DOCTOR WHO

THE HANDBOOK

The First Doctor

By the same authors:

Doctor Who: The Sixties

Doctor Who: The Seventies

Doctor Who: The Handbook - The Fourth Doctor

Doctor Who: The Handbook - The Sixth Doctor

By David J. Howe:

Doctor Who - Timeframe

By Mark Stammers & Stephen James Walker:

Doctor Who – Decalog

DOCTOR WHO

THE HANDBOOK

The First Doctor

David J. Howe

Mark Stammers

Stephen James Walker

First published in Great Britain in 1994 by

Doctor Who Books

an imprint of Virgin Publishing Ltd

332 Ladbroke Grove

London W10 5AH

Reprinted 1995

Copyright © David J. Howe, Mark Stammers and Stephen James

Walker 1994

'Doctor Who' series copyright © British Broadcasting Corporation

1994

The moral right of the authors has been asserted

Cover illustration by Alister Pearson

ISBN 0 426 20430 1

Typeset by Mark Stammers Design, London

Printed and bound in Great Britain by Cox & Wyman Ltd, Reading,

Berks.

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated

without the publisher's prior written consent in any form of binding or cover other than that in which it is published and without a similar

condition including this condition being imposed on the subsequent

purchaser.

For Ian K. McLachlan - DJH

For David Gibbes-Auger - SJW

For Tony and Nikki Jordan - MS

Acknowledgements

For this incredible feat of researching the past we are, as always,

indebted to numerous people who helped along the way. This time

thanks must go to Keith Barnfather and Reeltime Pictures, David

Gibbes-Auger, Michael Imison, Dallas Jones, Barry Newbery,

Andrew Pixley, Marc Platt, Paul Scoones, Neil Somerville and

Trevor White of the BBC Written Archives Centre, Martin

Wiggins, John Wiles and all unsung Doctor Who fanzine editors

and writers everywhere.

Contents

Foreword

9

PART ONE - THE DOCTOR

1: William Hartnell - In His Own Words

18

2: William Hartnell - As Others Saw Him

32

3: The Doctor

43

PART TWO - FICTION

4: The Stories

53

5: Establishing the Myth

144

PART THREE - FACT

6: Production Diary

157

7: From Script to Screen - The Ark

321

8: Selling the Doctor

336

Production Credits

348

Foreword

Ian Chesterton's car was engulfed in darkness behind him as he and

Barbara Wright approached the old wooden gates leading to the

junkyard. Ian flicked on a hand torch, and the weak amber light picked

out the words 'I.M. Foreman - Scrap Merchant' painted on the doors.

Barbara shivered and turned up her coat collar against the chill of the November night. But it wasn't just the night air which raised the small hairs on the nape of her neck. She paused. The feeling she had

described to Ian in terms of interfering in something best left alone had intensified.

'Well, don't you feel it?' she asked her companion.

Ian turned and looked at her. 'I take things as they come,' he

smiled. 'Come on.'

Directing the glimmering torchlight over the imposing gates, Ian

located the catch. With a creak of protest, the doors swung open,

allowing Ian, followed by Barbara, to enter number 76 Totter's Lane.

Pale moonwashed faces peered at them silently through shadowy

piles of junk and bric-a-brac which littered the main yard area. Barbara looked nervously around, half expecting to see one of the watching

figures move. The shadows cast by Ian's torch jumped and skipped

around the yard, their capering giving everything an eerie semblance

of life. The torchlight picked out one of the shattered faces watching

them from atop an armless corpse. One of several abandoned and

unwanted shop dummies.

9

Doctor Who – The Handbook – The First Doctor

Ian moved deeper into the yard, the shadows resolving into

silent shelves of old radio components, and other, unidentifiable

machine parts.

'What a mess,' he muttered, eyeing the grimy and greasy

metalwork with distaste. 'I'm not turning any of this stuff over to

find her.'

Susan. The reason that two respectable schoolteachers came to

be creeping around a junkyard at night in the first place. Susan was

their pupil and she had intrigued them. Mystery surrounded her

and they had come to this place, strangely listed as her home in the

school records, to try to find out something more about her.

Eventually their vigil outside the yard had been rewarded as Susan

Foreman had appeared and slipped through the groaning doors.

Moments later, they had decided to follow.

Standing behind Ian, Barbara wondered where Susan could

have got to in so short a time. 'Over there?" she suggested,

gesturing to a far corner.

Ian stepped in the direction Barbara indicated, but his foot

caught a discarded and unseen oil can on the ground, sending it

clattering away into blackness. Ian stumbled and the torch spun out

of his hand, sending the shadows leaping all around them before it

hit the ground and was extinguished, allowing darkness to flood

the yard once more. Barbara hurried to steady Ian as he regained

his balance.

'Blast! I've dropped it!' exclaimed Ian, more annoyed with

himself than anything else.

'What?'

'The torch!"

'Then use a match.'

Barbara's logic was impeccable except that Ian didn't have any.

'Oh, never mind,' he muttered as he struggled to his feet.

Realising that they would never get anywhere stumbling about

in the inky darkness, Barbara decided to take the initiative, and

made her way back along a clear path.

'Susan,' she called hesitantly.

'Susan!' Ian joined in, louder.

As Ian’s eyes slowly adjusted to the pale light filtering into the

silent yard from the street lamps outside, he noticed a flight of

steps leading to a raised platform which ran along one wall of the

yard.

10

Foreword

Ascending a couple of steps, Ian called the girl's name once

more. All that greeted him was the muted murmur of traffic on the

nearby roads.

'Susan! It's Mr Chesterton and Miss Wright." Ian reasoned that

the girl might be hiding, frightened that these intruders might mean

her harm. Still no answer.

Ian frowned in puzzlement. Surely she couldn't have left the

yard without them seeing her?

His musing was interrupted by an urgent call from Barbara. She

was standing by the solid and reassuring shape of a blue police

public call box.

Ian crossed to her in amazement. 'Why, it's a police box. What

on earth's it doing here?'

He moved closer to the box. 'These things are usually on the

street or...' He had just placed his hand on one of the wooden door

panels and realised that he could feel a tingling vibration in his

fingertips. He moved his hand around on the chipped surface to

make sure.

'Feel it!' he suggested urgently. Barbara placed the back of her

hand against the wood. 'Do you feel it?' She too felt the hesitant

trembling and abruptly moved her hand away.

'It's a faint vibration.'

Ian stepped dramatically back from the box. 'It's alive!' he

exclaimed.

Leaving Barbara looking nervously around her at the shadows,

Ian made off into the darkness around the box. His circuit took a

few seconds, and in that time Barbara felt the chill moving closer

once more and clutched the collar of her coat closer to her chest.

'It's not connected to anything/ Ian confirmed as he returned.

He was a science teacher after all, and now his scientific instincts

were aroused. 'Unless it's through the floor.'

Barbara looked around nervously once more and impulsively

clutched Ian’s coat-front. 'Look, I've had enough. Let's go and find

a policeman.'

Sensing his friend's nervousness, Ian agreed.

At that moment a muffled cough reached their ears from

outside the junk yard. Ian and Barbara froze momentarily like

rabbits caught in headlights. 'Is that her?' asked the woman. Ian just

had time to deny this before the door to the yard creaked open. Ian

11

Doctor Who – The Handbook – The First Doctor

grasped Barbara by the hand and instinctively pulled her into the

blackness behind the flight of steps.

They watched as an old man entered the yard, coughing and

patting his mouth with a handkerchief. An astrakhan hat was

jammed on his head from beneath which wisps of white hair

emerged, and his body was swathed in an Edwardian-style cloaked

coat. He waved the handkerchief around in front of his face, as if

to clear the air, and then proceeded towards the police box.

From their vantage point, the teachers watched as he bent to the

doors, fumbling in his pockets. In one hand appeared a slim torch

and in the other a key which he applied to a lock on the box.

Suddenly a young girl's voice cut through the night air. There

you are Grandfather!'

It was Susan.

'Susan!' Barbara could not suppress her cry of amazement, and

the old man turned in surprise, urgently fumbling with the lock.

Realising that the game was up, Ian slowly stood up and emerged

from the darkness towards the old man. 'Excuse me,' he began,

rubbing the side of his face with embarrassment.

The man didn't give Ian a chance to speak further. 'What are

you doing here?' he demanded.

'We're looking for a girl,' explained Ian.

The stranger picked up on the implication immediately. 'We?'

Barbara, following Ian, stepped alongside him. 'Good evening.'

'What do you want?' interjected the man abruptly.

'Erm... One of our pupils, Susan Foreman, came into this yard,'

explained Ian.

'Really? In here? Are you sure?'

'Yes,' confirmed Barbara. 'We saw her from across the street.'

The old man looked away into space and muttered quickly to

himself: 'One of their pupils. Not the police then.'

Ian leaned forward. 'I beg your pardon?'

The man turned back to Ian. 'Why were you spying on her?

Who are you?'

Ian was starting to tire of the man's aggressive attitude and

decided to change the subject. 'We heard a young girl's voice call

out to you.'

The man looked away. 'Your hearing must be very acute. I

didn't hear anything!'

12

Foreword

'It came from in here,' Barbara indicated the police box.

The man swung his head and glared at her for a moment. 'You

imagined it!'

Barbara was affronted. 'I certainly did not imagine it!'

The stranger grasped Ian firmly by the arm and tugged him

gently away from the box. 'Young man,' he began in a very

patronising tone, 'is it reasonable to suppose that anybody would

be inside a cupboard like that?' He smiled encouragingly at Ian.

Ian looked at the stranger levelly. 'Would it therefore be

unreasonable to ask you to let us have a look inside?'

A shadow of frustration flickered across the man's face before

his glance alighted on what looked like an old picture frame on the

ground. 'I wonder why I have never seen that before?' he muttered,

clearly avoiding Ian’s question. He picked up the object and

rubbed it with his thumb. 'Now isn't that strange... very damp and

dirty.'

Tiring of the old man's evasiveness, Barbara decided to try to

appeal to his better nature. 'Won't you help us? We're two of her

teachers from the Coal Hill School. We saw her come in and we

haven't seen her leave. Naturally, we're worried.'

The man deliberately ignored Barbara's plea, engrossing him-

self in the dirty frame and muttering to himself while Barbara

spoke, '...it'll have to be cleaned.'

He broke off, seemingly now aware that she had been talking to

him. 'Hmm? Oh, I'm afraid it's none of my business,' he said,

putting the frame down and sauntering back to the box. 'I suggest

you leave here,' he grinned at the bemused teachers.

'Not until we're satisfied that Susan isn't here,' persisted Ian.

'And, frankly, I don't understand your attitude.'

The man's grin didn't falter. 'Yours leaves a lot to be desired,'

he said smugly.

'Will you open the door?' insisted Ian.

'There's nothing in there!"

'Then what are you afraid to show us?'

The stranger looked disdainfully at Ian. 'Afraid? Oh, go away!'

With that he turned and wandered off to some nearby shelves,

leaving Ian and Barbara standing in confusion.

'I think we'd better go and fetch a policeman,' suggested Ian

loudly.

'Very well,' said the man.

13

Doctor Who – The Handbook – The First Doctor

'And you're coming with us,' continued Ian pointedly.

The old man looked over at Ian with great amusement. 'Oh, am

I?'

He wandered across the yard in front of them. 'I don't think so,

young man. No, I don't think so.'

Barbara turned to Ian in concern. 'We can't force him,' she

whispered.

'But we can't leave him here,' replied Ian in hushed tones.

'Doesn't it seem obvious to you he's got her locked up in there?' He

gestured to the police box. 'Look at it. There's no door handle.

Must be a secret lock somewhere.' Ian leaned towards the doors,

checking for a hidden catch.

"That was Susan's voice,' affirmed Barbara.

