Chapter 142. Doctor Who – The Daleks’ Master Plan Part II: The Mutation of Time (1989)

Synopsis: Joined by Sara, who now accepts Chen’s treachery, the Doctor and Steven continue to evade the Daleks. A stop-off in ancient Egypt leads to a reunion and a bloody massacre, before a return to Kembel and a final confrontation with Chen and the Daleks’ Time Destructor.

Chapter Titles

  • 1. The Nightmare Continues
  • 2. The Feast of Steven
  • 3. The Toast of Christmas Past
  • 4. Failure
  • 5. Volcano
  • 6. Land of the Pharaohs
  • 7. Golden Death
  • 8. Into the Pyramid
  • 9. Hostages
  • 10. Escape Switch
  • 11. The Abandoned Planet
  • 12. The Secret of Kembel
  • 13. Beginning of the End
  • 14. The Destruction of Time
  • 15. The Nightmare is Ended

Background: John Peel adapts scripts from episodes 7-12 of the 1965 serial known collectively as The Daleks’ Master Plan, by Dennis Spooner and Terry Nation. This is the first time since ‘The Space War’ that a novelisation has had a different title to the one used on the TV episodes (although see ‘Cover’ below for more). This book completes the run of stories from season 3.

Notes: The back cover blurb on the original release mentions a ‘Time Destroyer’. The opening chapter reveals that Sara has been having nightmares about Bret’s death and she sleeps with a light on. She’s been aboard the TARDIS for ‘several months’ and considers it her home now (Peel clearly a supporter of the ‘Sara as companion’ fan myth). The Doctor has read the American novelist Peter S Beagle and quotes from The Last Unicorn. Trying to provide some comfort to Sara, the Doctor reveals a personal philosophy:

…if you found out that the Daleks had killed Chen, then you’d want to find out something else, and then something else after that. There are no endings – everything continues to grow and to progress. One of the reasons that I never learned how to control this old ship of mine was to prevent myself from falling into that trap of yours – wanting to see happy endings.

He then tells her about his own granddaughter and the two schoolteachers, who he likes to imagine married and surrounded by their own ‘noisy children’. The reason for the Doctor’s original stay on Earth is revealed! A ‘catastrophic malfunction had forced him to rebuild part of the main console’. 

Peel’s description of Liverpool is very accurate – the red bricks were indeed blacked by pollution in 1965 and well into the following decade (as seen on the opening titles of the Liverpool-set sitcom The Liver Birds). The police officers in Liverpool are (altogether now) named after actors from the popular BBC drama Z Cars – (Colin) Welland, (Brian) Blessed, (James) Ellis and (Frank) Windsor; three of whom had appeared in Doctor Who on TV by the time this book was released. The joke about the Doctor recognising a man from a market in Jaffa is retained (unusual as Peel tends to cut a lot of the sillier elements from stories). Steven decides to copy the sergeant’s accent, as on screen, but this needs a little unpicking. We’re told that Steven sounds ‘like a bad actor’s version of North Country speech’. On TV, despite being in Liverpool, only Peter Purves manages to effect a decent Scouse accent (he does very well!) but everyone else does ‘generic Northern’. In Z Cars, which was also set in Liverpool, none of the characters who pop up here actually had the local accent: James Ellis was from Belfast; Brian Blessed from South Yorkshire; Frank Windsor from Walsall, West Midlands; and Colin Welland from Leigh. So even if these had been the actual characters from Z Cars (as the production team had hoped), Steven would still have been the only one with a Liverpool accent! Just to continue the nitpicking, in 1965, the sergeant in Z Cars was played by Bob Keegan, who was the only one of the regular characters to have a genuine Liverpool accent (he appeared in Doctor Who many years later, as Sholakh in The Ribos Operation).

Steven has a serious crush on Sara and wishes she found him attractive. The clown figure who the Doctor helps in Hollywood is clearly Charlie Chaplin (he’s specifically not him on TV). 

New arrival to the Dalek cause is Celation, a ‘tall creature, which breathed the oxygen-rich air with difficulty, giving his speech a throaty, disjointed effect’ (it’s a close match for the description of the alien ‘Warrien’ in the previous volume and there is a theory that Warrien was actually a mis-named Celation!). The Dalek force includes a ‘chief’ or first scientist along with a second scientist and ‘monitor Daleks’ who keep an eye on computer banks. The Time Destructor looks like ‘a large, glass-encased cannon’ (as opposed to a globe made of tubular spokes as on telly). The Dalek time ship is ‘a featureless silver-grey cube’ (‘some ten feet to a side’, Steven notes when it lands in Egypt) and its commander is the Red Dalek seen on the book’s cover. Chen is disturbed to learn that the Daleks have their own stash of Taranium and they claim they used him to obtain more merely out of expedience; they have sufficient to power their time-machine but not enough for the Time Destructor too, so this would appear to be a lie just to undermine Chen’s over-confidence. There’s reference to the Dalek Prime back on Skaro. 

The TARDISes of both the Doctor and the Monk are said to have ‘chameleon circuits’ (a phrase that wouldn’t be used on telly until Logopolis – but see Doctor Who and the Doomsday Weapon and Doctor Who and the Terror of the Autons). Working away on the TARDIS lock, the Doctor has a bit of a rant:

The Doctor worked away on the lock, muttering to himself. ‘I think it’s about time that some people remembered that these journeys of mine are for the purpose of scientific discovery! I’m not in the business of giving sight-seeing tours of the Universe, with everyone behaving like a bunch of rowdy tourists and rushing off to look at whatever they wish! I thought that Barbara and that Chesterton fellow were bad enough, but it’s getting worse! Much worse’ The Doctor continued muttering under his breath as he laboured on, unaware that he was alone, at least for the moment.

The Monk ‘never paid attention in class’ so is aware that his knowledge of history is hazy and doesn’t actually know which year he’s landed in, having followed the Doctor. He does, however, recognise a Dalek, having ‘paid attention to a few things in class’ [so the Time Lords of the Monk’s time study Dalek history!]. The Doctor doesn’t actually dislike the Monk, and feels that  ‘with the proper guidance, the man might make himself useful instead of troublesome’. The massacre of the Egyptians is much more even-handed with the Red Dalek destroyed by an onslaught of heavy rocks. Inspired by his warriors fending off the alien invaders, the Egyptian Khephren decides to commission a monument of the Sphinx to guard the Pharaoh’s pyramid. 

Mavic Chen and the surviving Daleks return to Kembel in the time-machine and are greeted by the Dalek city administrator (the idea of a Dalek whose role involves admin is reassuringly comical). The Doctor assumes that the absence of Varga plants is a sign that they’ve been allowed to die off as the Daleks no longer need to use them as guards. Chen shoots Beaus dead (on TV, Gearon is Chen’s victim). The Doctor accompanies Sara and Steven when they release the delegates from the locked room – and he persuades Sara to spare Chen’s life, reminding her of the political chaos on Earth that might result from his death. 

Chapter 13 is a reworking of a recurring Terrance Dicks title, ‘Beginning of the End’. The heart of the complex contains a vast hanger that houses hundreds of Dalek saucers, maintained by Daleks on ‘flying discs’. The Doctor uses his cloak to break the circuit on a Dalek door and he recalls the first such doorway he encountered in the Dalek city on Skaro. Caught in the winds of the Time Destructor, Sara begins to hallucinate the ghost of her brother:

Sara collapsed, and felt dust and sand on her face. She hardly had the strength to open her eyes, but somehow she managed it. The twig-like fragility of her arm shocked her, as she clawed towards the fallen Time Destructor. It was no use, no use… she was too weak, too old now… Her dying vision blurred, and in the glow of the Destructor, she felt certain that she could see the smiling face and beckoning finger of her brother’s spirit.

