend goes that Robert Holmes insisted Terrance Dicks researched lighthouses for this one and it’s possible some of his studies ended up in the novelisation (such as the description of each room on each level in the tower). I suspect that Terrance Dicks might have been working from an earlier script version for this, with a couple of scenes that feel like they might have been abandoned for the final TV edit. Vince’s disposal of Palmerdale’s bribe and message is a welcome addition, especially how it conveys Vince’s conflict, not just in doing the right thing but also in protecting himself from accusation:

It was more money than he’d ever see again in his lifetime – but there was nothing but relief in Vince’s heart as he watched it burn.

One thing that’s missing is a sense of the Rutans point of view – literally how we see many scenes on TV – Dicks creates a sense of menace through a ‘faint crackling sound’ that denotes the Rutan’s presence, but we get little sense of how it feels, how it considers the humans and their environment.

Chapter 38. Doctor Who and the Masque of Mandragora (1977)

Synopsis: A chance encounter with the Mandragora Helix results in the Doctor unwittingly transporting sentient and malevolent energy to 15th-Century San Martino. The energy quickly takes hold of Hieronymous, an influential astrologer and leader of a sinister cult. As the Doctor and Sarah try to limit the damage their arrival has caused, they find themselves snared in the fraught politics of San Martino. Can they help a young prince evade the murderous ambitions of his uncle, Count Federico? Will Hieronymous’s new-found power bring a dark and bloody end to the Renaissance?

Chapter Titles

  • 1. The Mandragora Helix
  • 2. The Brethren of Demnos
  • 3. Execution!
  • 4. Sacrifice
  • 5. The Prince Must Die
  • 6. The Secret of the Temple
  • 7. The Spell of Evil
  • 8. Torture!
  • 9. The Invasion Begins
  • 10. Siege
  • 11. Duel to the Death
  • 12. The Final Eclipse

Background: Philip Hinchcliffe adapts scripts from 1976 by Louis Marks.

Notes: Sarah has now been travelling with the Doctor for ‘several years’ but this is the first time she’s been allowed to explore deeper within the TARDIS. She is ‘Five feet five and a quarter’ – so an inch and a quarter taller than she is on telly, unless she’s counting the heel of her boots.  She apparently finds Giuliano attractive. Swit swoo!

Hinchcliffe tells us that it’s been a long time since the Doctor rode a horse (which might make you wonder when the last time might have been). As he finds the altar within the catacombs, he experiences a vision of the ‘Ghostly Temple of Demnos’:

He was filled with an unaccountable urge to escape, but as he ran towards the tunnel exit a large wall materialised in front of him with a deafening crash. Blindly he stumbled towards the other side of the cavern and a second wall blocked his path. The ghostly Temple of Demnos had sprung up before his very eyes! Panic-stricken he turned this way and that seeking escape but all around him thick stone walls seemed to be hemming him in. He was trapped.

Cover: Mike Little gives us a rather spooky composition for the first edition cover – the Doctor’s face is surrounded by darkness (as with The Deadly Assassin) and four faces of Hieronymous’s mask. A 1991 reprint had a cover by Alister Pearson showing Hieronymous sat on a throne alongside a rather cheery-looking Doctor.

Final Analysis: There can’t have been a fan in any of the libraries of the UK who didn’t mispronounce the title of this until they saw it on VHS or DVD, just as readers will have done when the same word ‘Mandragora’ appeared in the Harry Potter books (‘Man-DRA-gora’, not ‘MAN-dra-GOR-a’). It’s Philip Hinchclcffe’s second novel and another from his ‘golden era’, but it’s not one that allows for showboating. What we get is a straightforward retelling of the script with a few lines to explain the thought processes of the characters. We share the experience of Sarah’s falling under Hieronymous’s spell as her mind tries to make sense of the twisted logic it’s presented with, while her total lack of reaction to the possibility of meeting Leonardo Da Vinci is what first alerts the Doctor that something is wrong. Giuliano reacts beautifully to witnessing the departure of the TARDIS, inspecting the ground where it once stood, ‘puzzled but not afraid’:

‘There is a reason for everything,’ he said to himself. ‘Even this. One day science will explain it all.’