'Of course it was,' agreed Ian. He put his mouth close to the

doors. 'Susan... Susan... Are you in there? It's Mr Chesterton and

Miss Wright, Susan!'

Behind them, the stranger was examining a jug he had picked

from a shelf, turning it over in his hands. 'Don't you think you're

being rather high handed, young man?' he remarked without

looking at them.

Ian and Barbara turned to look at him, as he continued speaking

in an offhand manner with his back to them. 'You thought you saw

a young girl enter the yard. You imagine you heard her voice. You

believe she might be in there. It's not very substantial, is it?'

Barbara stepped towards him. 'But why won't you help us?'

'I'm not hindering you. If you both want to make fools of

yourselves I suggest you do what you said you'd do. Go and find a

policeman.'

'While you nip off quietly in the other direction,' reasoned Ian.

The man's eyes narrowed. 'Insulting!' He turned to face them.

'There's only one way in and out of this yard. I shall be here when

you get back. I want to see your faces when you try to explain

away your behaviour to a policeman.' He chuckled in a superior

manner.

'Nevertheless,' said Ian decisively, 'we're going to find one.

Come on Barbara.'

As the teachers turned to leave the yard, the door to the police

box clicked open behind them, and Susan's voice was clearly

heard. 'What are you doing out there?'

14

Foreword

'She is in there!' exclaimed Ian as the old man tried to push past him.

'Close the door,' the man called urgently, but Ian grasped him

and prevented him from getting to the box.

'Barbara,' urged Ian, but Barbara needed no further encourage-

ment. She stepped quickly towards the box as Ian struggled with

the stranger. She pushed open the door and stepped inside ...

Adapted from 100,000 EC: An Unearthly Child by

Anthony Coburn and C.E. Webber.

The arrival of the elderly figure of the Doctor in the junkyard at 76

Totter's Lane heralded the start of a ground-breaking British

television success story which has continued from the transmission

of that first episode on Saturday 23 November 1963 right up to the

present day.

The seeds of this success were sown in the spring of 1962,

when the idea of mounting an ongoing science-fiction series was

first mooted within the B BC. The BBC's television service was

not long out of its infancy then. Less than sixteen years had passed

since it was reinstated after its wartime hiatus, and less than seven

since it first encountered competition in the form of the new ITV

network. The launch of its second channel, BBC2, was still some

two years away. Over the past decade it had however made

enormous technical advances, had come to rival and then overtake

the radio service in terms of both its popularity and of its

resources, and had firmly established itself as one of the foremost

programme-making institutions in the world.

The advent of ITV, and its initial ratings triumph, had acted as

a catalyst which had caused the BBC to re-evaluate its output

completely, aiming to broaden its popular appeal whilst retaining

its commitment to quality. The sixties was to be one of its most

artistically successful decades as, under Director-General Hugh

Carleton Greene, it cast off its former rather stuffy, highbrow

image and became a creative hothouse turning out a multitude of

innovative, challenging and highly-acclaimed programmes across

its entire range of production.

One way in which it did this was to bring in visionary new

personnel such as the charismatic Canadian producer Sydney

Newman, whose recent achievements at the independent ABC TV

15

Doctor Who – The Handbook – The First Doctor

had included the popularisation of an entirely new style of drama -

'kitchen sink drama', as the critics dubbed it - dealing with

contemporary social issues of relevance to ordinary working class

viewers; not to mention the creation of a number of highly

successful individual series such as, most notably, The Avengers.

It was under Newman's guidance, and with his active contribu-

tion and participation, that the format of Doctor Who was devised.

It was a perfect example of the new style of programming for

which he was striving; a style which eschewed the tried-and-

trusted in favour of the innovative and the experimental; a style

which matched the spirit of the bright new decade.

The sixties was to be a period of great change and success for

Great Britain. British pop music - especially the Mersey beat

groups led by the Beatles - would end America's domination of

rock 'n' roll. The fashionable would no longer look only to Paris for

their clothes but also to London's King's Road and Carnaby Street,

to new designers like Mary Quant and Biba. Attitudes towards the

roles of the sexes were fast changing as people questioned long-

established social codes, whilst the ever-present threat of nuclear

war between the two superpowers, the Soviet Union and the

United States of America, was leaving its mark on the collective

psyche. Mankind was also taking its first faltering steps into space,

turning what had so recently been science-fiction into fact. If Man

could now leave the Earth, surely he might one day walk on other

worlds?

It was against this background and into this context that Doctor

Who was born, to take its place - alongside its most famous

monsters, the Daleks - as one of the greatest products and most

widely-recognised icons of British popular culture.

In this book we recount not only how Doctor Who was created

but also how the fledgling series survived its uncertain beginning

to grow into an enormous hit. This is a story which has been told

before - including in our own Doctor Who - The Sixties - but the recent discovery of some extensive files of contemporary documentation in the BBC's written archives means that it can be retold

here to a level of detail and accuracy far exceeding that of any

previous account. Aside from a virtually day-by-day production

16

Foreword

diary, revealing a wealth of previously unpublished information,

we present a collection of extracts from interviews both by and

about the actor William Hartnell; explain how the character of the

Doctor was devised and developed; look at the establishment of

Doctor Who mythology; detail each of the stories of the first

Doctor's era; describe how the series was promoted at this point in

its history; and give a full 'case study' report of the production of

the four-part story The Ark, showing how the series' creative team pushed at the boundaries of television technology to create the

different environments visited by the Doctor and his fellow travel-

lers.

Join us for a journey back in time to the swinging sixties, to the

golden age of television.

17

PART ONE – THE DOCTOR

l: William Hartnell – In His Own Words

ON HIS EARLY LIFE:

'All my spare coppers were spent on visits to the cinema. I revelled

in the serials of Pearl White and the exploits of Tarzan. But my

real guiding star was Charlie Chaplin. He influenced me more than

any other factor in taking up acting as a career.'

Quoted by Peter Haining in Doctor Who - A Celebration,

original source unknown.

'I was born in North Devon. Little place called Seaton. A very

old family. 300 years of us.

'I ran away from school at an early age. I had written to Stanley

Wootton, at Treadwell House, Epsom, got myself a job as an

apprentice with him to ride and become a jockey. After... I suppose

it was a year or so, I suddenly started to put on weight and Stanley

Wootton said it wouldn't do and he thought I ought to get out and

take up another profession. Yes. So my second desire, immediate

desire, was the theatre. Naturally I wanted to couple the two, but

there it was -1 was unable to do so.

'I suppose I associated myself with a lot of reading matter over

a period. Shakespeare and other playwrights. And I was always in

the school concerts and things like that. I was just mad keen on the

theatre and horses, and those were the two things that I wanted in

18

William Hartnell – In His Own Words

life, and unfortunately it didn't turn out that way.

'My first job in the theatre was luckily to be with Sir Frank

Benson, a wonderful Shakespeare an actor and teacher whom we

all of course called at that period Pa Benson.

'After leaving the Benson company I was like any other actor, I

suppose. I had to take a job on tour and earn my living the best

way I could, which I did. I was on tour doing once-nightly and

twice-nightly shows for four pence a week and living in back

rooms.

'My first appearance in the West End was a very modest

entrance on my part, I think. I was understudy when I first

appeared and, you know, sort of general dogsbody. I understudied

such personalities as Ernest Truex in Good Morning Bill, which was a Robert Courtneidge production, and Ralph Lynn in his light

comedies and farces. Charles Heslop, who was in musicals, and

also a farcical actor. And Bud Flanagan, Chesney Alien. And a

well-known actor when I was a boy, Lawrence Grossmith.'

Interviewed by Roy Plomley on 2 August 1965 for BBC

Radio's Desert Island Discs.

'In 1924 I ran away from school to join Sir Frank Benson's

Shakespearean Company. I later persuaded my parents to allow me

to go on tour; at that time I was just seventeen. After I left

Benson's Company, I stayed on the road for another six years,

touring with various modem productions, old and new. In the years

1928-291 did a tour in Canada, came back to England and found

things pretty tough so crashed into pictures, but as I was unknown

as a film actor I had to start all over again. And many of the agents

who saw me so often in their offices began to think that I was quite

a comic. They roared and laughed at my persistence and

confidence.'

William Hartnell writing in 1946 for British National's

Film Review.

'I reasoned that my light comedy style was much more fitted for

British talkies than their American counterparts, so I returned to

England. But now I think that decision was completely wrong.

'I often hovered near directors so that I could learn the business

of filmmaking. I was always on hand, too, in case another actor

was suddenly needed. Although this strategy worked on occasions,

19

Doctor Who – The Handbook – The First Doctor

and I did get bigger "bit" parts, it did not lead to stardom. If fact, after crowd work for two years I was told by a casting director that

I had not got a "film face". I remember, incidentally, that Laurence Olivier was also a neighbour at the film casting offices as we all

sought vainly for work.'

Quoted by Peter Haining in Doctor Who - A Celebration,

original source unknown.

ON HIS EARLY FILM ROLES:

'I can't remember my very first film appearance. But I must admit

that I was two years in crowd scenes before I was ever allowed to

appear in a film. I was then in numerous films, Quickies of those

days, where if you had ten pages of dialogue in one take and if you

fluffed, well, you had to ad lib and then carry on. No retakes.

Couldn't afford it.'

Interviewed by Roy Plomley on 2 August 1965 for BBC

Radio's Desert Island Discs.

'One day I found myself playing in a comedy lead in a Quickie

called I'm an Explosive, directed by Adrian Brunei. Other leads at this period were Follow the Lady (Fox), Seeing is Believing (Paramount), Nothing Like Publicity (Radio). On my discharge

from the Army I had to pick up anew the threads of my career. I

kicked off again playing a valet-cum-thief opposite Oliver

Wakefield in The Peterfield Diamond, then an old London taxi-cab driver in Flying Fortress (which I enjoyed very much as it was a character part). Then came a small cameo in Sabotage at Sea, and a comedy lead in The Dark Tower, from there to Ealing Studios to play The Bells Go Down, directed by Bill Dearden. I played

Dallow in Brighton Rock at the Gairick Theatre. This play

certainly helped me up a few rungs. During its run, Carol Reed

tested me for the part of the Sergeant in The Way Ahead. Since then I have starred in four pictures made by British National

Limited: Strawberry Roan, and The Agitator, Murder in Reverse and Appointment with Crime

.' William Hartnell writing in 1946 for British National's

Film Review.

20

William Hartnell – In His Own Words

ON HIS DISCHARGE FROM THE ARMY:

'The strain of training was too much. I spent twelve weeks in an

army hospital and came out with a terrible stutter. The Colonel

said, "Better get back to the theatre. You're no bloody good here." I had to start all over again. I was still only a spit and a cough in the profession and now I had a stutter which scared the life out of me!'

Interviewed in 1965 for the Sunday Mirror.

ON HIS 'TOUGH GUY' ROLES:

'Anyone can be horrific by gumming on lumps of hair and wax and

by putting cotton wool up their nostrils to look like an ape, but I

think the real shudder-creating villain is the one who looks the

same as other men, except for the eyes, and the eyes ought to

reveal just how rotten to the core the heavy is, with subtle

graduations such as "forced into crime by mental instability" or

"gone to the bad through evil surroundings" or "not a bad chap at heart but just lacking in strength of character". It's a fascinating study.'

Quoted by Peter Haining in Doctor Who -A Celebration,

original source unknown.

'I'm tired of being the eternal "tough guy" of British films. Asking me to play this type of role in the first place was about as practical

as asking Danny Kaye to play Napoleon on Elba!

'Somehow I've managed to scrape through, but after five years

of it I can clearly see the danger signal ahead. I'm certain picture

goers are sick and tired of seeing me pull horrid faces before the

cameras, and that if I don't change my style very soon, I shall soon

find myself a has-been!

