Synopsis: New arrival in the TARDIS Steven Taylor cannot accept that he’s travelled in time, even when confronted with a Viking helmet in the year 1066. Landing on a beach, the Doctor and his friends explore the coastline and find themselves in a village near a monastery where the only inhabitant is a very furtive, very secretive monk. The Doctor immediately recognises him as one of his own people, but unlike the Doctor, he has no concerns about changing history, in fact, that’s what the Monk is determined to do.
1 The Watcher
2 The Saxons
3 The Monastery
4 Prisoners of the Saxons
5 The Vikings
6 An Empty Cell
7 Unwelcome Visitors
8 The Secret of the Monastery
9 The Monk’s Master Plan
10 A Threat to the Future
11 A Parting Gift
Background: Nigel Robinson adapts scripts by Dennis Spooner for a story from 1965.
Notes: A prologue offers a scene from The Chase not shown on TV as Steven Taylor flees the burning City of the Mechonoids and the ‘strange alien creatures who had come to this planet in search of four mysterious space travellers’. Clutching his stuffed panda and avoiding the Fungoid plants, he runs for hours in pursuit of the four travellers, who had helped him escape. Eventually, he finds a blue box in the jungle and makes his way inside before passing out. And a generation of fans cheer!
The Doctor has ‘sharp blue eyes’ [as we’ve established, the actor who played him had brown eyes]. Vicki is ‘little more than five feet tall’ and she has ‘elfin good looks and a mischievous little-girl smile’. The TARDIS control room contains a Louis Quatorze chair and an ormolu clock, which has stopped. We’re reminded that Vicki came from the 25th Century and that she is an orphan. She had assumed that Steven had died in the flames.
Edith and Wulnoth have been married for 15 years, though it’s said that she has aged considerably more than her thirty years (a little harsh on actress Alethea Charlton there!). The Monk’s carefully prepared breakfast for the Doctor is a masterpiece in time-trolling: Using a ‘Baby Belling stove’, a non-stick frying pan and a steel spatula, he cooks bacon, sausage and fried eggs; charred toast is delivered from a rusty toaster, served up on a plate with a bottle of tomato ketchup and a mug of instant coffee; and as he approaches the Doctor’s cell, he whistles a tune that won’t be written for nine hundred years (so, around 1965; later, he returns to the monastery whistling a Beatles song, so maybe it’s Ticket to Ride, which had appeared in the previous story, although reading this after 1988, Yesterday would be funnier).
The Doctor spells out for Steven and Vicki the consequences of the Monk’s ‘master plan’ – that as they are both English (new information, by the way!), the chances are that somewhere in their lineage is someone of Norman blood, someone who might die because of the Monk’s interference, thereby wiping out their descendants. It’s a tidy way of making the Doctor’s role much clearer to his young friends and to the reader. After taking the dimensional stabiliser from the Monk’s TARDIS, the Doctor also ensures that the atomic cannon is removed from the clifftop (and Steven has to lug it back to the TARDIS). The Doctor’s line about not being a ‘mountain goat’ (which he so beautifully fluffs on TV) is moved to the end of the book. In the epilogue, we discover the ridiculous effort the Monk puts into messing up time: Fearing some kind of reprisals from his ever-growing list of enemies, the Monk decides to leave his TARDIS in the chapel and cross England on a stolen horse to keep his plan on track; he reaches the infamous battle too late and sees William of Normandy declared the victor; the Monk heads north again to find the Doctor has stranded him in 1066 with a broken TARDIS.
Cover: Jeff Cummins makes his final contribution to the series with a haunting portrait of the Monk lighting beacons on the cliff tops. The image was flipped for the 1992 reprint, for some reason, accompanied by a ‘NOW BACK ON TELEVISION’ exclamation to tie in with the repeats on BBC 2.
Final Analysis: I’m growing rather fond of Nigel Robinson. He’s taken Terrance Dicks’ approach of transferring the script faithfully to the novel format, just adding additional information and tidying as he goes. There’s a charming significance to the way he captures Vicki by pulling in a detail of Maureen O’Brien’s performance, in that she pacifies the Doctor the same way the actress had quelled the fractious temper of her co-star. That he’s also choosing to cover the less favoured stories himself really underlines the mission to create a complete library of adaptations.
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…
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
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.
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…
1. The Steel Sky
3. The Plague
4. The Fight Back
5. The Return
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 inscales, 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.
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!
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
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.’
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…
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.
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…
1. Four Hundred Dawns
2. Trap of Steel
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.
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…
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…
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).
Synopsis: The beauty of a woman is the spark that fires up a bloody and lengthy war between Greece and Troy. Though many of the figures in the battle have entered into legend, a version of the story as recounted by the great poet Homer reveals the involvement of three travellers who emerged from a blue box and changed the course of the war.