Sara felt a sudden peace, and all was still.

Affected by the reversal of the Time Destructor, the Daleks become embryos and then briefly humanoid before turning to dust. Back on Skaro, the Dalek Prime realises that the fleet on Kembel has been destroyed and it is filled with a desire for revenge. On Earth, Karlton is arrested by Senator Diksen for his part in Chen’s treachery. He reveals that Marc Cory’s lost tape was found on the body of Bret Vyon (and it contained a recording that was not part of the one he makes in Mission to the Unknown). The story concludes with the scene where the Monk discovers he is stranded on a frozen world.

Cover: Alister Pearson’s cover is much more understated than for Mission to the Unknown. A severe-looking Doctor (referencing a photo fromThe Space Museum) is formed in the stars of a nebula as a very grand Dalek with a red casing and blue spots dominates the frame (based on a Madame Tussauds Dalek that appeared on the back page of the 1983 Radio Times 20th Anniversary Doctor Who special). The livery is an invention of John Peel, but it really works and it’s a shame it never appeared on telly. The title as shown on the front cover is ‘The Mutation of Time’ (a new title not taken from the episodes), but a circular flash states that this is ‘The Daleks’ Master Plan Part II’, while on the spine it’s ‘The Daleks’ Masterplan Part II’ (‘Masterplan’ is one word). The title page inside gives the title ‘The Daleks’ Masterplan Part II The Mutation of Time’.

Final Analysis: As he moves into the second half of The Daleks’ Master Plan, which was authored mainly by Dennis Spooner, it’s a relief that John Peel allows himself room for a little fun in a way that he tactfully avoided with The Chase. Whether it’s the farce of the Hollywood scenes or the triviality of the Monk’s side-quest, the first half of this volume is a hoot. It’s only when the action returns to Kembel that the mood changes to something more sombre.

Officially, Sara Kingdom was not a companion (something Jean Marsh herself stressed at her first ever convention in 1996, to the shock of many), but fandom has always included her in the lists and here, John Peel makes sure she counts by giving her several months as a passenger aboard the TARDIS. The opening chapter delves into her fractured psyche, tortured by her guilt over killing her brother and wanting absolution through the certainty that Chen will pay for his manipulation of her. Whatever the original intentions of the production team, these two books ensure that for the fans – she counts!

Over the course of his first three books, Peel manages to capture William Hartnell’s performance better than any other writer. The tetchiness is present in the works of other authors (including Terrance Dicks), but it’s his lightness and sense of humour that really lands here – where it’s appropriate, Peel remembers to make the Doctor funny. In this volume, the Doctor is said to ‘steeple’ his hands together, which conjures up a perfect mental image of the kind of pose this Doctor often adopted. I’m a huge fan of The Daleks’ Master Plan, both in what we’re still able to experience on video and audio, plus all the mysteries that surround it (who are all those delegates?!) – but I’m now a fan of John Peel too. It was an ambitious risk to take on this epic adventure, but in Peel’s hands, it’s a huge success. Who couldn’t love the way he disposes of his main villain (with echoes of Caligula in I Claudius)?:

The Daleks opened fire, and several of the bursts of rays caught him squarely. Mavic Chen staggered slightly, staring at them as the wave of energy washed over him. As it ceased, Chen suddenly realized that he had been terribly, terribly wrong. He was not immortal after all…

Chapter 141. Doctor Who – The Daleks’ Master Plan Part I: Mission to the Unknown (1989)

Synopsis: On the planet Kembel, delegates assemble for a conference led by the Daleks. Among the attendees is the Guardian of the Solar System, Mavic Chen, who has betrayed the planet Earth by providing a vital element for the Daleks’ latest weapon, the Time Destructor. The Doctor steals the element but, cut off from the TARDIS, he and his friends take Mavic Chen’s ship in a bid to warn Earth of his treachery. Chen alerts the Space Security Service and identifies the Doctor as the traitor. Now, Space Agent Sara Kingdom has Chen’s enemies in her sights…

Chapter Titles

  • 1. The Toppled Towers of Ilium
  • 2. The Screaming Jungle
  • 3. Extermination!
  • 4. The Nightmare Begins…
  • 5. No Ordinary Ship
  • 6. The Day of Armageddon
  • 7. The Face of the Enemy
  • 8. Devil’s Planet
  • 9. Dangers in the Night
  • 10. The Sacrifice
  • 11. The Traitors
  • 12. Counter-plot
  • 13. Allies
  • 14. Desperate Measures
  • 15. Out of Time
  • 16. Interlude

Background: John Peel adapts scripts from Mission to the Unknown, by Terry Nation, and episodes 1-6 of the 1965 serial known collectively as The Daleks’ Master Plan, by Terry Nation and Dennis Spooner.

Notes: The opening chapter dramatises the events that were missing from Donald Cotton’s jolly adaptation of The Myth Makers. Katarina struggles to comprehend much that she witnesses, so we have to assume a lot of terminology is translated for our benefit. Nevertheless, she considers the TARDIS control room to be about thirty metres across, with walls that look like polished stone. She compares the sound of the TARDIS dematerialising to ‘Cerberus, guardian hound of the Underworld’ (have we had it compared to a growling dog before?). The wound in Steven’s shoulder on TV has become a gash to his side; while the attacking blade didn’t strike anything vital, Steven has lost a lot of blood and the Doctor also worries that the sword was unlikely to have been sterile, exposing Steven to germs from way before his own time [and see The Ark for how something similar plays out to humans from Earth’s future].  

Chapter 2 takes its title from an earlier Nation-scripted episode. Gordon Lowery is the captain-pilot of a crashed ship. The ship’s passenger, Marc Cory, is ‘lean, tall and dark, in a good-looking way’ and ‘just a shade on the right side of thirty’. Cory and Lowery discuss the Dalek-Movellan wars a thousand years before and the Dalek expansion across the Andromeda galaxy and the region of Miros. The Black Dalek has been despatched to Kembel by the Dalek Prime on Skaro (mentioned in Peel’s novelisation of The Chase). The Black Dalek is second in the Dalek hierarchy and rarely leaves Skaro.

The descriptions of each representative of the alliance seem to match the (later revised and debunked) best guesses available in 1989: Gearon, ‘a somewhat faceless creature with an egg-shaped head’, wears a thick visor as his world is ‘almost perpetually in darkness’; Trantis has tendrils on his face and is vaguely telepathic; Beaus is from the Miron systems and is a tall creature, half-vegetable, half animal, ‘like an animated tree’ [and] possessing two burning eyes’; Warrien wears a ‘cowled hood and a pressure suit that contains an atmosphere other than oxygen; also wearing a spacesuit, Sentreal has a ‘dark face… wreathed in the chlorine fumes that he breathed, and a small radio antenna on his head [that] kept him in constant contact with his fellow beings still on their ship (his people share a communal mind, and Isolation from the others would apparently kill him); Malpha, the last of the members, is ‘tall and colourless’ with a white suit and skin, aside from ‘the thick, dark network of veins that created a patchwork of his face’. Later, we meet Zephon, who dresses all in black with just his eyes visible through the hood of his cloak.

On TV, the terms Space Security Service and Special Security Service appear interchangeable, but here only the back cover uses ‘Space Security’. Lizan had joined the SSS with ambitions to work in an embassy on Draconia or Alpha Centauri; instead, she was allocated as section leader in Communications Central, a post that comes with a lime-green uniform. The Communications map shows Earth territories in blue, with Dalek space marked in red. Mavic Chen is over six feet tall with a ‘trim, muscular body’. His face showed signs of an ‘oriental ancestry, but much mixed with other races’. His white hair is closely cropped and his eyes are deep blue and ‘hypnotic’, while his voice is ‘deep, clear and precise’ and displays ‘no signs of age’. In his broadcast interview, he discusses ‘mineral agreements with the Draconian Empire’. 