'It's not generally realised that 45 of my 60 films are comedies

and that I was a leading Quota-Quickie funny man.'

Interviewed by D. McFadden for Picturegoer, edition

dated 26 May 1945.

ON HIS ROLE AS SERGEANT MAJOR BULLIMORE

IN THE ARMY GAME:

'I stayed with that series for the first year, and then I thought I

21

Doctor Who – The Handbook – The First Doctor

would give it a rest and try and do something else. I was away

from it for two years, back making films. And then 1 quite by

accident met the producer again in a train going home one evening,

and he asked me if I'd come back to the show. So I said yes, at a

price. And he agreed and I went back for another year. Then I

thought, well, I'd better leave now before I do go into a mental

home.'

Interviewed by Roy Plomtey on 2 August 1965 for BBC

Radio's Desert Island Discs.

ON BEING CAST AS THE DOCTOR:

'All my life I've wanted to play an older character part in films, or

in a play, and I've never been allowed to. Except just on one

occasion prior to being offered this part, Doctor Who. After a

second reading for Lindsay Anderson I was given the part of an old

boy in This Sporting Life, where the lead was played and shared by Robert Harris and Rachel Roberts, both superb artists. And I was

just playing this sort of bone idle, out of work, on the dole, ill old

man called Dad who had a great ambition in life in earlier days to

be a rugger player, and to be a good professional player, make a

success of his life. Unfortunately he ended up, as it were, in the

gutter, and rather an ill and useless old man, but in this young boy

he saw something; he saw something of himself. Yes. And there-

fore he... I think he used his influence with the club managers and

associates to get this boy a chance, give him a chance.

'And playing this part, strangely enough, led to the part of

Doctor Who. Because it turned out that after I had played Doctor

Who for several months Verity Lambert, my producer, a very

charming and loveable person, finally confessed to me that she'd

seen this film and she had decided that there was her Doctor Who.'

Interviewed by Roy Plomley on 2 August 1965 for BBC

Radio's Desert Island Discs.

'I was "resting" when my son-in-law, who is also my agent,

approached me about playing the part. I hadn' t worked for the

BBC since steam radio twenty-five years ago, and I didn't fancy

the idea of returning to state control so late in life.

'My son-in-law - Terry Carney, son of George Camey, the

variety artist - was quite right, the role was exactly me. For only

22

William Hartnell – In His Own Words

the second time in thirty-seven years - the film This Sporting Life was the last -1 had the opportunity to play an old man.

'What's more, the part required some thought, unlike The Army

Game and most of the other rubbish I've been associated with in the past. I've not been offered the sort of work I've wanted, due I

think to past disagreements I've had with producers and directors

over how parts should be played.

'Financially and otherwise I am much better off now. I didn't

like the initial script and I told them so. It made the old man too

bad tempered. So they gave me carte blanche to introduce more

humour and pathos into the part.

'I can hardly believe the break from playing servicemen has

come, but now that it has happened, it's for good. I'll never play a

uniformed part again.'

Interviewed in 1964 for syndication in local newspapers.

'The moment this brilliant young producer, Miss Verity Lam-

bert, started telling me about Doctor Who I was hooked.'

Quoted in The Making of Doctor Who by Malcolm Hulke

and Terrance Dicks, original source unknown.

ON THE MAGIC Of DOCTOR WHO:

'Apart from there being no sex or swearing, the treatment is very

adult. But aiming it at the kids first was a masterstroke. Around tea

time it's the children who decide what is seen on TV, not the

parents. On the other hand, it is something mums and dads can

watch as well without cringing.'

Interviewed in 1964 for syndication in local newspapers.

'The programme is a success because we keep it as a children's

programme.

"The scriptwriters sometimes try to make Dr. Who use expres-

sions like "centrifugal force", but I refuse. If it all gets too technical, the children don't understand and they lose interest.

After all, it's an adventure story, not a scientific documentary. And

Dr. Who isn't a scientist. He's a wizard.'

Interviewed tor Reveille, edition dated 7-13 January 1965.

23

Doctor Who – The Handbook – The First Doctor

'After we remade the first episode, I decided that the show would

run for five years. That was my assumption then, two-and-a-half

years ago, and I think my assumption is still pretty right.

'If it does continue for that long, then I shall have had enough.

'I hope that before we finish the series that we shall be able to

make it in colour. I feel this would enhance the programme.'

Interviewed for the Western Daily Press and Bristol Mirror,

edition dated 14 December 1965.

'To me, kids are the greatest audience - and the greatest critics -in

the world. When I knew it was a children's programme, I thought

"I must really make something of this." '

Interviewed for the Daily Mirror, edition dated 23 April 1966.

'We did it 48 weeks a year in those days. You know, I couldn't go

out into the High Street without a bunch of kids following me. I

felt like the Pied Piper.

'People really used to take it literally. I'd get letters from boys

swotting for O' Levels asking complicated questions about time-

ratio and the TARDIS. Dr. Who might have been able to answer

them. I'm afraid I couldn't.

'But Dr. Who is certainly a test for any actor. Animals and

children are renowned scene-stealers and we had both - plus an

assortment of monsters that became popular in their own right.

Look at the Daleks. They started in the second series and were an

immediate success.

'I remember once when I was asked to open a local fete I

dressed in my Dr. Who clothes and turned up in an old limousine owned by a friend. I’ll never forget the moment we arrived. The

children just converged on the car cheering and shouting, their

faces all lit up. I knew then just how much Dr. Who really meant to them.'

Interviewed by David Gillard for the Radio Times Doctor

Who special, published 1973.

'I think that if I live to be 90, a little of the magic of Doctor Who will still cling to me.'

Quoted in The Making of Doctor Who by Malcolm Hulke

and Terrance Dicks, original source unknown.

24

William Hartnell – In His Own Words

ON PLAYING THE DOCTOR:

'With rehearsals every day, it's just like being on tour. I live in digs near the studios all week and only go home at weekends.

'I give the rest of the cast my experience and they help me

memorise my lines.

'I hope the series runs for another five years, because that is

about as long as I give myself in this business. After that, I shall

retire. After all, I'm not 21 anymore.'

Interviewed in 1964 for syndication in local newspapers.

'I see Dr. Who as a kind of lama. No, not a camel. I mean one of

those long-lived old boys out in Tibet who might be anything up to

800 years old, but look only 75.'

Interviewed for Reveille, edition dated 7-13 January

1965.

'Although I portray a mixed-up old man I have discovered I can

hypnotise children. Hypnosis goes with the fear of the unknown. I

communicate fear to children because they don't know where I'm

going to lead them. This frightens them and is the attraction of the

series.

'I am hypnotised by Dr. Who. When I look at a script I find it unbelievable, so I allow myself to be hypnotised by it. Otherwise I

would have nothing to do with it.

'Everyone calls me Dr. Who and I feel like him. I get letters

addressed to me as "Mr Who" and even "Uncle Who". But I love being this eccentric old man. I love it when my granddaughter,

Judith, calls me "barmy old granddad".

'I can see this series going for five years at least. It has already

been sold in Australia, New Zealand and Canada, so my audience

is getting bigger every week.

'I am getting more money than I've ever earned in my life.'

Interviewed for the Sunday Mirror, edition dated 7

February 1965.

'I am fortunate to be given carte blanche with the role. This allows me tremendous range to improve and build on the original outline

of Dr. Who.

25

Doctor Who – The Handbook – The First Doctor

'I think I represent a cross between the Wizard of Oz and Father

Christmas. Yet I am always adding fragments to the part, always

trying to expand it.'

Interviewed for the Daily Express, date unknown.

'Last year I was invited by Whitehall to be VIP guest of honour at

a Battle of Britain display near Doncaster. I put on my Doctor Who

clothes and appeared in a colourful battle of the Daleks - with

planes dropping bombs etc. There were 11,000 people there. Kids

smashed barriers to get near me. But the greatest moment for me

was to be entertained afterwards by 150 of Britain's most famous

flyers.'

Interviewed in 1966, source unknown.

'I love playing to children, because you can't pull the wool over

their eyes. And when they write to me, you know, it's the truth, the

whole truth and nothing but the truth.

'I don't mind being typecast again, even if it's in a bath-chair for

the rest of my life.

'They give me pretty well carte blanche; and as a matter of fact Verity has said that when the time comes they will give me a bath-chair free. So I said I might take her up on that one day.'

Interviewed by Roy Plomley on 2 August 1965 for BBC

Radio's Desert Island Discs.

'When children write to me they demand sometimes over and

above what I can provide, but I send them a photograph and sign it

and answer some of their letters. One little child wrote to me not so

long ago, which is rather charming, she told me in her letter how

much she liked the show, and she ended up by saying "When I

grow up I will marry you" - aged four and a half!'

Interviewed by Roy Plomley on 2 August 1965 for BBC

Radio's Desert Island Discs.

'I find there is a great appeal in playing older parts. In this story I am 750 years old, because I am a man from the future, and I label

myself "The High Lama of the Planets". To the viewer, I appear as a man between 60 and 70.'

Interviewed for the Western Daily Press and Bristol Mirror,

edition dated 14 December 1965.

26

William Hartnell – In His Own Words

Tm signed up until next October. And the BBC have flatter-

ingly said that they'll keep it on as long as I'm willing to continue.

But I want a change in conditions. It's not a question of money, the

BBC pay me very well, though I work bloody hard for it.

'But you can never escape from the character - that's the agony

of being Dr. Who.

'When I was in films, you worked hard for twelve or sixteen

weeks, but when you'd finished, it was gone, in the bag.

'Dr. Who has given me a certain neurosis - and it's not easy for

my wife to cope with. I get a little agitated, and it makes me a little irritable with people.

'In fact, Dr. Who seems to be taking over.

'I get nine weeks off a year. But it takes me two weeks to

unwind from the part. What I would like for the next contract is

something like Dr Finlay. He runs for 26 episodes and then gets a

26-week break.

'Once or twice I've put my foot down with a new director and

told him "I know how to play Dr. Who and I don't want you to

intrude on it or alter it." '

Interviewed for the Doty Mirror, edition dated 23 April 1966.

'It was like manna from heaven to get away from uniformed

parts. The original Doctor was pig-headed and irascible, certainly,

but there was also an element of magic in him - and that was what

I tried to bring out.'

Interviewed by Michael Wynn Jones for the Radio Times,

edition dated 30 December 1972 - 5 January 1973.

ON MAKING STORY SUGGESTIONS:

"The idea of doing a Western story was my idea. Children will

always adore cowboys and Indians. And I'd like to see characters

from children's books come into the series.'

Interviewed for the Daily Mirror, edition dated 23 April 1966.

27

Doctor Who – The Handbook – The First Doctor

'Your letter to me I found very interesting but first let me say you

could not have two Doctor Whos.

'I myself suggested this some four years ago by having a son.

The idea was for me to have a wicked son: both looked alike and

both had a TARDIS and travelled in time and space. In fact I

would have had to play a dual role when meeting up with him.

'This idea was not acceptable to the BBC so I forgot it very

quickly. But I still think it would have worked and been exciting

for the children.'

William Hartnell writing in July 1968 in a letter to fan

Ian McLachlan.

ON HIS DEPARTURE FROM DOCTOR WHO:

'I think three years in one part is a good innings and it is time for a change.'

Quoted in a BBC press release dated 6 August 1966.

'Basically I left Dr. Who because we did not see eye to eye over the stories and too much evil entered into the spirit of the thing. Dr.

Who was always noted and spelled out to me as a children's

programme, and I wanted it to stay as such, but I'm afraid the BBC

had other ideas. So did I, so I left I didn't willingly give up the

part.'

William Hartnell writing in July 1968 in a letter to fan

Ian McLachlan.

'It is a long time ago now, and I think my hurt has healed,

although I must say the events of those last few months are

engraved on my heart.'