1. Homer Remembers
2. Zeus Ex Machina
3. Hector Forgets
4. Enter Odysseus
5. Exit the Doctor
6. A Rather High Tea
7. Agamemnon Arbitrates
8. An Execution is Arranged
9. Temple Fugit
10. The Doctor Draws a Graph
11. Paris Draws the Line
12. Small Prophet, Quick Return
13. War Games Compulsory
14. Single Combat
15. Speech! Speech!
16. The Trojans at Home
17. Cassandra Claims a Kill
18. The Ultimate Weapon
19. A Council of War
20. Paris Stands on Ceremony
21. Dungeon Party
22. Hull Low, Young Lovers
23. A Victory Celebration
24. Doctor in the Horse
25. A Little Touch of Hubris
26. Abandon Ship!
27. Armageddon and After
This now nabs the record from Marco Polo for the most number of chapters in a novelisaton, with 27 chapters and an epilogue.
Background: Donald Cotton adapts his own scripts for the 1965 serial.
Notes: Yep, the story is narrated in the first person by the great author Homer, who apparently was just out of shot in every scene.
The Doctor had promised his young companions a trip to London in the 1960s. Homer claims that he has met the Doctor on many occasions (and that he is now younger than he was the first time they met), knows that the TARDIS is a time machine – and that the Doctor is specifically a ‘Time Lord’! Vicki has a very loose grasp of Earth history, much to Steven’s despair, but knows enough to recognise the importance of the Trojan Horse. Steven is concerned about his absence from the ‘Space-Research Project’, where he had been an amateur athlete during his training and it’s suggested he might have played football (he compares the prospect of fighting Odysseus with ‘the second eleven on a Saturday knock-about’, so that’s definitely football and not the completely different ‘American Football’). We discover how ‘Cyclops’ lost his eye and gained his name [but see Final Analysis below]. There’s no explanation for how Steven is wounded by the start of the next story. Instead, we learn that Vicki – as Cressida – remained with Troilus and the pair took care of their blind friend Homer. The epilogue reveals that the elderly poet has been telling his story to the Doctor, who, it turns out, has popped back to look in on Homer on many occasions throughout his eventful life.
Cover: The TARDIS materialises in front of the wooden horse, painted by Andrew Skilleter.
Final Analysis: Donald Cotton tore up the rule book for his TV stories and he revolutionises the Doctor Who novel here. Cotton’s habit of using witty episode titles continues with the novel’s chapter titles ‘Zeus Ex Machina’ ‘Temple Fugit’ and of course ‘Doctor in the Horse’, which was his original title of episode 4. He really strains with chapter 22’s ‘Hull Low, Young Lovers’; I wonder how many eager readers would know the song ‘Hello, Young Lovers’ from the 1951 musical (or 1956 film) The King and I, so might this be a reference pitched at a prospective parent reading this for a young fan a chapter a night at bedtime?
Casting Homer as the narrator gives us insight into the politics of the time, while also contriving increasingly outlandish reasons for him to be party to private conversations, ‘concealed in a clump of cactus I wasn’t too fond of’, accompanying the TARDIS into Troy and, after being jabbed in the eye and being dubbed ‘Cyclops’, he passed out and wakes up ‘covered in fish-scales and crabs’ legs’. Homer is aware that the Doctor is a time traveller too, making much merriment with details he shouldn’t know anything about:
… how do you describe a time-machine to a man who has never even heard of Euclid, never mind Einstein? Of course, up till then, I’d never heard of them myself, but I must say I found the whole concept fascinating.
Cotton – through Homer – has a delightfully waspish style. We’re told that Cassandra is a fearsome woman who looks like ‘her brother Hector in drag’, while Achilles ‘had that look of Narcissistic petulance one so often sees on the faces of health fanatics, or on male models who pose for morally suspect sculptors’, adding ‘I believe the Greeks have a word for it nowadays’. It’s when he comes to explain the causes of the siege of Troy that we might feel certain attitudes from the mid-1980s are guiding his hand. His description of Paris appears to be a commentary on more modern Royal events that resonate just as much in 2021 as 1985:
… the second sons of Royal Houses – especially if they are handsome as the devil – have a lot of temptation to cope with. And then, the unlikelihood of their ever achieving the throne does seem to induce irresponsibility which – combined, of course, with an inflated income – how shall I put it? – well, it aggravates any amorous propensities they may have…. Well, we all know about princes and their libidinous ways: their little frolics below stairs – their engaging stagedoor haunting jaunting?
Trigger warning here: Among many anachronistic terms Homer uses, the phrase ‘a coon’s age’, which dates from the early 19th-century and referred to racoons, but for many readers this may have racial connotations.
As one of the missing TV historicals, it’s not a story I know that well, having only heard the soundtrack and watched a telesnap reconstruction. Cotton pulls out all the stops to bring the period alive and make it like a gossip between old friends, a tale told with tongue firmly in cheek and a knowing wink at the reader (this is especially evident in the audiobook with a delicious reading by Stephen Thorne). Even in providing us with what must be the first celebrity historical featuring an author (something modern fans might be more likely to expect), he’s smart enough to leave himself plenty of escape routes. Homer himself tells us the effect of adopting many guises to avoid being trapped into supporting one side or the other. Like the Doctor, his name lives on in legend:
I’ve always found it a very good rule to be a bit cautious about handing out the label unless unavoidable – which is why, I’m told, to this day, nobody is entirely convinced that Homer ever existed […]