When the Doctor returns to the TARDIS on Kembel, he sees a Dalek emerging from inside it! Before fleeing the TARDIS, Bret manages to select some suitable clothes for Steven, which he changes into only after the Doctor has led Katarina away to give Steven some privacy (this solves a mystery that is unresolved from the TV episode, where as far as we can tell we never learn when Steven changes out of his armour). The Doctor observes that the Daleks now have solar panels on their bodies to enable them to move about without static electricity – but their city is still built from pure metal, like the one he saw on Skaro. He also remembers that the Dalek time ship that chased him, Ian, Barbara and Vicki through time was powered by taranium, like the Time Destructor.  Realising that the Daleks will pursue them for the taranium core, the Doctor tells Bret Vyon ‘We haven’t escaped from danger – in fact, the danger has barely begun!’ … there’s a chapter title desperate to be used here…

According to Bret, Earth is three days away from Kembel, but he points out that their diversion to Desperus will have allowed Chen to reach Earth before them. Chen’s deputy, Karlton, differs from his bald and smooth-faced appearance on telly: ‘His craggy features were lined with care, and his hair was thick and grey.’ Chen views Sara Kingdom as ‘a born warrior’.

She reminded him of a tightly coiled spring – ready to leap in any direction at an instant’s notice. She was dressed in the inevitable black catsuit that all SSS agents wore, accentuating her perfect figure. She was beautiful, but it was the beauty of ice or steel. Her hair was shoulder-length, and curled inwards. Her face was somewhat elfin. If she smiled, Chen knew she would be considered very desirable. He could not imagine her smiling. Her blue-grey eyes gave back no warmth. She looked every inch the perfect killing machine that her record had informed him she was.

Chen has never ‘felt the attraction of women himself’, believing they’d want a share of his power. The Doctor is similarly unswayed, irritated by Sara’s crying, as he feels pained by ‘overt displays of sentimentality’. 

The machine that brings the Doctor, Steven and Sara to Mira does not contain mice. There’s a more energetic battle with the Visians – and they can talk! Surrounding the Doctor, they chant ‘Kill it!’ in ‘wet, reedy’ voices. Although they’re invisible, one of them is pushed into a pool and emerges swathed in mud, revealing ‘thin, bony, with two long, clawed arms, feet like birds’ claws, and a narrow head with a beak’. Later, fearing the metallic invaders seek to take over their foraging areas and wipe out the whole tribe, the Visians stage a huge attack against the Daleks. The Doctor has ‘examined a number of Dalek installations and craft during his numerous encounters with them’, and is fairly familiar with the design that he faced now [suggesting either that he and Steven have had multiple unseen adventures involving Daleks since The Chase, unless the Doctor is counting multiple ships during the Dalek invasion of Earth too]. Some of the Daleks aboard the ship have mechanical claws instead of suction cups on their arms.

While walking towards the TARDIS, the Doctor tells Chen the name of his ship and introduces himself – thereby solving a minor continuity issue later on from the TV version. The TARDIS door is still open from when Steven and Katarina left it (so the Doctor doesn’t need to give Sara the key). With the real Taranium Core still in his possession, the Doctor speculates that Chen will get his comeuppance when the Daleks inevitably turn on him. Sara is invited to stay in Vicki’s old room and freshen up with a bath. The three fugitives await their next encounter with the Daleks…

Cover: Alister Pearson gives us another appropriately energetic composition similar to The Chase, It showcases the black Dalek leader (cleverly repurposed from a photo of a Dalek from Resurrection of the Daleks!), surrounded by Mavic Chen and his spaceship, the Doctor and a selection of delegates. The title as shown on the front cover is ‘Mission to the Unknown’ but a circular flash states that this is ‘The Daleks’ Master Plan Part I’, while on the spine it’s ‘The Daleks’ Masterplan Part I’ (‘Masterplan’ is one word). The title page inside gives the title ‘The Daleks’ Masterplan Part I Mission to the Unknown’.

Final Analysis: Poor Katarina. While we might accept that a person can’t change ‘one line’ of history, this is usually because a character wants to overthrow an entire regime or culture, but this is all tied to the destiny of a single otherwise unimportant handmaiden. The Doctor chastises Steven for asking too many questions and praises Katarina for the way she ‘simply looks and learns’, but it’s this quality that seals her fate; having learned of the importance of the Spar’s outer door, she realises that she can save her new friends by opening it and allow her destiny to be fulfilled. Steven has a personal reason for being patient with Katarina, aware that her kindness probably saved his life: his justification that ‘she’s from Troy’ is enough for him. Bret Vyon lacks Steven’s experience with time travel and simply thinks there’s something wrong with the girl, while the Doctor is irritated by her stupidity and vows to never accept a companion from a pre-technological age. This shows just how impractical Katarina is as a character. While we might empathise with her bewilderment at being transported in a space vessel, her confusion over something as simple as a key makes her much more alien to the reader than any of the delegates in the Dalek conference room. And Bret is right – the mission to inform Earth of the Dalek plan is greater than any one individual… and with Steven restored to full health, their own success is enabled by the sacrifice of the most disposable of the team. 

All of this is present in the televised episodes, but John Peel foreshadows the tragic event throughout the early chapters. It also gives credence to the ‘primitive’ beliefs of Troy and the prophecies of Cassandra. From what we can tell from the surviving episodes and audio recording, The Daleks’ Master Plan is a bit of a ‘best of’ compilation – the most impressive space ships up to that point, the best jungle – and the Daleks are at their most sinister and scheming. Peel doesn’t miss a beat in conveying this on the page. Chen is every bit as pompous and self-aggrandising as in Kevin Stoney’s TV performance and this might also be the most accurate depiction of the first Doctor in over 140 books; he’s every bit as irascible as he is in Terrance Dicks’ Dalek Invasion of Earth or The Smugglers, but Peel also remembers to make him funny, with that self-congratulatory chuckle. For any inattentive fan who didn’t know how long this story is (and missed the ‘part 1’ on the cover), this book also ends as if we’re done with the Master Plan. But as someone would later say in another episode, ‘It’s far from being all over…’

Chapter 136. Doctor Who – The War Machines (1989)

Synopsis: The white heat of British technology is evident in the impressive new tower in the heart of London. At the top sits a powerful super-computer – WOTAN – enabling rapid communication across the world. The computer’s inventor, Professor Brett, is in fact a servant of WOTAN, helping the machine to build a fleet of mobile battle-tanks. Soon, the War Machines appear on the streets of London – and the Doctor is required…

Chapter Titles

  • 1 The Home-Coming
  • 2 The Super-Computer
  • 3 A Night Out
  • 4 Servant turned Master
  • 5 Putting the Team Together
  • 6 Working for the Cause
  • 7 A Demonstration of Power
  • 8 The One Who Got Away
  • 9 Attack and Defence
  • 10 Taking to the Streets
  • 11 Setting the Trap
  • 12 The Showdown
  • 13 We Can’t Stay Long

Background: Ian Stuart Black adapts his own scripts for the 1966 story, 22 years and seven months after it aired. On transmission, Kit Pedler was credited as having been responsible for the idea of the story, though it’s still not clear how much of this was just a PR exercise from the production team to highlight their science-based aspirations; if the idea was no more than ‘a computer at the top of the new Post Office Tower’, this wouldn’t be sufficient to lay a claim to a share of the copyright, which might also explain the lack of a credit for Pedler at the front of this book.