Quoted by Peter Haining in The Doctor Who File, pur-

portedly from an interview conducted in April 1969 by John

Ball, actual provenance uncertain.

'I was upset at coming out of Dr. Who. But I didn't agree with what was happening to him. There was too much violence creeping

into the series.

'It's too adult. It's meant for children, not grown-ups.

'There are lots of things you could learn from it now to start a

major war.

28

William Hartnell – In His Own Words

'I've stopped watching. So have a lot of children - that's what I

hear. They keep saying to me, "When are you coming back?" 'But it's all so different now.'

Interviewed in 1970 for a newspaper, details unknown.

ON OUTER SPACE:

'Space travel? Quite honestly it scares me stiff. I haven't the

slightest wish to get in a rocket and zoom through the stratosphere.

Somebody else can be the first man on the moon. It doesn't interest

me at all.

'If God had wanted us to live on Mars, he'd have put us there in

the first place. I prefer life on earth.'

Interviewed for Reveille, edition dated 7-13 January

1965.

'

'Certainly I believe there is life on other planets - and they know

there's life here but don't have the technology to get through.'

Interviewed by Michael Wynn Jones for the Radio Times,

edition dated 30 December 1972 - 5 January 1973.

ON HIS HOME LIFE:

'My favourite pastimes are work, recreation, fishing, horse-riding

and reading.'

William Hartnell writing in 1946 for British National's

Film Review.

'My leisure interests before getting the part of Dr. Who were

strictly down to earth - gardening, fishing, sitting down and horse

racing.

'I’ve been married 39 years, and all of them to the same

woman.'

Interviewed in 1964 for syndication in local newspapers.

'My granddaughter Judith, who is seven, will probably be a TV

producer one day. With Doctor Who in the middle of some terrible

global disaster she'll ask me what I've done with that pretty tall hat

I was wearing in the previous scene.

29

Doctor Who – The Handbook – The First Doctor

T m a countryman at heart. I love fishing, especially sea fishing for

bass. I have a couple of rods down at Newhaven and go there

whenever I get the chance. r-

'My favourite exercise is chopping wood.

'My wife and I are both keen bird-watchers. During the big

freeze a few winters back, you'd be amazed at all the different

birds which came to visit us. We kept them alive during that cold

weather.

'We found out what food each bird liked, and got it for them

somehow.

'Everyone has to escape somehow. Some people do it through

TV. My escape is the English countryside, which I love.

'Nothing would ever make me leave it to explore life on some

other planet/

Interviewed for Reveille, edition dated 7-13 January 1965.

ON LIFE AFTER DOCTOR WHO:

'How lovely to be interviewed for a television feature. I thought

people had forgotten me.

'Before I went into Dr. Who I was always given sergeant-major

parts like the one in The Army Game. I thought playing Dr. would break my image. It didn't. People still think of me as Dr. Who or a

bad-tempered sergeant major.

'Recently I was in Softly, Softly playing an ordinary old man.

You've no idea how marvellous that was for a change.

'I read a lot of play-scripts. When I find the right one, I’m

hoping I'll be able to put it on in the West End.'

Interviewed in 1968 for a newspaper, details unknown.

'For your information, the original Dr. 'Who', which I think is me,

is still running, and has reopened in New Zealand, Iran and

Jamaica.

'My fan mail is still coming along, also, some from Australia,

posted to the BBC.

'Of course you may use our names on the Fan Club notepaper,

but keep my address to the blackout, in other words, to yourself.

'Also, let me add, I have had a nervous breakdown which has

lasted nearly two years and am only just getting on my feet again.

30

William Hartnell – In His Own Words

My wife had to take the brunt of my illness, and no better nurse I

can assure you.'

'At the moment on holiday in Ireland

'It was my own fault, much too long without a proper rest

A lot of parts come my way but, of little use to an ill man.

Anon Carry on and bless you together with fans '

William Hartnell writing in a letter dated 11 August 1969 to

Doctor Who Fan Club Secretary Graham Tattersall.

ON HIS RETURN TO TV IN THE ITV PLAY CRIME

OF PASSION:

'I was ill for eighteen months. It was a double affair – pleurisy and

a nervous breakdown.

'Now I'm back in the acting business. But I don't say "Yes" to everything. I turn things down if I don't think they're right

I would like to get back to more TV, but it is difficult because

you don't always get the parts you want

'And, of course, they fight shy about engaging expensive

actors.'

Interviewed in 1970 for a newspaper, details unknown.

31

2: William Hartnell – As Others Saw

Him

CHRISTOPHER BARRY (DIRECTOR):

'I remember, unfortunately, that William Hartnell had a rather old-

fashioned attitude to race. Also, by the time I came back to work

with him on some of the later episodes he thought he was "the

Doctor"1, not William Hartnell. But all the cast had assumed their characters' personalities, and it's a great short-cut on any series or

serial if the actors know their roles. They will then tell the director,

"This is what I ought to be doing," or "ought not," and if you disagree with them it's up to you to convince them. That1 s

perfectly healthy - you stop rehearsal and talk about it'

Interviewed by David J. Howe and Rosemary Howe in 1987 for

The Frame Issue 1.

IAN STUART BLACK (WRITER):

'I thought he was an excellent actor. I think I first became aware of

him when I saw a little scene he had done in a British film called

Odd Man Out. He was on screen for only about two or three

minutes in a 90-minute picture, playing the part of a bartender who

was under great strain, and in that short space of time he really

caught my attention and impressed me with his abilities. Then of

32

William Hartnell – As Others Saw Him

course my children used to watch him in Doctor Who. So when I

came to write for him I was very pleased

I've heard it said that Hartnell could be irritable, and that's true.

Certainly he could be irritable with some of the younger actors and

actresses in Doctor Who whom he didn't consider to be totally

professional. You have to remember that the series was taking

people who at the time were fairly unknown and still learning the

business, although some of them became stars later on, and I think

that every now and again he felt mildly irritated. In a sense he was

carrying some of them. As far as I was concerned, though, his

professionalism excused any sort of personal attitude he might

have had. I didn't know him very well, but I liked him. He just took

the script and he acted it.'

Interviewed by Stephen James Walker in 1992 for The

Frame Issue 23 & 24.

DOUGLAS CAMF1ELD (DIRECTOR):

To be perfectly honest, Bill could be difficult to work with. He was

cantankerous, wilful, dogmatic and never suffered fools gladly.

But life was never dull in his company and he was generous and

encouraging if he knew that, like him, you put the good of the

programme above all. He had "star quality" in abundance, and

brought a special magic to the part. He "created" the Doctor and provided the yardstick against which every other actor who plays

the part is measured. He helped me to get started as a director and I

owe him a great deal. He was a remarkable man and I shall never

forget him.'

Interviewed by Gary Hopkins in 1979 for The Doctor

Who Review Issue 1.

ANN CARNEY (DAUGHTER):

'His grandchildren had given him a new interest in the younger

generation, as they always do older people. He never had a son, so

I was the only one, and Paul (his grandson) had stimulated a

different approach to children. Their interest in the modern space

age etc. was reflected in his interest in that type of programme. '

Interviewed for The Time Scanner Issue 2, published in 1985.

33

Doctor Who – The Handbook – The First Doctor

FRANK COX (DIRECTOR):

'William Hartnell seemed to me to hate rehearsing. He had a great

1 problem learning the lines, and if he found a biggish speech, of

half a page or so, he would say "Christ. Bloody Macbeth!" My impression was that he loved being the Doctor, especially when it

involved opening bazaars etc., but that he was insecure about his

ability to do the work. William Russell was a great help to me,

mediating between the irascible old Hartnell and the trembling

novice director, Cox. It was all a nightmare quite honestly.'

Interviewed by Ian K. McLachlan for TARDIS Volume 7

Number 1.

MICHAEL CRAZE (ACTOR):

'Mr Hartnell, God rest his soul, was a devil! He was a bit

overpowering, quite frankly. I found him just difficult to work

with. I don't think he wanted to leave. I think the powers-that-be

got fed up and said "Let's change the whole format", and they redrafted the whole thing.'

Interviewed by Gordon Roxburgh for TARDIS Volume 7

Number 4.

RAYMOND CUSICK (DESIGNER):

'Bill Hartnell took acting very seriously, and was desperate as an

actor to do Doctor Who - and then all the mail that came in was for the Daleks, some fibreglass model! I remember him telling me that

j the company which manufactured the Dalek playsuits sent a

representative down to his house to give him one of them. He said,

"I don't know why they brought this bloody thing down to me.

What do I want a bloody Dalek for?"

'He was funny, Bill Hartnell, but on the face of it he didn't

appear to have any sense of humour. For instance, we were all

sitting around drinking coffee one day and reminiscing about our

time in the theatre, recalling all the embarrassing things which had

gone wrong during shows we'd been involved with, and he couldn't

understand why we thought these things were funny!

'He started telling us a story, very seriously. Apparently he had

just been touring in a play with an actor-manager who was an

34

William Hartnell – As Others Saw Him

alcoholic - a Henry Irving type, a real ham. In one scene, the actor-

manager's character was supposed to have an argument with

Hartnell’s character and then leave the room through a door, where

he would meet two other characters and they would discover what

was happening - this was the denouement of the play. Anyway,

one night, when the actor-manager came to make his exit, instead

of going through the door he opened a big wardrobe next to it and

went in! Hartnell stood there waiting for him to come out, because

it didn't lead anywhere, but he didn't come out. The two actors

outside were given a cue and came in, and they just had to busk it -

to make it up as they went along! After the curtain came down,

they all rushed over to the wardrobe, opened the door, and there he

was, fast asleep! "What happened?" they asked him. "Well, my dears, I came inside here, shut the door, and suddenly it was dark.

So I thought I'd sit down and have a rest." Hartnell was absolutely serious when he told us this but, by the time he'd finished, we were

falling about, it was so funny.'

Interviewed by Stephen James Walker and David J. Howe in

1991 for The Frame Issue 21 & 22.

GERRY DAVIS (STORY EDITOR):

'I got on well with Billy Hartnell. I discovered it was no good

confronting him, because as soon as you did he'd get angry. There

was a lot of anger in him. What I would do was, having the

necessary knowledge, talk about something to do with his past.

For example, there was the occasion of the chair. He came onto

the set, took one look at this chair, and said, "This is ridiculous -I can't sit in this chair, it's wrong! Take it away - and I won't do

anything until it's taken away." They used to send for me, and I'd come down and say, "What's the matter?" He said, "Look at this.

It's an insult, and completely wrong for the scene." So I replied,

"Doesn't it look familiar to you? When Barrymore played his 1925

Hamlet he used a chair identical to that!" And Hartnell paused, thought, and then said, "Oh yes, I saw him." So we talked about B

any more for five minutes, and then I said, "Well, sorry to disturb you, you'd better get on with the scene. But first we must get rid of

that chair!" And he looked at me and said, "Oh no, that's fine, nothing wrong with that!"'He was very nice to me and took a great

35

Doctor Who – The Handbook – The First Doctor

interest in me, always! asking after my daughters. It was the make-

up and costume people he bullied.'

Interviewed by Richard Marson in 1987 for Doctor Who

Magazine No. 124.1

MICHAEL FERGUSON (DIRECTOR):

'I liked him a lot and got on quite well with him, possibly because I

had already worked with him as an assistant floor manager. The

AFM really has to get on well with everyone, otherwise it can

made, life very difficult. I had always looked after Bill on The

Daleks and I found him very co-operative. He could be

cantankerous, he could I be snappy, he could be a bit huffy

sometimes, but that was) something I found not particularly

remarkable then and I find even less remarkable now when I think

of the burdens borne by the lead actor of a major and popular

series.'

Interviewed by Stephen James Walker in 1991 for The

Frame Issue 18.