Chapter 37. Doctor Who and the Talons of Weng Chiang (1977)

Synopsis: A London music hall in the late 19th Century is the setting for murder. Its proprietor, Mr Henry Gordon Jago, has just secured the services of a master magician of Chinese origin while a mortician called Litefoot examines a body fished from the Thames and covered in huge bite marks. The Doctor and Leela follow the clues that lead them into the lair of a Chinese God…

Chapter Titles

  • 1. Terror in the Fog
  • 2. The Horror in the River
  • 3. Death of a Prisoner
  • 4. The Monster in the Tunnel
  • 5. The Quest of Greel
  • 6. The Tong Attacks
  • 7. The Lair of Weng-Chiang
  • 8. The Sacrifice
  • 9. In the Jaws of the Rat
  • 10. A Plan to Kill the Doctor
  • 11. Death on Stage
  • 12. The Hunt for Greel
  • 13. The House of the Dragon
  • 14. The Prisoners of Greel
  • 15. The Firebomb

Background: Terrance Dicks adapts the 1977 scripts by Robert Holmes, just seven months after they were broadcast.

Notes: The ghoulish woman on the dockside who (on telly) discovers the body of the cabby, Alf Buller, becomes an old man who wants his reward – until he sees the state of the mutilated body. The young woman who Leela saves from becoming a victim of Magnus Greel is named Teresa Hart and Dicks explains that she’s up in the small hours of the morning because she’s employed as a waitress in a gambling club across London in Mayfair – just in case there’s any possibility of some other reason why a woman might be walking the streets alone at that time of night.

As he did with the cuddly Yeti in The Abominable Snowmen, Dicks also solves the basic failure of the giant rat on TV, too clean and plodding in its original form, but now ‘huge and savage’ with red eyes’, a ‘trumpeting scream’ and ‘yellow fangs bared in fury’. 

The Doctor taunts Greel by offering him a jelly baby (although North American editions change this for a jelly bean – utter sacrilege!). On TV, the Doctor recalls that Mr Sin – aka ‘the Peking Homunculus’ – was given to the Icelandic Commissioner’s children as a toy, but ‘something went wrong’ and the thing was ‘almost’ the cause of World War Six, but here there’s a little more more detail: the homunculus was really a programmed assassin, which ‘massacred the Commissioner and all his family’, which then ‘set off’ the World War. We later learn that Magnus Greel was the inventor of Mr Sin and that he triggered the war intentionally. As part of a ‘Supreme Alliance’ of dictators, he was defeated at the Battle of Reykjavik and, branded a war criminal, used the time cabinet to flee with Mr Sin to 19th-Century China.

There’s a slight addition to the last scene, as Jago invites Litefoot to a ‘little tavern’ for a ‘celebratory libation’. And it’s the beginning of a beautiful friendship.

Cover: Jeff Cummins provides a wonderful composition of the Doctor in his Holmesian gear, holding a shotgun, while behind him are Mr Sin, a giant rat and a circular design evoking the sewer. This is his first cover for Target, even though The Mutants was published earlier – and apparently it was later stolen from his portfolio, never to return. The 1994 reprint boasted Alister Pearson’s final reprint cover (as this was also the final release of the original Target books run), featuring the Doctor, Greel, Mr Sin and the head of the ornate dragon-shaped ray gun.

Final Analysis: Recently, this story has come under attack for the unsettling undertones inherent in the very racist genre it takes its inspiration from. While much of the problems are still here – an assumption that all the Chinese population of Limehouse are opium addicts, Irish Casey having ‘a weakness for the bottle’ as well as the general racism of characters from the time – there’s one section that suggests Dicks was at least aware of certain ironies; as Jago appraises the great magician Chang, Dicks makes a dig at the casting in the TV serial:

Perhaps he really was from China as he claimed. After all he really was Chinese, unlike most Oriental magicians who were usually English enough once the makeup was off. 