Notes: The opening chapter sees Dodo helping the Doctor to steer the TARDIS to its next destination (a task she’s inherited from the recently departed Steven). The Doctor can apparently ‘predict exactly where they would materialise’ [we can look to the start of The Savages for why this might now be the case, as he has time to calculate their exact position in the universe for possibly the first time in a while]. Seeing the name ‘Carnaby Street’ on the TARDIS monitor, Dodo reacts as if the street is brand new; it first appeared on documentation in the 1680s and it had been a destination for jazz fans since 1934, slowly transforming into a string of boutiques by about the time Dodo absconded aboard the TARDIS (as a schoolgirl, she was probably too young for it to have appeared on her radar). 

It’s the Doctor, not Dodo, who realises that the new construction in the centre of London is ‘finished’ and he observes that it’s called the ‘Post Office Tower’, though ‘in all probability they would change that name’; opened to the public in May 1966, just two months before the broadcast of the first episode of The War Machines on TV, the building became the ‘British Telecom Tower’ in the mid-1980s before settling on ‘The BT Tower’ in the 90s. William Hartnell’s fluff of the word ‘sense’ to ‘scent’ becomes the Doctor’s intention all along, prompting Dodo to make a joke about London fog. Curiously, Dodo doesn’t know what a milk bar is (they existed in her time and a girl from London would know, but she’s acting as an agent for the reader here). The Doctor is said to be wearing a ‘velvet jacket’.

The duo head to a nearby cafe, where the Doctor speculates that his former companion Ian Chesterton will have become something of note in the world of science and in all probability had something to do with training the staff at the new Tower – and it turns out he’s entirely correct! The Doctor fakes documents that provide him with an introduction, a minor act of subterfuge that then enables him and Dodo to investigate the operations at the top of the Tower – and his credentials are checked and verified by Major Green. Professor Brett has heard Ian Chesterton speak of the Doctor often.

Polly is ‘an attractive girl with long blonde hair and blue eyes’ and she wears a very short skirt that shows off ‘her long and shapely legs’. Dodo thinks that she and Polly might be ‘about the same age – not that Dodo was too sure what her own age was nowadays’ (Dodo was a schoolgirl of about 15 when she first entered the TARDIS and Polly is at least 18 – she’ll have had to attend secretarial school – so that’s a sizeable age gap of Dodo’s for Big Finish to cover there). Polly offers to take Dodo to a new club, The Inferno, which is in Long Acre (that’s a swift 20-minute walk there – and 20 minutes back – so she apparently wangles an early finish on the Friday before the project’s big launch (miraculous in itself!). WOTAN says that ‘The Doctor is required’, not ‘Doctor Who’ as on telly. Spoilsport.

The War Machines have names, not numbers, and the one captured by the Doctor is called Valk. It has no weapons, so the Doctor installs an automatic rifle. Polly and Ben force their way aboard the TARDIS because they feel he’s trying to get rid of them – and not because they’re returning his key.

Cover: You really wouldn’t want much more from this cover – a lovely shot of the Doctor, a War Machine and the Post Office Tower, with a close-up of WOTAN’s control panel in the background, broadcasting concentric circles of radio waves. Alister Pearson had help from Graeme Way with the concentric circles.

Final Analysis: Another author delivers his final novel and as with the TV story it’s based on, it’s Ian Stuart Black’s best one. There’s some lovely foreshadowing in Chapter 1 of both the Doctor and Dodo realising this will mark the end of their travels together. That chapter also boasts an introduction to the idea of time travel, and indeed what time itself actually is:

Of course he knew that in one sense Time was a fiction – an attempt by man to measure duration with reference to the sun and stars. But he also knew that although such measurements were based on an impressive formula, all man’s concepts were fraught with error. Time was not as it was supposed to be, for here they were, he and his single crew-member, Dodo, travelling fortuitously across space, splitting Time into fragments – or more exactly, ignoring the passage of time, the rising and setting of the sun, the ebb and flow of tides, the coming and going of the galaxy in which they voyaged. 

While Dodo’s departure is only slightly less abrupt than it was in the original, this very swiftly becomes the story of Ben and Polly, who we first met in Doctor Who and the Cybermen (1975). We’ve long forgotten Gerry Davis’s fudging of their origins in those early Target books and they feel as much a part of ‘Swinging Sixties London’ as a story set in the very heart of the ‘white heat of technology’ can possibly allow.

Chapter 121. Doctor Who – The Massacre (1987)

Synopsis: The Doctor decides to explore 16th-Century Paris and leaves Steven to fend for himself. Steven soon befriends a group of men and a servant girl who are Protestant Huguenots persecuted by the ruling Catholics. A visiting abbot bears a striking facial resemblance to the Doctor, enough for Steven to believe he is really his friend in one of his disguises. But then the abbot is murdered and the public mood makes Paris a dangerous place for the Huguenots – and anyone who has been seen with them, like Steven… 

Chapter Titles

  • Author’s Note
  • Dramatis Personae
  • Prologue
  • 1. The Roman Bridge Auberge
  • 2. Echoes of Wassy
  • 3. The Apothecary
  • 4. Double Trouble
  • 5. The Proposition
  • 6. Beds for a Night
  • 7. Admiral de Coligny
  • 8. The Escape
  • 9. A Change of Clothes
  • 10. The Hotel Lutèce
  • 11. The Royal Audience
  • 12. Burnt at the Stake
  • 13. The Phoenix
  • 14. Talk of War
  • 15. Face to Face
  • 16. A Rescue
  • 17. Good Company All
  • Epilogue

Background: John Lucarotti adapts his own scripts for a story from 1966.

Notes: The book features a Dramatis Personae that is very useful for working out who everyone is. The novel deviates significantly from the TV version, being neither an adaptation of the broadcast story, nor the author’s original submitted storyline; instead, it’s a new story that uses the same characters and basic plot points, but making much more of the Doctor’s similarity to the Abbot of Amboise. The Prologue presents the Doctor, clutching a copy of the diary of Samuel Pepys, in a garden that reminds him of the Garden of Peace that he visited with Susan, Ian and Barbara in the time of the Aztecs. There, he meets with a group of Time Lords (with whom he has resolved his previous ‘differences’) to explain his actions in 16th-Century France. Other than the Doctor being male, there is no indication that this is the first Doctor, or indeed any specific incarnation. We only know that the Time Lords still exist and that the Doctor considers himself in semi-retirement, having brought his travels in the TARDIS to ‘a temporary halt’.

There’s no reference to the Doctor and Steven’s recent quest to defeat the Daleks [see Doctor Who – The Daleks’ Master Plan part II: The Mutation of Time]. Instead, the duo arrives in the TARDIS and they check a ‘time/place orientation print-out’ on the TARDIS console with a faulty yearometer reading. Neither of them elects to wear period clothing until much later (the Doctor while impersonating the Abbot, Steven after he steals clothing from Preslin’s empty house). While training to become an astronaut, Steven performed in plays, including Hamlet, which is how he understood the phrase ‘shriving time’, which he overhears being said by two clerics. The Doctor finds himself joining a band of rebellious Hugenots who at first mistake him for the Abbot of Amboise, but later they force him to pose as the Abbot for a meeting with Catherine de Medici, the Queen Mother. 

The TARDIS is found and brought into the Bastille, where it becomes a talking piece among Parisian society (a locksmith receives an electric shock when he tries to gain entry). They inform the Doctor that the object is to be burned at the stake, which he finds hilarious – and the subsequent pyre leaves the TARDIS looking ‘ impeccably clean, even shiningly so’.

The Doctor and the Abbot meet and the Doctor has to stand by as the Abbot is killed by his loyal secretary Duval, believing him to be an imposter. The Doctor then usurps the Abbot to address the Royal Court and beseech them to stop their religious wars. Anne is sent to safety along with her brother and aunt. There is no surprise arrival of Dodo at the end. Instead, in the Epilogue, we return to the Doctor’s meeting with the Time Lords, where he rebuffs their charges that he interfered with established history, including their claim that his companion Dodo, who he met after this adventure, was proof that he had saved the life of Anne Chaplet. The Doctor recalls that Dodo had been ‘the spitting image of Anne’.