HEATHER HARTNELL (WIFE):

"The cast all got on awfully well. Of course he had his favourites.

He loved Bill Russell, who was the first of his assistants, and Peter

Purves who joined later. He got on awfully well with Bill Russell

and Jackie Hill and Carole Ann Ford, who was his granddaughter

in the beginning. Oh! They all got on well together. Well, they had

to, because they were making it in a very tiny studio and they were

all on top of each other; they had to get on well together or else

they would have come to blows I would imagine! J 'He loved the

historical stories because, like all actors, he loved! dressing up in

great gay clothes. He loved stories like the French! Revolution one

and Marco Polo and things like that, because they | all had

gorgeous, glamorous clothes. I don't know what his favourite story

was. Perhaps Marco Polo, because they had great fun doing that.

But of course his favourite monster had to be the Daleks. The point

was that somehow he could get the better of all I the other

monsters, but the Daleks always popped up again! And William

felt that he was never going to get the better of them.

36

William Hartnell – As Others Saw Him

"The performances that he was really proud of were in films,

particularly a film called The Way Ahead and a film called The Yangtze Incident, they were service films. He loved doing Doctor Who, though. He absolutely adored it, because he always loved

children and always had a way with them. He used to stay five

nights a week in a little flat in London and then come home to

Mayfield, where we lived, at the weekend. I used to drive over and

meet him at Tunbridge Wells station, and the local children got to

know that he'd arrive at Tunbridge Wells on a Saturday morning

and they'd be waiting for him. It was very like the Pied Piper of

Hamlyn, walking through the streets down to the car park. They

knew it was him, and if he went into a shop they would wait

outside, then follow him again. Well of course he loved it because

they were children; he loved children.'

Interviewed for No, Not the Mind Probe Issue 1, published January 1985.

WARIS HUSSEIN (DIRECTOR):

'William Hartnell was Verity Lambert's idea for the role of the

Doctor, but at first he was quite reluctant to accept it. We took him

out to lunch one day and I had to talk literally non-stop to try to

convince him. He had a number of worries. He had recently done a

series - The Army Game - and didn't really want to get involved with something else which took up so much of his time. Also, he

didn't quite know if he wanted to play such a peculiar character. He

seemed to think that, by asking him to play the part of an eccentric,

we were implying that he was eccentric himself - which of course

he was! Ultimately, though, he agreed, and that was due largely to

these diplomatic approaches from Verity and me, so I feel fairly

strongly that I was very influential there.

'William was very much a prejudiced person, and I had a strong

suspicion that he was prejudiced about me to start with. What was

interesting, though, was that he never allowed it to interfere with

his work, and gradually he came to like me a great deal, so in a

way you could say there was something achieved through that!

Once he realised that I knew what I was doing he really was

supportive. He never, ever made things difficult for me, which he

could have done if he'd wanted to. I had a lot of respect for the

man. I think everyone1 s entitled to their opinions; but if you can

37

Doctor Who – The Handbook – The First Doctor

change some of them, all for the better.'

Interviewed by Stephen James Walker and David J. Hove

in 1990 for The Frame Issue 16.

INNES LLOYD (PRODUCER):

'Bill had been in the role for a long time. He was getting on and he

was getting tired. I thought that the tiredness and the irascibility

were not going to be good a) for the show and b) for him - for him,

mostly ~ and I would always have advised him to leave. I

remember taking him home after the party on his last night, at

about one in the morning. I told him, "Bill, now you can have a

rest" and he said, "Yes, I'll be very pleased."

'I also recall him saying to me - though I don't know if he said

it to anyone else - 'There's only one man in England who can take

over, and that's Patrick Troughton!" I think he was happy when he

heard that Pat would be doing it.1 \

Interviewed by Stephen James Walker and Peter Linford in

1990 for The Frame Issue 14.

RICHARD MARTIN (DIRECTOR):

'William Hartnell disliked quite a lot but worked like a white man

and worried like Reagan’s bodyguard/

Interviewed by Ian K. McLachlan in 1983 for TARDIS

Volume 8 Number 2.

DEREK MARTINUS (DIRECTOR):

'Hartnell was very quick to size me up; he did that with all the new

directors. He was a pretty formidable figure, with a good track

record in films, and he liked to present himself as an imposing,

knowledgeable sort of guy. He definitely liked to be the star.

'I remember Hartnell saying to me during one of the earlier

episodes that he had been told he could go on as the Doctor for as

long as he liked, that he had carte blanche over the scripts, and that when he finished, the series was finished. He really believed he

was the series, poor chap. He could not envisage it existing without

him. He said "How can they replace Doctor Who? It's called

38

William Hartnell – As Others Saw Him

Doctor Who and if I don't do it, that's the end of it. They keep asking me to carry on, but I don't know how long I'll do it." '

Interviewed by Stephen James Walker and David J Howe

in 1991 for The Frame Issue 21 & 22.

PETER PURVES (ACTOR):

‘I liked Bill a lot. I thought he was a smashing bloke. Very difficult

to work with, but he was a perfectionist in his own way and it

came out as rattiness with directors and producers. He had a strong

sense of what was wrong and what was right. He did have a bit of

trouble learning his lines sometimes and used to get them wrong

on takes, but that sort of thing happens and I still think he was the

best Doctor by a long way. I had a very good relationship with Bill

and he used to take me and my wife out for meals. He was a lovely

man. Very entertaining and, I think, a very good actor.'

Interviewed in 1986 for Flight Through Eternity No. 2.

“Television acting is really quite confined, and he would always

hold his hands up in front of his chest, because if they were down

by his sides and he was in close-up you wouldn't see them. If he

made a gesture it wouldn't be a big one, because again that would

take his hands out of shot Instead, he used to make all those neat

little gestures of his.'

Interviewed in 1990 for the British Satellite Broadcasting

Doctor Who weekend.

WILLIAM RUSSELL (ACTOR):

'Billy was marvellous, very professional. He had all the switches in

the TARDIS marked out exactly in his mind, and he thought up the

idea about the Doctor always getting my name wrong, Billy wasn' t

at all like the Doctor off set. He was a very professional actor who

just did his job, in his own way.'

Interviewed by Graeme Wood, John Brand and Andy

Lennard in 1984 for The Merseyside Local Group Megazine

Volume 2 Issue 17.

39

Doctor Who – The Handbook – The First Doctor

JULIA SMITH (DIRECTOR):

'Mr Hartnell was a terrific professional and totally dedicated to the

part he was playing. At times I think he honestly believed he was

Doctor Who. Any actor supporting a series over a number of years

gets very weary, and his age must have added to this. He was

finding it difficult to remember lines, which was one of the reasons

he was given two companions instead of one. He was also given

very athletic things to do by a lot of the writers and, as a director,

one had to save him as much as possible.'

Interviewed in 1982 by Ian K. McLachlan for TARDIS

Volume 7 Number 2.

DONALD TOSH (STORY EDITOR):

'Bill was a hardened old pro, but he was also getting on in years.

Time and time again he had the weight of the explanation to do, so

as to make the whole thing acceptable and believable. He would

stray away from the script and bumble and ad lib his way through

so that at times we tore our hair and there were some great old

fights. However, usually when we came to look at the finished

product, Bill had made sense of it and it looked fine.

'John Wiles and I had many battles royal with him, but that is

true of any long-running programme - there are always arguments

with the star. Bill cared very, very deeply for the programme. He

was desperately sorry when the time came and he had to give it up.

The success that Doctor Who has lived on since it began is greatly due to what Bill Hartnell brought to the programme.

'I think towards the end he almost began to lose the dividing line

between his own reality and the fantasy reality of the Doctor.

There were times when one knew he was going to be difficult and

one had to head off trouble if one could, for our schedule was

terribly tight and time was always at a premium. I recall once at a

read-through 1 Bill had a long and complicated speech which was

absolutely vital, and I knew that he was going to ask for it to be

rewritten or cut. As soon as the read was over I rushed across and

congratulated him. I told him that it was a vital speech and he had

read it quite beautifully, and that 1 had written it especially for

him. Everyone likes sudden and surprising flattery so he was

slightly taken aback, then smiled and said Thank you” and went

40

William Hartnell – As Others Saw Him

away and learned every word, and on transmission delivered it

absolutely perfectly.'

Interviewed by Jan Vincent-Rudzki, Stephen Payne and Ian

Levine in 1978 for TARDIS Volume 3 Number 3.

EDMUND WARWICK (ACTOR WHO DOUBLED

FOR HARTNELL):

'He was incredibly kind. He wanted me to be good in the part,

obviously, and so when we weren't rehearsing he spent a lot of his

spare time showing me exactly how he held his head and how he

stood, which was very generous of him really because actors are

not all that kind as a rule.

'He could be tetchy, but when he wanted to help he was most

helpful. The thing that made him tetchy was when scripts were not

up to scratch.

'When Hartnell was there, he really was the most important

person of the lot. Things went according to the way Hartnell

wanted them to go, rather than anything else.'

Interviewed by John Bowman in 1989 for The Frame

Issue 10.

JOHN WILES (PRODUCER):

'He wasn't as old as he thought he was. When he was with me he

treated himself almost as a 75 year old. It may well have been that

he was physically not in the best of health and so could not learn

lines. Consequently, studio days could be absolute purgatory for

everybody. If Bill was in an unhappy state then it put everyone into

a terrible state.

'Eventually my directors devised a code for me. They would

turn to their production assistant and say, "You had better phone

the designer," which meant, "Get John down here quick," so that Bill wouldn't know I'd been summoned.

'One day I got a call from the studio to say that all the dressers

had come out on strike! Now this was a cataclysmic start to a day

in the studio where you depend on all your back-up all the time.

Bill had simply offended his dresser, who had then complained,

and so I the entire staff had walked out. And this was on the one

41

Doctor Who – The Handbook – The First Doctor

day you had to get an entire episode recorded. So there were those

kind of pressures all the time.

'Peter Purves was very supportive and helped as much as he

could. I imagine it must have been very nerve-racking for him, in

that he never knew from one day to the next what was coining

from Bill.

'The feeling from above was that the show worked as it was,

and would continue to run as long as Bill Hartnell played the

Doctor. So perhaps I was mad for wanting to change it. But our

audience research had shown the production office that many

adults watched the show and so I felt we could do better than we

were doing.

'I do remember suggesting to Bill once that we take the

TARDIS to a planet where there is no gravity and no oxygen -

where he would have to wear a spacesuit. You never heard such an

uproar in all your life ...'

Interviewed by Jeremy Bentham in 1983 for Doctor Who\

Monthly Winter Special 1983

ANNEKE WILLS (ACTRESS):

'As you have probably heard from other people, Bill Hartnell was I

a very tricky character. Very, very tricky. So the rest of the cast I

would stick together, and have a sort of reality check! His

departure was all pretty emotional, I think, and rather difficult”

Interviewed by Stephen James Walker in 1991 for The

Frame Issue '.

42

The Doctor

3: The Doctor

The character of the Doctor was devised by BBC Head of Drama

Sydney Newman in April 1963. His staff had by this point already

done a considerable amount of work on developing a proposed

new science-fiction series (See Chapter Six), but it was Newman

himself who decided that the central character ought to be, as he

later put it:

A man who is 764 years old - who is senile but with extraordi-

nary flashes of intellectual brilliance. A crotchety old bugger -

any kid's grandfather - who had, in a state of terror, escaped in

his machine from an advanced civilisation on a distant planet

which had been taken over by some unknown enemy. He didn't

know who he was any more, and neither did the Earthlings,

hence his name, Dr. Who. He didn't know precisely where his

home was. He did not fully know how to operate the time-

space machine.

In short, he never intended to come to our Earth. In trying

to go home he simply pressed the wrong buttons - and kept on

pressing the wrong buttons, taking his human passengers back-

wards and forwards, and in and out of time and space.