But Dicks also spells out that Chang’s own stage persona, speaking in pidgin English, is an artifice he employs solely to appease his English audience’s expectations; in this version, it’s the audience who are very much at fault. 

The opening chapter feels like Malcolm Hulke has stepped in to provide some social context by focusing on the different strata within the audience of the Palace Theatre:

The body of the theatre and the Grand Circle above were filled with local people, tradesmen and their wives and families, bank clerks and shop assistants. High above in the top-most balcony, known as the ‘Gods,’ the poorer people were crowded onto hard wooden benches. Labourers, dock workers, soldiers and sailors, even some of the half starved unemployed – they’d all managed to scrape together a few coppers for the big night of the week.

It’s an atypical observation for Dicks, but there’s plenty of social commentary throughout the story. Professor Litefoot is from a ‘wealthy upper-class family’ and his ‘aristocratic relations’ have ceased trying to get him to relinquish his calling to do proper work in the East End, instead of pampering ‘silly women’ in Harley Street. Chang considers the workers of London as ‘peasants’ – but presumably this is a description that places himself on an equal level to them – all subjects to higher powers.

Chapter 28. Doctor Who and the Carnival of Monsters (1977)

Synopsis: Aiming for the planet Metabelis III, the Doctor and Jo arrive on board a ship in the Indian Ocean. Something strange is going on as the crew and inhabitants of the vessel appear to be trapped in a time loop, repeating the same actions and conversations in a cycle. And then the ship is attacked by a prehistoric monster that has been extinct for millions of years. Meanwhile, the planet Inter Minor welcomes its first ever off-world visitors, including a travelling showman and his assistant who possess a rather unusual device that contains wonders from around the universe. Purely for entertainment, strictly non-political – and highly illegal.

Chapter Titles

  • 1. Dangerous Arrivals
  • 2. The Monster from the Sea
  • 3. The Giant Hand
  • 4. Trapped!
  • 5. Inside the Machine
  • 6. The Monster in the Swamp
  • 7. ‘Nothing Escapes the Drashigs’
  • 8. The Battle on the Ship
  • 9. Kalik Plans Rebellion
  • 10. The Doctor Takes Over
  • 11. Return to Peril
  • 12. The End of the Scope

Background: Terrance Dicks adapts the 1973 scripts by Robert Holmes, which also makes season 10 the first complete season available in Target form.

Notes: The story follows on immediately from The Three Doctors, published two years before. The Scope draws in its audience, creating ‘a mild hypnotic effect, making the viewer feel part of the scene he was witnessing’. As well as environments containing humans, drashigs, Cybermen and Ogrons, we’re told that the Scope also has a collection of Ice Warriors. The Doctor uses a flare gun that he pocketed from the SS Bernice to ignite the marsh gas on the drashig’s planet (he uses his sonic screwdriver on TV). The drashig differs significantly from the beast seen onscreen; lacking the six eyes and gaining limbs, it’s less worm-like and a lot closer to the plesiosaur on the original front cover:

… something between a dinosaur and a dragon with squat body, powerful clawed legs, a sinuous neck and a mouth that seemed to contain not two but at least a dozen rows of enormous razor-edged teeth. The eyes were small and blinking, the nostrils huge and flared. 

Describing his part in vanquishing the drashigs, Vorg claims he is an ‘old soldier’. After the death of Kalik, Orum confesses to his part in the conspiracy, but Plectrac assures Jo that an inquiry must still take place for the sake of procedure – and it’s this that prompts the Doctor and Jo to depart..

Cover: Within a bright yellow frame, Chris Achilleos shows a plesiosaurus as it curves around a ship in the ocean and a monochrome Doctor looks sternly at the reader. The 1993 reprint cover art by Alister Pearson is a lot busier (in a good way!), incorporating a dramatic portrait of Jon Pertwee, two face-pics of Shirna and Vorg in a moody blue, while an Inter Minor administrator inspects the mini-scope and two drashigs loom up from the bottom of the page.