Cover: Tony Masero paints the Abbot of Amboise standing in front of the TARDIS atop a burning pyre. Alister Pearson’s 1992 reprint cover shows two faces of William Hartnell (suggesting one is supposed to be the Abbot), plus Peter Purves as Steven, Joan Young as Catherine de Medici and David Weston as Nicholas Muss, all in front of a church in sunset. Weston previously appeared in character as Biroc on the cover of Warriors’ Gate.

Final Analysis: So the legend goes, John Lucarotti’s first submission to the Doctor Who production office was said to lack historical detail. He more than makes amends here (as his author’s note attests), and as with The Aztecs, he creates a sense of being immersed in a real, lived-in world. Unlike, say, Time Flight, where Peter Grimwade wastes no opportunity to show off his Concord-related research, Lucarotti threads his fact-finding to improve the narrative. The Doctor and Steven explore Paris at the start, prior to making their way to the tavern, and the Doctor’s guided tour serves to help them pin down the approximate year in which they find themselves but also to sketch in the world around them. When we reach the catacombs where the rebels are hiding, we’re shown their peculiar mode of transport around the city – dog carts! I’d have loved to have seen William Hartnell zooming off stage left in one of those! One other addition from Lucarotti is Raoul, Anne’s 14-year-old brother. While the author might have felt that his addition would provide a little more logic to the revelation that future companion Dodo might have inherited the family name, the fact that she is said to be identical to Anne leaves some rather uncomfortable incestuous conotations that we’re best not to unravel.

Chapter 113. Doctor Who – The Ark (1987)

Synopsis: The TARDIS delivers the Doctor and Steven, with their new friend Dodo, to a huge space ark carrying the survivors of Earth to a new home. As most of humanity sleeps in miniaturised form, the ark is maintained by a small community of humans with the assistance of the alien Monoids, knowing that their journey will outlast them all. Then the humans and Monoids succumb to a terrible disease – the common cold, brought aboard by Dodo. The Doctor manages to find a cure and the trio leave – only to return to the space vessel almost immediately, but hundreds of years into the future for humanity, which is now enslaved by the Monoids…

Chapter Titles

  • 1. The Steel Sky
  • 2. Capture
  • 3. The Plague
  • 4. The Fight Back
  • 5. The Return
  • 6. Refusis
  • 7. Search
  • 8. The Final Conflict

Background: Adapted by Paul Erickson from the 1966 scripts he officially co-wrote with Lesley Scott.

Notes: We begin with a single word: ‘Jungle’. The opening scene provides us with a description of the Monoid that includes details not visible on telly:

But this creature was different from the snakes and lizards that were normally found in this jungle. In the first place it walked upright on two legs, two arms hanging at its sides. It made no sound, not even the hissing that other reptiles might make. And while its body was covered in scales, the head boasted a mop-like thatch of ginger hair.

Facially, it displayed three shrunken nostrils and a small, thin mouth from which a tongue occasionally flicked out.

But its most prominent feature was a large single eye that constantly swivelled as it looked around.

Later, we’re told that the Monoids have no vocal cords, but that they can ‘lip-read’ and understand sign language – which suggests that they are also deaf (or, more likely, that the author doesn’t understand the difference). 

The Doctor mentions a previous adventure that took place on the planet Venessia – or possibly Enlandia – where there was no landmasses, only water and a ‘peculiar form of crystal ice’. He also mentions events on the planet Sava, which he tells Steven he visited ‘some time ago,’:

Some time ago was right. No sense in telling the young man that it must have been three centuries in his terms, although in the Doctor’s own knowledge such a time span had little meaning. Places were places, creatures were creatures… and time was time. All in the now period. That was the only way he ever experienced it, the only way he knew it.

The Doctor has never been to Refusis, but he did pass by it with previous companions (presumably this is Ian and Barbara with either Susan or Vicki); on that occasion, the TARDIS was attacked by rockets and the Doctor had to steer his ship to make the missiles collide and destroy each other. The Doctor criticises Dodo’s use of the word ‘fab’, calling her English ‘Most… elastic’. The Guardian Commander has a similar reaction when Dodo claims she might have ‘an attack of the willies’ and uses the adjective ‘flipping’. The Doctor name-drops Houdini and tells his friends about the events that led to the escapologist’s death. Later, while teaching Rhos about vaccines, he compares their work to that of Marie and Pierre Curie. ‘a husband and wife team of scientists of the nineteenth century’. Dodo tells her new friends that it’s Friday the 13th, still failing to grasp that they’ve travelled in time.

The prisoner on trial at the beginning is called Niash and he is offered a choice of either death or miniaturisaton (on TV, he’s simply told he’ll be miniaturised). The Guardians measure their ship’s dimensions in leagues – it’s two thousand leagues long – but Mellium doesn’t know if a league is three miles or three kilometres (it’s three nautical miles). The ship has no name – although the Guardians adopt Dodo’s use of the term ‘ark’ – and it contains many different types of environment; in addition to the jungle, there are lakes, deserts and polar regions. 

The trial of the travellers is much more involved and fleshed out (the Doctor is concerned by Steven’s blunt defence, noting that ‘advocacy [is] a special art – one that often calls for delicacy rather than the heavy hammer’. The hunt for a vaccine involves an operation to take blood and saliva samples from all living things aboard the ark, including a goat. Dodo takes Manyak inside the TARDIS to fetch equipment for the Doctor’s experiments; Dodo compares some of the items to the kind used by dentists and Manyak reveals that they don’t have dentistry in their time. The perplexing size of the TARDIS interior to its external shell convinces Manyak of the truth at last. Dodo tells him that ‘Lots of people have been fooled by that’ and that the Doctor told her it’s all ‘an optical illusion’. [On TV, this is her first journey, but this does lend credence to the theory that she’s had a few offscreen adventures prior to this – or that Dodo feels confident in pretending to Manyak that she knows more than she really does, which – considering she takes a long time to accept that they’ve travelled in time – seems more credible].

The Doctor and his friends encounter a very tame tiger, which surprises them by licking Dodo’s hand with affection. They later learn that the humans removed aggression from their character to create their harmonious society – and then extended this gift to the predators among their livestock. Later though, a Guardian is attacked by a boa constrictor (observed by a curious Monoid) and in the polar region, the Doctor sees a polar bear and is told that not all animals were successfully converted away from aggression.

On inspecting a Guardian’s physical scan, the Doctor discovers that humans now have two hearts (though makes no reference to having two himself), two livers and a ‘greatly reduced intestinal system’, but have lost their vermiform appendix and tonsils, all the results of genetic manipulation many generations ago; the humans also have reduced musculature that makes them incapable of heavy lifting; in contrast, the Monoids have no heart, just a series of pulses, but they do have a nervous system. The Doctor applies the vaccine via pads, rather than needles (as on TV) and as he explains that the future humans are a ‘changed species’ from Steven and Dodo, he adds cryptically that he himself has ‘had more experience of adapting’ [this is the ‘first’ Doctor, but see some similarly confusing statements in Galaxy Four]. 

The Doctor’s quest to administer the vaccine takes him, Rhos and a Monoid via conveyor transport into the desert area, where they encounter a caravan of nomads, and to the ‘cultivated zone’ inhabited by farmers. An elderly woman tells the Doctor that not everyone on Earth came aboard the ship; some remained to live out their lives on the doomed Earth. The people of Earth abandoned country names ‘a long time ago’. Burial had been banned, replaced by mandatory cremation. Again, it’s noted that Guardians don’t do manual work, while Monoids accept it.