The earliest contemporary description of the Doctor's character

appeared in a format document prepared during the early part of

43

Doctor Who – The Handbook – The First Doctor

April 1963 by BBC staff writer/adapter C.E. Webber, in consulta-

tion with Newman and with the Head of the Script Department,

Donald Wilson. It read as follows:

DR. WHO

A frail old man lost in space and time. They give him this name

because they don't know who he is. He seems not to remember

where he has come from; he is suspicious and capable of

sudden malignancy; he seems to have some undefined enemy;

he is searching for something as well as fleeing from

something. He has a 'machine' which enables them to travel

together through time, through space, and through matter.

The same document later went on to give a description of the part

that the Doctor would play within the continuity of the stories:

He remains a mystery. From time to time the other three

discover things about him, which turn out to be false or incon-

clusive (i.e. any writer inventing an interesting explanation

must undercut it within his own serial-time, so that others can

have a go at the mystery). They think he may be a criminal

fleeing from his own time; he evidently fears pursuit through

time. Sometimes they doubt his loss of memory, particularly as

he does have flashes of memory. But also, he is searching for

something which he desires heart-and-soul, but which he can't

define. If, for instance, they were to go back to King Arthur's

time, Dr. Who would be immensely moved by the idea of the

Quest for the Grail. That is, as regards him, a Quest Story, a

Mystery Story, and a Mysterious Stranger Story, overall.

While his mystery may never be solved, or may perhaps be

revealed slowly over a very long run of stories, writers will

probably like to know an answer. Shall we say:

The Secret of Dr. Who: In his own day, somewhere in our

future, he decided to search for a time or for a society or for

a physical condition which is ideal, and having found it, to

stay there. He stole the machine and set forth on his quest.

He is thus an extension of the scientist who has opted out,

44

The Doctor

but he has opted farther than ours can do, at the moment.

And having opted out, he is disintegrating.

One symptom of this is his hatred of scientists, inventors,

improvers. He can get into a rare paddy when faced with a

cave man trying to invent a wheel. He malignantly tries to

stop progress (the future) wherever he finds it, while

searching for his ideal (the past). This seems to me to

involve slap up-to-date moral problems, and old ones too.

In story terms, our characters see the symptoms and guess at

the nature of his trouble, without knowing details; and always

try to help him find a home in time and space. Wherever he

goes he tends to make ad hoc enemies; but also there is a

mysterious enemy pursuing him implacably every when:

someone from his own original time, probably. So, even if the

secret is out by the fifty-second episode, it is not the whole

truth. Shall we say:

The Second Secret of Dr. Who: The authorities of his own

(or some other future) time are not concerned merely with

the theft of an obsolete machine; they are seriously

concerned to prevent his monkeying with time, because his

secret intention, when he finds his ideal past, is to destroy

or nullify the future.

If ever we get this far into Dr. Who's secret, we might as well

pay a visit to his original time. But this is way ahead for us too.

Meanwhile, proliferate stories.

Sydney Newman, when presented with a copy of Webber’ s docu-

ment, made a number of hand-written annotations to it, indicating

that he was less than happy with some of these suggestions for the

Doctor's character. Beside the section headed The Secret of Dr.

Who' he wrote:

Don't like this at all. Dr. Who will become a kind of father

figure -1 don't want him to be a reactionary.

Beside "The Second Secret of Dr. Who' he commented simply:

45

The Doctor

Nuts!

Newman' s idea for the character was that he should be an old man

who, although grumpy and partly senile, would have a heart of

gold; and who, far from hating scientists and inventors, would

regard 'science, applied and theoretical, as being as natural as

eating."

The next version of the format document, dated 15 May 1963,

contained the following revised description of the Doctor’s char-

acter and of his relationship with his companions (one of whom

was to have been called Cliff):

DR. WHO

About 650, a frail old man lost in space and time. They give

him | this name because they don't know who he is. He seems

not to remember where he comes from, but he has flashes of

garbled memory which indicated that he was involved in a

galactic war, and still fears pursuit by some undefined enemy.

He is suspicious of the other three, and capable of sudden

malignancy. They want to help him find himself, but Cliff

never quite trusts him.

All the other suggestions, including the 'Secrets of Dr. Who’ had

by this point been dropped.

The character was further refined over the following weeks.

The j finalised version of the format document, produced by story

editor I David Whitaker around early July 1963 and sent out to

freelance , writers to invite them to submit ideas to the series,

contained the following description:

DOCTOR WHO:

A name given to him by his two unwilling fellow travellers,

Barbara Wright and Ian Chesterton, simply because they don't

know who he is and he is happy to extend the mystery

surrounding him. They do know that he is a Doctor of Science

and that he is over sixty. He is frail-looking but wiry and tough

like an old turkey and this latter is amply demonstrated

46

Doctor Who – The Handbook – The First Doctor

whenever he is forced to run away from danger. His watery

blue eyes are continually looking around in bewilderment and

occasionally suspicion clouds his face when he assumes his

decisions are being opposed by his earthly 'passengers'. He can

be enormously cunning once he feels he is being conspired

against and he sometimes acts with impulse more than reasoned

intelligence. He can be quite considerate and wise and he

responds to intelligence eagerly. His forgetfulness and

vagueness alternate with flashes of brilliant thought and

deduction. He has escaped from the 50th-century because he

has found life at that time to be unpleasant and he is searching

for another existence into which he can settle. Insofar as his

operation of the 'ship' is concerned he is much like the average

driver of a motor car in that he is its master when it works

properly and its bewildered slave when it is temperamental.

Because he is somewhat pathetic, his grand-daughter and the

other two continually try to help him find 'home' but they are

never sure of his motives.

It was during July 1963 that William Hartnell was cast as the

Doctor. Unlike some of his successors, he had little initial input

into the development of the character, being content to be guided

by the requirements of the scripts and by the wishes of his

producer and directors. He did however recall in a later interview

that he considered the Doctor to be "too bad tempered” as depicted in the series’ untransmitted pilot episode, and that he told the

production team as much. Sydney Newman also disliked the rather

arrogant, supercilious Doctor of the pilot, feeling that he was not

'funny' or 'cute' enough, and asked that the character be softened in

the remount for transmission.

The Doctor's costume was also changed between the pilot and

the remount, from a plain dark suit and tie to a more eccentric

outfit with a high wing collar and cravat. These formal,

Edwardian-style clothes, together with the wig of long white hair

that Hartnell was asked to wear for the role, helped to set the

Doctor apart from the norm of paternal, lab-coated boffins who

had been a stock feature of children's adventure serials in the past.

Even more innovative was the fact that he was as an alien time

traveller from an advanced civilisation. While it was hardly

unexpected for a science-fiction series to involve extraterrestrial

47

The Doctor

life-forms, to have an alien as the central figure was a very novel

idea indeed. This aspect of the Doctor's background was first made

clear to viewers in the following speech that he delivered in the

first transmitted episode, An Unearthly Child:

'Have you ever thought what it's like to be wanderers in the

fourth dimension? Have you? To be exiles? Susan and I are cut off

from our own planet, without Mends or protection. But one day we

shall get back. Yes, one day, one day.'

This is one of the few references ever made to the Doctor's

desire, as mooted in the early format documents, to return 'home'.

His principal motivation in the transmitted stories seems to be,

rather, to explore the universe and to see its many wonders.

Whenever his 'ship', the TARDIS, materialises in a new location,'

he is always eager to venture outside and find out what fresh

mysteries and wonders lie in store. This passion for discovery

appears to be, at times, almost a compulsion; in the opening

episode of the second story, The Daleks, it leads him to mount a deception on his three travelling companions - Ian, Barbara and his

granddaughter Susan - so that they will be forced to go along with

his plan to visit a mysterious city that he has seen in the distance.

Plainly he likes to get his own way; and his confidence in his

own abilities is such that it occasionally borders on the arrogance

of the untransmitted pilot. "The mind will always triumph,' he

announces at one point during The Daleks. 'With me to lead them, the Thals are bound to succeed.' In the early part of the first season, he can indeed be regarded more as an anti-hero than as an out-and-out hero. While he is essentially a kindly, sentimental, compassion-

ate character, and while he certainly mellows quite considerably!

with the passage of time, he can often be brusque and irritable, and

at times even violent - displaying perhaps the flashes of 'sudden]

malignancy' described in early versions of the series' format

document. This Doctor is not one who sees himself as some sort of

crusader against universal evil, nor one who goes looking for

trouble.] Certainly he is a humane man, who regards life in all its

various forms as something to be valued and respected and who

consistently sides with the wronged and the oppressed against the

force of tyranny and evil; but he does not actively court

confrontation and conflict. His concern for the safety of himself

and Susan, and later for that of his human travelling

48

Doctor Who – The Handbook – The First Doctor

companions, means that he is quite content on occasion to

withdraw from a dangerous situation and let discretion be the

better part of valour.

Nor does he seek to stand out from the crowd; on the contrary,

he prefers to remain in the background and keep a low profile.

Whether he be on an alien planet like Marinus or Xeros or on Earth

in a historical period such as the French Revolution or the Ameri-

can Wild West era, he always endeavours to assimilate the local

customs and win the acceptance of the indigenous population. He

is, in short, an observer rather than an active participant - unless

forced, by circumstances to become involved.

The necessity for the Doctor to remain an observer arose

largely out of the attitude that producer Verity Lambert and story

editor David Whitaker took towards the concept of time travel.

This was set out by Whitaker in a reply of 1 May 1964 to a letter

received from a viewer, Mr R. Adams of Quinton, Birmingham:

Undoubtedly one must look at time as a roadway going

uphill and down the other side. You and I are in the position of

walking along that road, whereas Doctor Who is in the position

of being placed on top of the hill. He can look backward and he

can look forward, in fact the whole pattern of the road is laid

out for him. But you will appreciate of course that he cannot

interfere with that road in any way whatsoever. He cannot

divert it, improve it or destroy it. The basis of time travelling is

that all things that happen are fixed and unalterable, otherwise

of course the whole structure of existence would be thrown into

unutterable confusion and the purpose of life itself would be

destroyed. Doctor Who is an observer. What we are concerned

with is that history, like justice, is not only done but can be

seen to be done. Where we are allowed to use fiction, of course,

is that we allow the Doctor and his friends to interfere in the

personal histories of certain people from the past. We can get

away with this provided they are not formally established as

historical characters. We cannot tell Nelson how to win at the

Battle of the Nile because no viewer would accept such a

hypothesis. However, we can influence one Captain on board a

minor ship in Napoleon's armada.

As far as going into the future, learning facts, and returning

49

The Doctor

to relay them, I am not sure that society is prepared to accept

something until it is ready for it. There have been many long-

sighted predictions in the world which have been ignored.

Much of science-fiction as written in the twenties and thirties is

now established scientific fact today; such as space travel, for

example; and H.G. Wells in The War of the Worlds came very

near to future truths.

This rationale of time travel came to the fore on a number of

occasions during the series' first season, most notably in The Aztecs when Barbara was seen to discover the futility of attempting to

overturn the Aztecs' tradition of human sacrifice. Dennis Spooner,

when he took over from David Whitaker as story editor, adopted a

rather more flexible policy, indicating in his story The Time

Meddler that the Doctor's opposition to changing established

history was a matter of personal policy rather than a belief that to

do so was impossible. The whole concept of the Monk character

introduced in that story depended upon the fact that history could

indeed be altered and redirected onto a new course. Even under

this more flexible regime, however, it remained the case that the

Doctor was fiercely opposed to such meddling, as evidenced in his

attitude towards the Monk - who, apart from Susan, was the only

other character from the Doctor's own planet to be seen during this

era of Doctor Who.