Final Analysis: Adapting Robert Holmes’ satire on bureaucracy, Dicks seems to tap into some of Malcolm Hulke’s influence. HIs description of the splitting of the ruling and functionary castes into two different species seems vaguely more political than usual. By the story’s conclusion, Officials and Functionaries alike congregate to congratulate Vorg and there’s no sign of the lower caste being ushered away. Maybe that’s wishful thinking but the suggestion is there. As mentioned in the introduction, this was one of four books I received as a Christmas present in 1980, the first Target books I owned, rather than loaning from the library. This was a year before I saw the story repeated as part of the ‘Five Faces of Doctor Who’ season, so it was a favourite even before I saw what a Drashig looked like, which for once was much more creative and fearsome on TV than the book had led me to believe.

Chapter 27. Doctor Who and the Pyramids of Mars (1976)

Synopsis: A vision of a monstrous face in the time vortex leads the Doctor and Sarah to the home of Marcus Scarman, an Egyptologist. Scarman has disappeared and his brother has come to the house looking for answers. But Marcus Scarman is dead, his body now used like some cruel toy by an ancient evil – the god of Death known as Sutekh.

Chapter Titles

  • Prologue
  • 1. The Terror is Unleashed
  • 2. The Mummy Awakes
  • 3. The Servents of Sutekh
  • 4. The Return of Marcus Scarman
  • 5. The World Destroyed…
  • 6. The Mummies Attack
  • 7. The Doctor Fights Back
  • 8. ‘I am Sutekh!’
  • 9. In the Power of Sutekh
  • 10. A Journey to Mars
  • 11. The Guardians of Horus
  • 12. The Weapon of the Time Lords
  • Epilogue

Background: Terrance Dicks adapts scripts from a 1975 serial attributed to Stephen Harris, but which was rewritten by Robert Holmes from an original submission by Lewis Greifer.

Notes: Yes! A prologue that lays out the history of Sutekh’s battle with 740 Osirians (not Osirans) and his imprisonment for thousands of years. Marcus Scarman’s discovery of Sutekh’s tomb is also a little more detailed (when Ahmed flees the tomb, Scarman dismisses him as a ‘Superstitious savage’!).  Ibrahim Namin is the High Priest of the Cult of the Black Pyramid and his knowledge of the great writings of his people, which warn that the Great Pyramid must never be opened, but when he finds the pyramid desecrated by Scarman, Namin encounters Sutekh, who convinces him that it is part of the plan. We’re then presented with Namin’s journey to England and the reactions of the locals, including Dr Warlock and Scarman’s brother, to his arrival at the manor house.

The Doctor remembers Victoria and Dicks provides a little context there, as we’re given a potted history of the Doctor’s involvement with UNIT and Sarah’s recognition that he’s had other companions before her. Later on, Sarah tells Lawrence Scarman that she’s from ‘the future’ – so none of the ‘1980’ stuff that’s caused nightmares for fans and Peter Grimwade ever since. As Sarah sees the image of Sutekh, it’s accompanied by ‘a deep discordant organ-note’ – foreshadowing Namin’s playing in the next scene. How cool is that? Sarah can hear Dudley Simpson’s music just as clearly as we can!

The epilogue reveals that Sarah (presumably after she has left the TARDIS for the last time) has managed to find a local newspaper report of the blaze that destroyed the priory. The article details the huge loss of life, simultaneously explaining away the coincidence of the Scarman brothers, their friend Dr Warlock, the local poacher and Ibrahim Namin, a guest at the house, together in one place. The report concludes that Lawrence Scarman’s many technological devices installed throughout the house may have been the cause of the fire. Sarah recognises that somehow a natural explanation was found to explain away the disaster, but that the sacrifices of so many people there had ensured that she could be safe in her own time, at the end of the Twentieth Century.