When the travellers first return to the TARDIS, the Doctor and Dodo grab some sleep while Steven is left ‘on duty’, but Steven falls asleep too and accidentally knocks a switch, which is why they return to the Ark in its future. They emerge aboard the Ark to discover that the previously placid predators have now reverted to type, as they see a tiger hunting gazelle. Monoid One is actually the 17th One, a descendant of the Monoid who assumed power after the war that resulted in the subjugation of the humans. Monoid Four comes from a long line of individuals who question decisions – and he feels that the treatment of the humans is wrong.

Dodo meets a second Refusian, a female who tells her they don’t have individual names, but decides that they should adopt some and chooses ‘Mary’ for herself and ‘Charles’ for her brother. Dodo tells Mary that the Refusis castle reminds her of a similar building she once visited in Wales, then the two new friends play a game of tennis. After the launcher is destroyed, Dodo panics that she might be stranded and suddenly realises that she’s millions of miles and years away from home. She speculates that back home she’d be shopping and preparing for a night out – but is quick to appease Mary when she inadvertently causes offense at being ungrateful for the Refusian hospitality. The time travellers stay to witness the arrival of the Ark’s population and revival of the miniaturised beings on the surface of Refusis, which is ‘a model of efficient organisation’ thanks to the cooperation of Monoids and humans alike. Among the revived people is Niash, the prisoner from the trial at the start of the story. As usual, the tag scene leading into the next story [The Celestial Toymaker] is not included here; instead, the Doctor attempts to give Dodo elocution lessons (‘The rain in Spain falls mainly on the Plain’, made famous by My Fair Lady). The old man promises his young friends a journey – but ‘no guaranteed destination!’

Cover: For the first edition, David McAllister shows the Doctor and a Monoid in a triangular motif as animals break the frame and run into space. For the 1993 reprint, Alister Pearson uses a border that’s reminiscent of the one he used on The Ark in Space and Revenge of the Cybermen, with Dodo and the Doctor either side of an attacking Monoid.

Final Analysis: This is a pretty solid adaptation, telling the story as seen on TV but with the kind of nuances and subtle enhancements that make these books all the more worthwhile. Paul Erickson provides a more rational explanation for how the Monoids managed to overthrow the human rulers (humanity having slowly removed aggression and physical strength from its genetic makeup, making them vulnerable to revolt) and really adds to the scale of the Ark and its many geographical simulations. Something he really excels with is Dodo, perfectly capturing her carefree and cheeky attitude. She’s an absolute hoot, annoying the Doctor with her never-ending supply of 60s slang. The book still contains two of the less credible elements too – the security kitchen (!) and the ‘galactic accident’ that led to the Refusians becoming invisible – which would have been a shame to lose.

Chapter 110. The Celestial Toymaker (1986)

Synopsis: The TARDIS has become trapped in the realm of the Celestial Toymaker, a strange and powerful being. He promises to free the Doctor and his friends – but first, they must play his games and if they lose, they will join his collection of dolls. As the Doctor pits his wits against the infamous trilogic game, Steven and Dodo quickly find the TARDIS – but it’s a fake, one of many. It won’t be that easy to defeat the Toymaker, especially when his doll servants cheat!

Chapter Titles

  • Foreword
  • 1. Trapped
  • 2. Bring On The Clowns
  • 3. Snakes and Ladders
  • 4. The Hall of Dolls
  • 5. Siege Perilous
  • 6. The Last Deadly Sister
  • 7. Enter Mrs Wiggs and Sergeant Rugg
  • 8. The Ballroom
  • 9. The Final Test
  • 10. Stalemate

Background: Gerry Davis and Alison Bingeman adapt scripts from the 1965 serial by Brian Hayles, which were heavily rewritten by Davis.

Notes: A foreword by Gerry Davis explains some of the problems that beset the production. The Doctor is explicitly named as ‘the ‘first Doctor’. The story follows on immediately from the events of The Ark and references the invisible Refusians. The Toymaker’s domain is not just a white void – the ‘ceiling’ is exposed to the ‘black immensity of outer space and the twinkling stars of the galaxies’. The Toymaker’s study is filled with ‘every conceivable type of toy’ placed on various antique tables, while the villain himself is an impresive figure.

The Toymaker stood up, a tall imposing figure, dressed as a Chinese mandarin with a circular black hat embossed with heavy gold thread, a large silver red and blue collar and a heavy, stiffly embroidered black robe encrusted with rubies, emeralds, diamonds and pearls set against a background of coiled Chinese dragons.

As the Toymaker tries to take control of the Doctor’s companions, Steven sees visions of himself during ‘the Massacre of Saint Bartholomew’ and on the Ark surrounded by Monoids (on TV, it’s the planet Kemble from The Daleks Master Plan, along with the massacre). The Doctor’s trilogic game score is displayed on a large black robot (which is silver on telly). As Joey the Clown nears the end of the game, he appears to ‘move stiffly like an old man’. Among the female ballerinas seen on screen is a male dancer who Dodo says looks like Rudolph Nureyev (apparently she’s ‘a great ballet fan’). Unlike on TV, when the King of Hearts quotes the counting game, ‘Eeny, meeny, miney, mo’, the racist next line is omitted, thankfully. Steven is a military history enthusiast and can recognise the period of Sergeant Rugg’s uniform. Before the final game, Cyril tries on the hats of the joker and the chef, making it clear that he’s been both of those characters before picking up the schoolboy role. He’s dressed in a school uniform for a younger child, with shorts. The Doctor suggests that the Toymaker is just one of many – and they are all immortal. The linking material into The Gunfighters is omitted as usual. Instead, the Doctor suggests that another meeting with the Toymaker is inevitable, adding that ‘There will always be a Celestial Toyroom in the universe.’

Cover: Graham Potts contributed just this one cover to the range but it’s rather beautiful, a photorealistic composition of Joey and Clara flanking the Toymaker, with some playing cards just peeking up from the bottom of the frame. Though we try to forget it, Michael Gough previously appeared on the cover of Arc of Infinity as Hedin. Alister Pearson’s 1992 reprint has a simple composition consistent with the time, showing the Toymaker and the Doctor, inspecting a piece of the trilogic game.

Final Analysis: Rewritten heavily at short notice, The Celestial Toymaker as broadcast was limited by the sets and costumes already commissioned for the original scripts. For the novel, Gerry Davis and Alison Bingeman don’t take the opportunity to give the readers Brian Hayles’ earlier version of the story – thankfully! It follows the TV episodes faithfully, enhancing and creating a degree of scale impossible to achieve in Riverside Studios. In keeping with the decade in which the book was published, Steven and Dodo are a little more adversarial than the friends on TV – Dodo in particular enjoys laughing at Steven’s misfortunes. The best addition though is the suggestion that the Toymaker is not the only one:

‘I really don’t know why you want to leave here, Doctor.’ The Toymaker’s tone was most conciliatory now. ‘There will always be a toymaker in the world ready to make more and more inventive machines. That is, until one is made that will destroy his world. But each time, the world can be recreated and we can have the fun of building better and better toys. Why not join me, Doctor?’

The Doctor stared at him for a moment. ‘I won’t join you,’ he said, ‘because you and your kind are evil. The toys you make have no use except to amuse yourselves and ultimately lead to your own destruction. Toys should be left in the nursery where they belong, not decide the fate of worlds. You have failed.’