Mysterious and other-worldly though his origins may be, the

Doctor's physical capabilities appear to be not much greater than

those of a human being from Earth. He is actually rather frail,

suffering all the aches and pains of old age, and often carries a

walking stick given to him by Kublai Khan, a fellow sufferer, in

the first season story Marco Polo. Mentally, however, his powers are somewhat superior. He delights in his ability to outwit his

opponents, such as when, in The Space Museum, the Morok

Governor of the museum tries to interrogate him with a mind-

reading device and he projects an extraordinary series of false

images onto the screen. He can even sense sometimes when an evil

presence is nearby, as he indicates in The War Machines; and it is revealed in The Sensorites that he has a certain degree of telepathic ability.

At times, it must be said, his successes appear to result more

from luck than from good judgement. He tends to muddle his way

50

Doctor Who – The Handbook – The First Doctor

through situations, and often has a slightly bewildered air about

him. If he seems a near-charlatan in some of his earlier stories then

in some of the later ones he could even be thought slightly senile,

as Ian actually speculates in The Rescue. Indeed, there are aspects of his behaviour- such as his occasional bursts of almost hysterical

laughter - which appear positively manic.

This trait of endearingly absent-minded bumbling was largely

William Hartnell's contribution to the role. Hartnell regarded

Doctor Who as a children's programme first and foremost, and was always looking for ways of making the Doctor more appealing to

a that audience. It was he who, for instance, came up with the idea

] that the Doctor should often get his companion Ian's surname

[ wrong: so instead of saying 'Chesterton' he would call him

anything from 'Chesserman' (in The Daleks) to 'Chatterton' (when remembering him in The Massacre of St Bartholomew's Eve). It

was he, too, who gave the Doctor his indignant 'humphs!' and his

frequent high-pitched chuckles. As his widow Heather later

recalled, 'I know Bill would have liked to have put more comedy

into the part, and to a degree he did try with those exasperated little coughs and splutters.'

Hartnell saw the Doctor as a wizard-like figure rather than a

scientist. He was convinced that he knew better than the series'

writers how the character should be played, and would actively

resist the inclusion of obscure or technical terms in his dialogue.

Writer Donald Cotton recalled sharing a taxi with him on one

occasion and being asked if, instead of writing lines for the Doctor,

be could in future simply give an indication of what he wanted the

character to say and leave it to the actor to come up with the actual

words.

Part of Hartnell's motivation in this regard may well have been

to lessen the very considerable burden of dialogue that he, as the

series' lead, had to carry in each episode. He was by this stage of

his career finding it increasingly difficult to memorise his lines,

and he lacked the advantage afforded to actors in later years of

being able to stop for frequent retakes (video editing being a

technically difficult and expensive process to achieve in the mid-

sixties). There is however no doubt that he had very strong views

as to how the Doctor should speak and behave, and that much of

the character's on-screen appeal, which made him a hero to

51

The Doctor

millions of children world-wide, was down to the actor's own

skilful and engaging performance.

Aside from the aforementioned mellowing, and the refinements

of interpretation made by Harwell in his performance, no radical

changes in the characterisation of the Doctor occurred during the

three years of the actor's tenure in the role. The description given

in the format guide sent out to writers towards the end of the first

Doctor's era was much the same as that in the one prepared by

David Whitaker in 1963 - and in some respects harked back to the

even earlier C.E. Webber version.

Right up until his last story, The Tenth Planet, the Doctor

retains his characteristic traits. However, when he collapses part-

way through the story, and later speculates that his old body might

be 'wearing a bit thin', it becomes clear that something very

unusual is happening. In the closing moments of the final episode,

he demonstrates perhaps his most remarkable and unexpected

ability of all and undergoes a complete transformation of his

physical appearance ...

52

4: The Stories

'Let me get this straight. A thing that looks like a police box

standing in a junkyard. It can move anywhere - in time and space?'

The two school teachers, Ian Chesterton and Barbara Wright,

stand amazed in the impossibly large white room within the

battered old police box. As they try to comprehend Susan Fore-

man's explanation that they are standing inside a time machine,

they are completely unprepared for the incredible adventures that

await them in the dimensions of time and space.

Note: In the following listings, the technical details are as follows:

'Time' refers to the starting time, rounded to the nearest minute, of

the original transmission of an episode in England; 'Dum' indicates

the exact duration of the episode on the master tape (where known)

or otherwise the duration of the original transmission; 'Viewers'

gives the official viewing figure in millions; 'Chart Posìs the

position of the episode in the top 200 programmes for that week.

Where a dash appears in the 'Viewers' or 'Chart Pos' column, this

signifies that no information was collected by the BBC for the

transmission in question.

For the first twenty-five Doctor Who stories, each episode had an individual title, and the overall title was not given on screen.

53

Doctor Who – The Handbook – The First Doctor

The story titles in the listing below are those that were used by the

series’ production team at the time of the original transmission.

SEASON ONE

100,000 BC (A)

1. An Unearthly Child 2. The Cave of Skulls 3. The Forest of

Fear 4. The Firemaker

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

23.11.63

17.16

23’10”

4.4

114

2

30.11.63

17.30

24’35”

5.9

85

3

07.12.63

17.16

23’38”

6.9

61

4

14.12.63

17.15

24’23”

6.4

70

Repeat

1

30.11.63

17.06

23’10”

6.0

85

Repeat (BBC2 – Chart Pos refers to BBC programmes only)

1

02.11.81

17.40

23’23”

4.6

8

2

03.11.81

17.39

24’36”

4.3

13

3

04.11.81

17.40

23’38”

4.4

10

4

05.11.81

17.41

24’22”

3.9

15

Pilot

26.08.91

14.15

25’23”

1.7

Pilot transmitted on BBC2 as a part of a special day's programming

to mark the closure of the Lime Grove studios.

PRODUCTION DETAILS

Ealing filming: 19.09.63 and 09.10.63-11.10.63.

Studio recording: 27.09.63 (pilot, not transmitted), 18.10.63

25.10.63, 1.11.63 and 8.11.63, all in Lime Grove D.

54

Establishing The Myth

At Coal Hill School, teachers Barbara Wright (Jacqueline Hill) and

Ian Chesterton (William Russell) become intrigued by the strange

behaviour of one of their pupils, Susan Foreman (Carole Ann

Ford). Barbara has discovered that the girl's home address, 76

Totter's Lane, is the site of a junk yard. She persuades Ian to

accompany her there after school one evening to see where Susan

goes.

Ian and Barbara follow Susan through the junk yard gates, but

once inside can find no sign of her. Their search is interrupted by

the arrival of an old man (William Hartnell) dressed in Edwardian-

style clothes. They grow suspicious, believing that he may have

imprisoned Susan within a police box they have discovered in the

yard, but he refuses their request to unlock it. They are just on the

point of fetching a policeman when the doors open of their own

accord and Susan calls out. The two teachers push their way past

the old man and into the police box.

Inside, they find themselves in a huge, brightly-lit control

room. Susan explains that the old man is her grandfather, the

Doctor, and that this is a time machine called TARDIS, standing

for Time And Relative Dimension In Space. Ian and Barbara try to

persuade her that she is fantasising, but she maintains that she and

her grandfather were born in another time and on another planet.

The two teachers decide to leave, but find that the doors are now

closed. The Doctor explains that he is unwilling to let them go as

they will inevitably tell others what they have discovered. Susan

pleads with him to change his mind, but instead he activates the

ship's controls and sends it on a journey through time.

The ship arrives in the Stone Age, where its four occupants

encounter a tribe whose leader, Za (Derek Newark), is striving to

rediscover the lost secret of fire. He is encouraged by the young

woman Hur (Alethea Charlton) but mocked by Old Mother (Eileen

Way), who believes that fire would bring only trouble. The elders,

including Horg (Howard Lang), are growing impatient with Za and

beginning to wonder if the newcomer Kal (Jererny Young) might

make a better leader.

Kal seizes the Doctor after seeing him light his pipe and takes

him back to the tribe, demanding that he make fire. The Doctor,

however, has dropped his matches in the skirmish and is unable to

do so. The other travellers are also taken prisoner and all four are

then placed in the Cave of Skulls - a cave full of skeletal

remains, the skulls of which have been split wide open.

55

Doctor Who – The Handbook – The First Doctor

Ian eventually makes fire for Za by rubbing a stick against a

stone to create friction, but Za - having killed Kal in a fight and

confirmed his leadership of the tribe - insists that they remain

prisoners in the Cave. Susan eventually devises a plan to scare the

tribespeople by placing skulls on top of burning torches. While Za

and his people are distracted by this gruesome sight, the travellers

make good their escape. They reach the safety of the ship just i

before the angry tribe catch up with them, and the Doctor sends it J

on its way again.

WHO FAX

• Novelised as Doctor Who and an Unearthly Child by Terrance

Dicks in 1981.

• Story released in edited form on BBC Home Video in 1990.

version of the pilot released on BBC Home Video on Hartnell

Years tape in 1991 (duration 25'55")-

• Working title: The Tribe of Gum. The working title of the second individual episode was The Fire-Maker, that of the third was

The Cave of Skulls, and that of the fourth was The Dawn of Knowledge.

• William Hartnell recorded a sound trailer for the first episode, to

be broadcast on BBC Radio. This was as follows:

My name is William Hartnell and, as Doctor Who, I make my

debut on Saturday 23 November at 5.15.

The Doctor is an extraordinary old man from another

world who owns a time and space machine.

He and his granddaughter, Susan (played by Carole Ann

Ford), have landed in England and are enjoying their stay,

until Susan arouses the curiosity of two of her school-teachers

(played by William Russell and Jacqueline Hill). They follow

Susan and get inside the ship, and Doctor Who decides to

leave Earth, starting a series of adventures which I know will

thrill and excite you every week.

• Margot Maxine, one of the walk-ons hired to play non-speaking

members of the Stone Age tribe, refused to have her teeth

blackened for the recording of The Cave of Skulls on 25 October 1963 and walked out of the studio at 3.00 p.m.

56

Establishing The Myth

• An Unearthly Child was repeated on 30 November 1963,

immediately before The Cave of Skulls, as many viewers had

been unable to see the original transmission due to a widespread

power failure. This repeat was not shown in Northern Ireland.

• Two versions of the interior TARDIS scenes exist as a part of

the pilot episode. One was used in the transmitted version of the

pilot for the Lime Grove Story, and the other was used on the

BBC video release of the episode.

QUOTES

• 'I was not at all enthusiastic about doing that story. 1 was

concerned about having to direct cavemen, with the whole idea

of them a) speaking English and b) stopping short of grunting! It

was a very odd experience for someone like myself who felt at

the time - arrogantly, perhaps - that I was made for better things.'

Director Waris Hussein interviewed by Stephen James Walker

and David J. Howe for The Frame Issue 16.

• 'The irony of the spaceship design, which lasted throughout the

series - the hexagonal console and the circles on the walls - is

that it was literally cobbled together by Peter Brachacki (who

designed the pilot episode before Barry Newbery took over).

Peter couldn't have been more indifferent about it if he'd tried!

He felt very put upon that he'd even been assigned to this

peculiar programme, and he threw the set together without any

real consideration for what might be required of it.' Director

Waris Hussein interviewed by Stephen James Walker and David

J. Howe for The Frame Issue 16. 'For the cave sets, we used a

new material we had just come across called Jablite - a form of

expanded polystyrene. It came i n blocks which the set builders

tried to join together with quick-setting glue. Of course, such

glues just dissolve polystyrene, so they had all sorts of

problems! One advantage was that you could actually create

texture by brushing glue on, and the surface was quite hard

afterwards. In fact though, most of the texture was obtained by

burning. Unfortunately, Jablite isn't fireproof, and it would catch

light while the contractors were working on it!' Designer Barry

Newbery interviewed by Stephen James Walker and David J.

Howe for The Frame Issue 17.