Cover: A fairly simple Achilleos cover for the first edition, featuring portraits of the Doctor and a fierce-looking Sarah (wielding a rifle) as a servo-Mummy fills the centre of the frame. Andrew Skilleter’s 1982 cover shows three Mummies in front of an enlarged generic Egyptian death mask. Alister Pearson’s 1993 cover is the best of the lot as the Doctor is framed within a triangle, flanked by the black-garbed servant of Sutekh and a Mummy, while Sutekh himself dominates the lower half of the cover, all against a background of Mars emanating some weird slit-scan-like rays.

Final Analysis: A very tidy adaptation as Dicks adds minimal details at the beginning and end to help things along. One particular neat addition is that he explains Sarah’s unnerving ability to recall details that the Doctor (and the audience) might need to know; in this case, she researched an article on Egyptology some years before and some of the details have stayed with her. Thanks, Terrance!

Chapter 3. Doctor Who and the Crusaders (1965)

Synopsis: The Doctor and his chums meet King Richard the Lionheart, his willful sister, Joanna, and his nemesis, Saladin.

Chapter Titles

  • Prologue
  • 1. Death in the Forest
  • 2. The Knight of Jaffa
  • 3. A New Scheherazade
  • 4. The Wheel of Fortune
  • 5. The Doctor in Disgrace
  • 6. The Triumph of El Akir
  • 7. The Will of Allah
  • 8. Demons and Sorcerers

Background: David Whitaker adapts his own scripts from a serial broadcast in March to April 1965, published by Frederick Muller Ltd in September 1965, first reprinted as a Target book in 1973.

Notes: The prologue gives us a short summary of what’s happened since the first book – and it is incredible. Apparently Susan had left the Tardis to live with David Cameron (!) and her place taken by Vicki, who we met in the previous volume. Ian and especially Barbara are now perfect physical specimens thanks to their travels and Barbara is now apparently ‘the admiration and desire of all who met her’ [see The Keys of Marinus and The Romans], but he’s foreshadowing future events too. Though it’s never explicit on screen, Ian and Barbara’s ‘destinies were bound up in each other’. There’s mention of an unseen adventure involving ‘the talking stones of the tiny planet Tyron in the seventeenth galaxy’ while Barbara and Vicki are playing Martian chess.

… and then Whitaker has the Doctor explain why they can explore all these alien worlds and interfere but they can’t change anything in Earth’s history. The examples he chooses from history – from Pompeii to John F Kennedy – are frank and somewhat surprising. And then, with some additional foreshadowing that really sets out Whitaker’s aims, we have this from the Doctor:

‘The next time we visit Earth,’ he said, ‘I hope we encounter a situation where two men are opposed to each other, each for the best reasons… ‘That is the only way to understand the folly, the stupidity and the horror of war. When both sides, in their own way, are totally right.’

Cover & Illustrations: Henry Fox’s original cover shows a raging crusader and the Tardis with a yellow background, while the Armada hardback by Mary Gernat shows the Doctor fleeing a crusader on a blue background. Chris Achilleos’s Target cover features the Doctor with a strong likeness of Julian Glover as King Richard. The 1975 White Lion hardback again pops Tom Baker in along and the one I first owned was the 1982 Andrew Skilleter cover shows the Tardis (I think it’s from an early Peter Davison photo). Henry Fox’s 15 illustrations are gorgeously melodramatic, in particular the image of Barbara about to be whipped.

Final Analysis: My surprise at the impressive prologue suggests that this is the first time I’ve read this book!

As with the previous two volumes, this expands upon the scale of what could be achieved in Riverside Studio 1. In fact it’s hard to visualise a small studio set at all when there is such a sense of distance between each location. Whitaker develops the romance between Ian and Barbara, which gives the pair extra motivation to be reunited, although he also adds to the horror of Barbara’s experience by having El Akir whip her repeatedly, leaving her badly scarred (the death of El Akir is also more violent, strangled before his skull is dashed against a wall, rather than the more theatrically clean stabbing on telly). It’s a mature work, living up to the promise of the prologue by trying to present both sides of the war evenly and with Ian trying to explain how all religions have a basic central idea of a higher being.