Chapter 108. Doctor Who – The Savages (1986)

Synopsis: The Doctor, Steven and Dodo are welcomed by Juno, leader of the elite Elders, who have followed the Doctor’s adventures throughout time. Their community seems to be a paradise, its people happy and relaxed. Outside in the barren wastelands live the savages and, as the Doctor soon discovers, this lower caste of people is more vital to the future of the community than any of them realise. All except Juno…

Chapter Titles

  • 1. ‘Are You Sure You Know Where We Are?’
  • 2. ‘You Have Made Me Look Very Grand’
  • 3. ‘A Remarkable Advance, Gentlemen. I’d Like To Know How’
  • 4. ‘I Don’t Know What’s Going On, But I Don’t Like It’
  • 5. ‘The Old Man Did Not Obey’
  • 6. ‘Not Exactly A Witness’
  • 7. ‘Come On, Soldier Boy. What Are You Frightened Of?’
  • 8. ‘The Trouble With You People On This Planet…’
  • 9. ‘I Don’t Trust Strangers’
  • 10. ‘All We Need Is One Good Friend’
  • 11. ‘Do You Think We Will Ever See Him Again?’

Background: Ian Stuart Black adapts his own scripts from the 1966 serial.

Notes: The Doctor consults some print-outs that presumably show the coordinates for their location. He is particularly fond of his calculating device – his own invention – having ‘always found it accurate, and it was giving him some most satisfactory readings’ (unlike on TV, he doesn’t name the device a ‘reacting vibrator’). Dodo is said to be more patient with the Doctor than Steven, accepting his ‘eccentric ways’ and having confidence in him. Honestly, that’s pretty much it.

Cover: For the first edition, David McAllister illustrates the Doctor, the TARDIS and Jano. This is the first book cover to illustrate a guest actor  who has previously appeared in a different role on another cover (Frederick Jaegar was also Sorenson / Anti-Man on Planet of Evil, not that he’s all that recognisable on any of the covers for that). For the 1992 reprint, Alister Pearson gives us Chal (as played by Ewen Solon) and the Doctor, with a design motif that evokes the ends of the Doctor’s ribbon tie, forming a cross. 

Final Analysis: It’s a treat to have another 1960s writer taking on his own work even if it’s a fairly straightforward novelisation, largely following the flow of the original scripts. The TV production was one of a number of experiments with trying to replace William Hartnell in 1966 and consequently it’s the third of the 1986 releases to have a noticeably absent Doctor. Yet it doesn’t feel like he’s missing as Jano effectively represents him for a good portion of the book and Ian Stuart Black captures the change in his personality perfectly:

Jano looked at him sharply, and for a moment Senta thought he reminded him of someone else. He had adopted an unusual mannerism, tucking his thumbs into his jacket and peering down his nose, like an old schoolteacher.

Due to the order in which books have been released, it’s strange to have Steven leave when we’ve barely got to know him yet, but we still have a fair few of his adventures to come, which I’m only mentioning because, while it’s a very efficient retelling of the TV episodes, there’s not really much more to report on. Oh – one of the characters mentions it’s a Tuesday, which is an odd thing to note on an alien world. A good debut for Ian Stuart Black though.

Chapter 104. Doctor Who – Galaxy Four (1986)

Synopsis: Two spacecraft lie in ruins on an otherwise deserted planet. The Doctor and his friends must decide who to help – the beautiful Drahvins and their leader Maaga, or the hideous Rills and their robot servants. Their choice is made all the more difficult when the Doctor learns that the planet is about to explode…

Chapter Titles

  • 1. Four Hundred Dawns
  • 2. Trap of Steel
  • 3. Airlock
  • 4. The Exploding Planet

Background: William Emms adapts his own 1965 scripts for a serial generally known as ‘Galaxy 4’, 20 years and one month after the story aired.

Notes: The book is divided into four chapters that pretty much match the TV episodes. The Doctor brings the TARDIS ‘back into time and space’, though we’re not told from where. Steven is said to have fair hair. The unnamed planet’s surface is black, like tarmac, and the Doctor identifies it as being in ‘Galaxy Four’ (getting in an early title check and providing better context for the title than the TV serial had). When Steven ponders which of the three suns they might be revolving around, the Doctor suggests it’s ‘quite possible that they revolve around us’.

The Drahvins have…

… long, blonde hair and would have been considered extremely attractive by any man were it not for the total lack of warmth in their faces which were straight and set, reflecting no emotion whatsoever.

They carry weapons like machine guns. When held at gunpoint, the Doctor notes that there appears to be ‘something of a surplus of weapons on this planet’, which he doesn’t care for. He notices that the Drahvins are not identical, so are not physical clones, but he speculates that they might have cloned minds.

Fleeing the Chumbleys, the Doctor has ‘hearts’ (plural) and he wishes that he ‘had found a younger body to inhabit’ as ‘there was not a lot to be said for this one’. Initially, this might just be interpreted as flippancy, but in Chapter 2, the Doctor has an interesting train of thought:

[Steven] had been wrenched into it by unforeseeable circumstances and had borne up gamely whereas he, the Doctor, had learnt to adapt since time immemorial. Human life wasn’t long enough, he thought, no sooner given than taken away, with insufficient time to learn what was necessary or do what had to be done. He dismissed the thought. There was nothing he could do about it. He wasn’t God, simply something of a clown in his own eyes, trolling about through time and space seeking the final truth as he inhabited one body after another, and yet with the dull feeling that that final truth would remain forever beyond his reach.

So either he’s predicting his future incarnations, or he’s recognising that he’s had past lives. Also, Emms’ understanding of regeneration makes it seem more like possession! Later, he has the Doctor claim to be ‘five feet nine or ten’ (William Hartnell was 5’8″), adding ‘I’ve never measured this body. It’s enough that I inhabit it.’ Steven is six feet tall. The Doctor and Steven fall into a pit and manage to tempt a poor Chumbley over to the pit and pull it over so they can use it to step out to safety. The Doctor paraphrases philosopher Bertrand Russell’s assertion that a belief that the sun has always risen is no guarantee that it will rise tomorrow.

Maaga is certain that she was sent on this mission as a political act by the Minister for Offensive Research, a member of the elite on Drahva, like herself; Maaga had insisted that soldiers were not suitable for space exploration but she was overruled and she now feels she’s not expected to return. There is only one political party, but they hold elections anyway.

The Rill who speaks to Vicki has ‘huge, heavily-lidded eyes’ like ‘soft pools of concern, dark brown and gentle’ and ‘a scaly coat resembling that of a lizard’. They also have tentacles, ‘six of which have hands’. Vicki has apparently always felt uncomfortable with reptiles (her late pet Sandy seemingly forgotten). We’re told some of the Rill way of life and evolution; they developed thick skulls that helped them survive their natural predators (though some female Rill undergo skull-thinning as a preference). Like the Drahvins, the males aren’t considered to be especially important: ‘Anyone who happened to be passing could and did fertilise an egg’. As usual, the book ends without the lead-in to the next story.

Cover: Andrew Skilleter goes full B-movie with two gun-wielding Drahvins in front of a boiling planet.

Final Analysis: Apparently the idea to make the Drahvins female came from Verity Lambert, so William Emms’ original storyline was even more generic than this. So what do you do when you adapt your cliche-ridden scripts after 20 years for an audience who might have seen 2001 or Planet of the Apes and have definitely seen Star Wars? You take your time, work your way through the script and give it an extra layer of polish as you go. As he progresses through the story, Emms introduces backstory and extra information that make the alien societies seem much more credible and rich. The tone also darkens as we approach the climax, slowly ramping up acts of violence (Steven’s painful asphyxiation is particularly distressing).

For the ardent Doctor Who fan, the bonus comes in Emms’ iconoclastic depiction of the Doctor. By 1986, we’d had six TV Doctors, all of whom had been seen on TV within the living memory of your average seven-year-old (plus a different ‘original’ in The Five Doctors and a recent repeat of the two Peter Cushing movies). So while we might think of ‘The First Doctor’ here, Emms depicts him as just one of many – and not necessarily even the earliest incarnation. At the time of writing, Emms was the same age that the ‘elderly’ Hartnell had been when he first played the role and there’s a sense that both writer and character feel frustration over growing old. In one passage, the Doctor longs to replace his form for something more agile, foreshadowing his eventual regeneration rather beautifully..

Sooner or later renewal would come and he prayed that when the time came he would be better served. Something comfortable and capable was what he longed for, something able to do more of what he asked of it. He mused and pondered on the whimsical ways of Fate.

Galaxy 4 was William Emms’ sole contribution to both the TV series and the Target novels, though he did also write a ‘Make Your Own Adventure’ book called Mission to Venus, published by Severn House just a few months after Target’s Galaxy Four. He died in 1993, aged 63.

Chapter 101. Doctor Who – The Gunfighters (1986)

Synopsis: In the old town of Tombstone, the Doc’s name’s in doubt / He wanted a dentist but his luck ran out / Now the Clantons are coming – they’ll all be here soon / There’ll be blood on the piano at the Last Chance Saloon…

Chapter Titles

  • Prologue
  • 1. Landfall in Tombstone
  • 2. The Last Chance
  • 3. The Brief Career of Dead-shot Steve
  • 4. A Funeral is Arranged
  • 5. Notice to Quit
  • 6. Identity Parade
  • 7. Open Mouth Surgery
  • 8. An Offer Refused
  • 9. A Pardonable Error
  • 10. A Little Night Music
  • 11. And Some Durn Tootin’
  • 12. Arrest Is As Good As A Change
  • 13. The Red Hand of Tradition
  • 14. The Law and Doc Holliday
  • 15. A Very Nasty Little Incident
  • 16. Wyatt Plays It By The Book
  • 17. Pa Clanton Keeps a Welcome
  • 18. Ringo in the Morning
  • 19. Post Mortem
  • 20. Thought For Feud
  • 21. Dodo Draws a Bead
  • 22. The Entry of the Gladiators
  • 23. Come Sun-Up…
  • Epilogue

Background: Donald Cotton loosely adapts his own scripts from 1966.

Notes: You know I love a prologue! We open with a journalist called Ned Buntline, who made his name writing biographies of notable Wild West legends. Having previously spoken to Wyatt Earp, who refused to be drawn on certain inconsistencies in the myths surrounding the OK Corral, Buntine now comes to a sanatorium at Glenwood Springs, Colorado, to meet an elderly Doc Holliday, who is in his last days with tuberculosis. Holliday speaks freely about the TARDIS, ‘a kind of four-wheel buggy designed for ridin’ every sort of direction through eternity, without much decent respect for the laws of physics’.

Aboard the TARDIS, Steven reminds the Doctor of the time when they encountered ‘great, nebulous jelly-fish things… with poisonous what-nots’. Dodo claims she took a first-aid course, but didn’t do very well. When the TARDIS lands in Tombstone, it’s raining heavily. Behind the bar of the Last Chance Saloon is a, er, well as Buntine tells it, it’s…

…a shot-up oil-painting of a fat blonde in her birthday rig. Sitting on a cloud, she was being molested by a bunch of tear-away cherubs, who looked as if they’d been up several nights round a stud-game, and passing the nectar pretty free, at that.

… and then he gives us two verses of that song (only one of which was heard on TV). 

Dodo is wearing ‘a little number made up of scarlet furbelows and flounces trimmed with black lace’ with an oversized hat (or as Buntine claims, like ‘the proprietress of a broken-down cat-house in one of the less select quarters of New Orleans’). Steven has, according to the Doctor, ‘disguise[d] himself as Billy the Kid’. He took his advanced astronaut course at Cape Canaveral, where he learned to play ‘America the Brave’ on the piano. Dodo sees a poster for real-life star of the stage Eddie Foy – who makes a brief cameo towards the end of the story (and whose son, Eddie Foy, was a Hollywood movie star who Dodo might conceivably have seen). Kate’s surname is ‘Elder’, not ‘Fisher’ as on TV (and in the 1957 movie); the real-life Kate was formally ‘Mary Katherine Horony-Cummings’, but she was also known by the deeply unflattering ‘Big Nose Kate’. 

Doc Holliday’s new dentist’s chair had previously seen service at ‘the Death House in San Quentin’. Pa Clanton is standing for mayoral election and hopes taking up said office will result in free drinks for life at the Last Chance Saloon. Johnny Ringo is a keen student of the Classics and is, at the time of the gunfight, partway through the ten-volume edition of Caesar’s Gallic Wars. The Doctor’s discomfort with a gun results in him accidentally shooting two bystanders, though eventually he is said to have begun to ‘enjoy himself’. The Doctor and his friends leave in the TARDIS, its dematerialisation witnessed by Doc Holliday, Wyatt Earp and a few others. In the epilogue, Holliday concludes telling his story to Buntine, necks a bottle of whisky … and dies.

Doc Holliday did indeed die in 1887, staying at Glenwood Hotel, Glenwood Springs, Colorado. He was 36 years old (Anthony Jacobs, who played him on TV, was 48 at the time of broadcast).

Cover: Andrew Skilleter paints the Doctor with a stetson while Wyatt Earp walks down the street of Tombstone with smoking guns. 

Final Analysis: There are people who’ll still tell you that The Gunfighters is a ‘bad story’ or that it was the lowest-rated story ever (it really wasn’t). There’s even a sly dig at the production in the text of this book, where a passage begins ‘Meanwhile, at the Last Chance Saloon, the stage was already set – as if by an incompetent director.’ Fan elders have shaped opinion to the point where many people who haven’t even seen it know what they think of it. And they’re wrong. Utterly. They’re very quick to remind us that Doctor Who can tell ‘any kind of story’, but seem to bristle when the genre isn’t one they personally like or – worst of all – if the story veers into the realm of comedy!

While the historical adventures did tend to be outperformed on original transmission by the often less ambitious efforts featuring silver sets on alien worlds, as we’ve seen with these novelisations, the writers tried much harder to engage the brain with their characters, perhaps mindful that they’d be representing figures who’s actually lived, or possibly just because they preferred history to SF. In the best Reithian tradition, Donald Cotton clearly realised that the best way to ‘educate and inform’ was to entertain. In this adaptation, he once again relies upon a narrator who casts doubt upon the factual accuracy of other versions of the legend; in other words, he’s excusing and exploiting any historical mistakes in both the TV serial and all other conflicting adaptations. We’re presented with a further myth rather than a text-book account of the real events, yet Cotton’s characters feel like they might have actually lived and breathed. More importantly though, Cotton’s retelling of the tale is very, very funny. My favourite joke in the whole thing is where he describes the drunk Ike Clanton as speaking ‘blotto voce’. There’s also a lovely description of the Doctor operating the TARDIS controls: 

… clutching at an apparently haphazard selection of levers with the air of a demented xylophonist, who finds he’s brought along the wine list instead of the score.

There are some instances of swearing – two uses of ‘bastard’, eight ‘goddam(ned)’ and sixteen uses of ‘damn’. As the notes above illustrate, there’s also a degree of bawdiness to this not seen before (mainly involving Kate’s profession). 

Finally, it’s become a popular game in modern stories (including The Shakespeare Code and The Unicorn and the Wasp) to crowbar in as many metatextual references as possible, but we can trace this back directly to Donald Cotton. While some of these might have reasonable claims to be accurate contemporary phrases, the modern reader can play ‘Spot the Film Title’ throughout the text. To start you off, here are just a few: For a Few Dollars More (1965); The Wild Bunch (1969); Calamity Jane and Sam Bass (1949); Terror of the Plains (1934); Death Valley (1946); The Golden West, (1932); … and The Right Stuff (1983).