57

Doctor Who – The Handbook – The First Doctor

• 'I did not care much for the caveman story as a whole, but the^

ending of episode one is an absolutely magical sequence. There

was no dialogue during those last few minutes, it was all done

visually and, I think, with great invention, taking the four central

figures on a ride through time to that desert and then ending with

1 the shadow falling over the landscape. It summed up just how

I new Doctor Who was as a concept.' Producer Verity Lambert]

interviewed by Jeremy Bentham for Doctor Who Monthly's

Winter Special 1983/84.

COMMENT

As the first Doctor Who story to be screened, 100,000 BC is assured of its place in television history. The added bonus is that it is actually an extremely good piece of drama, well written and well produced. One of the main purposes of the story is to introduced

viewers to the four regular characters, and in this it succeeds

admirably. The Doctor, superbly played by William Hartnell, is an

enigmatic and at times almost sinister figure, and viewers are left intrigued and wanting to know more. An excellent start to the

Doctor's travels. (8/10)

The Mutants (B)

1. The Dead Planet 2. The Survivors 3. The Escape 4. The Ambush

5. The Expedition 6. The Ordeal 7. The Rescue

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

21.12.63

17.16

24’22”

6.9

67

2

28.12.63

17.15

24’27”

6.4

78

3

04.01.64

17.15

25’10”

8.9

45

4

11.01.64

17.15

24’37”

9.9

29

5

18.01.64

17.15

24’31”

9.9

27

6

25.01.64

17.15

26’14”

10.4

29

7

01.02.64

17.18

22’24”

10.4

25

58

Establishing The Myth

PRODUCTION DETAILS

Ealing filming: 28.10.63-01.11.63,26.11.63 and 02.12.63.

Studio recording: 15.11.63 (not transmitted), 22.11.63,29.11.63,

06.12.63 (remount), 13.12.63,20.12.63,03.01.64 and 10.01.64,all in

Lime Grove D.

The ship has arrived in a petrified forest on an apparently dead

planet. Exploring, the travellers see a fantastic city in the distance.

The Doctor wants to investigate further, but Ian and Barbara veto

this idea, insisting that they return to the TARDIS. The old man

eventually gets his own way by resorting to a trick: he claims that

one of the ship's vital components, a fluid link, needs refilling with

mercury, and that the only place this might be found is the city.

On reaching the city, the travellers split up to explore. The

Doctor, Ian and Susan discover a chamber containing a detector

which indicates a dangerous level of radiation in the atmosphere.

The Doctor now admits the trick he has played and urges a swift

return to the ship. Ian, however, is adamant that they cannot leave

without Barbara. Barbara has meanwhile been taken prisoner by

the city's inhabitants, the Daleks (Robert Jewell, Kevin Manser,

Michael Summerton, Gerald Taylor, Peter Murphy; voiced by

Peter Hawkins and David Graham). Soon the others are captured

as well.

The travellers eventually learn that they are on the planet Skaro

and that its current devastation is the result of a nuclear war fought

some 500 years ago between two indigenous races, the Dals and

the Thals. The Daleks are the Dals' hideously mutated descendants,

now living in metal life-support casings. The Thals, on the other

hand, have undergone a full cycle of mutation and are now

physically perfect humanoids.

The Thals are starving and hope that the Daleks will be willing

to let them have food, but instead they are ambushed and their

leader Temmosus (Alan Wheatley) exterminated. The travellers

manage to escape and join the remaining Thals at their camp.

There the Doctor realises that the fluid link is still back in the city, and that without it he and his companions are trapped on Skaro.

Ian, although initially resistant to the idea, eventually agrees that

they must persuade the Thals to abandon their pacifist principles

and fight for their survival by attacking the Dalek city. The Thals'

new leader, Alydon (John Lee), is at first unwilling to take such

59

Doctor Who – The Handbook – The First Doctor

action, but is finally persuaded when Ian claims that he is prepared

to present the Thal woman Dyoni (Virginia Wetherell) to the

Daleks in return for the fluid link.

A two-pronged attack is mounted: while the Doctor, Susan and

the main party of Thals keep the Daleks' scanners distracted at the

front of the city, Ian, Barbara and the Thal men Elyon (Gerald

Curtis), Ganatus (Philip Bond), Kristas (Johnathan Crane) and

Antodus (Marcus Hammond) make a perilous journey through

mutation-infested swamps and treacherous mountain caves to

attack from the rear. The Daleks, meanwhile, abandon plans to

detonate another neutron bomb to wipe out the Thals once and for

all, as the bomb will take too long to construct. Instead they plan to

release radiation from their nuclear reactors into the atmosphere.

A final confrontation takes place in the Daleks' control room.

During the course of the skirmish, damage is inflicted which halts

the countdown to the release of radiation and causes the Daleks'

power to fail. With the Daleks seemingly dead, the Doctor and his

companions bid farewell to the Thals and depart from Skaro in the

TARDIS. Once the ship is in flight, however, the control room is

rocked by an explosion which throws the four travellers to the

floor and plunges them into darkness.

WHO FAX

• Novelised as Doctor Who in an exciting adventure with the

Daleks by David Whitaker in 1964.

• Story released in edited form on BBC Home Video in 1989.

• Working titles: The Survivors, Beyond the Sun. The story is now more commonly referred to as The Daleks to avoid confusion

with the 1972 Doctor Who story also entitled The Mutants. The working title of the sixth individual episode was The Caves of

Terror, and that of the seventh was The Execution. |

• In writer Terry Nation's original storyline, entitled The Survi-

vors, the conclusion was completely different from the one

eventually transmitted. It involved the Daleks joining forces

with the Thals in order to repel an anticipated attack by a force

of alien invaders whose rockets had been detected approaching

Skaro; when the aliens landed, however, the Doctor realised that

they were in truth peaceful beings:

60

Establishing The Myth

These people come from the planet that two thousand years

before fired neutron bombs on Skaro. Since that time, their

own civilisation has progressed and they have realised the

enormity of the crime committed by their forefathers. They

have waited until the radiation level has fallen, and now they

come to make reparations and assist in rebuilding the planet.

With Skaro's safe future assured, Dr. Who and the others

leave for new times and distance.

• It was Terry Nation's idea that the Daleks should draw their

power from the floor of their city, but associate producer

Mervyn Pinfield's suggestion that the power source should be

static electricity.

• The names of the Thal characters were all changed shortly

before the story went into the studio. The original names (with

the final names in brackets) were: Stohl (Temmosus), Vahn

(Alydon), Kurt (Ganatus), Jahl (Kristas), Ven (Antodus), Daren

(in the earliest draft scripts a male character, changed to the

female Dyoni) and Zhor (Elyon).

• The draft script for episode seven,The Rescue, contained scenes where the Daleks loaded a neutron bomb onto a small, self-propelled truck which took it out of their city and came to rest in

a clearing near the Doctor's ship. The Doctor then defused it

with split-second timing.

• The designer originally allocated to this story was Ridley Scott,

better known today as the director of films like Alien and Blade

Runner. However he was unable to attend the filming at Ealing, and so Raymond P. Cusick was brought in as his replacement.

• In considering how to realise the Daleks' voices, Christopher

Barry first approached J.N. Shearme of the Post Office's Joint

Speech Research Unit, who sent him on 18 October 1963 a tape

of examples of two types of 'synthetic speech', the first produced

using a vocoder and the second by computer generation.

Shearme indicated that as much material as required could be

processed by the first method, but a maximum of 30 seconds by

the second owing to the amount of staff effort involved. Barry

replied on 25 October, saving that the vocoder material was of

particular interest but that it had been decided that something

similar would have to be produced in the BBC's own studios as

61

Doctor Who – The Handbook – The First Doctor

part of the speech would have to be done live rather than

processed from tapes at a later date.

QUOTES

• 'I think for me it was the music which made much of this story

work. If you take Tristram Gary's music as my starting point I

think we hit it absolutely right; it went so well with the visuals

of the dead forest, and this metallic feel. We thought that if these

creatures were going to glide, they must somehow have metal

involved in their genesis. They could take their power like

bumper cars from the metal ground they were running on. That

gave me the idea for a dead metal forest where everything was

silver. But as I say it was the music that gave me the feeling

completely, because it was other-worldly and imaginative and

lovely and creepy.' Director Christopher Barry interviewed by

David J. Howe and Rosemary Howe for The Frame Issue 1.

• 'Mervyn Pinfield said, "We haven't really got much money, so

why not get some cardboard tubes, spray them silver and make a

costume like that?" He was telling me how to design a Dalek,

and of course the last thing I wanted to do was to make anything

that looked like a person in a suit! For that reason, I decided to

have the operator sitting down -1 wanted to make the Daleks

smaller than average human size. It's often been suggested that I

based the Dalek shape on a pepper pot, but that's completely

untrue. Having decided that the Dalek operator should be seated,

I began by doing a sketch of a man in a chair. I then drew an

outline around the sketch - and that's where the basic Dalek

shape came from. The only time I ever used a pepper pot was

purely to demonstrate to someone how the Daleks would move

It was actually Terry Nation's idea that they should glide – he

had seen some Russian dancers doing a routine where their feet

were hidden underneath long skirts, so that they appeared to

glide rather than walk.' Designer Raymond Cusick interviewed

by Stephen James Walker and David J. Howe for The Frame

Issue 21 and 22.

• 'The thing I really remember about this story is that I was the

very first Dalek! At the cliff-hanger of episode one, Jacqueline

Hill had to retreat down a corridor being menaced by something

out of shot, and all the viewer saw of it was an arm with a sucker

62

Establishing The Myth

cup attached. Well, as the AFM - and as the possessor of an

Equity card - I was allowed to manipulate that arm from behind

the camera. So I actually operated the first Dalek that was ever

seen! I consolidated the achievement a little later on in the same

story. There was another nasty moment when one of the Dalek

creatures was taken out of its pepper pot wrapped in a cloak, and

a kind of gelatinous claw was seen to emerge. I worked dial as

well, so I think I can claim a double first - as both the outside

and the inside of a Dalek!' Assistant floor manager Michael

Ferguson interviewed by Stephen James Walker for The Frame

Issue 18.

COMMENT

The original Dalek story is still one of the best. Excellent scripts by Terry Nation are complemented by polished direction and great

performances from the entire cast. The real stars of the show,

though, are the Daleks, with their brilliant design by Raymond P.

Cusick and their wonderful electronic voices. Undoubtedly they

provided the spark that turned Doctor Who from a reasonably popular show into a truly phenomenal success. (9/10)

Inside the Spaceship (C)

1. The Edge of Destruction 2. The Brink of Disaster

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

08.02.64

17.15

25’04”

10.4

21

2

15.02.64

17.17

22’11”

9.9

31

PRODUCTION DETAILS

Studio recording: 17.01.64 and 24.01.64, both in Lime Grove D.

The four time travellers regain consciousness to find the TARDIS

in semi-darkness. The Doctor has sustained a nasty gash to his

forehead and the others are suffering memory losses and pains in

the head and neck. Tensions mount as the Doctor tries without

success to locate the problem with the ship and a series of strange

events occur. The main doors open and close of their own accord;

63

Doctor Who – The Handbook – The First Doctor

a confusing sequence of images appears on the scanner screen; and

the faces of all the clocks and watches on board the ship suddenly

melt.

Ian and Barbara contemplate the possibility that an intruder

may have got on board, but the Doctor suspects that they

themselves have sabotaged the instruments with the intention of

blackmailing him into returning them to 20th-century Earth. Susan

also comes to mistrust the two teachers until eventually she realises

that they could not possibly have been responsible for everything

which has happened.

The danger intensifies as the ship experiences a total systems

failure and its power threatens to escape. The Doctor grimly

announces that they have no more than ten minutes left to live:

they are on the brink of destruction!

Barbara suddenly realises that it is the ship itself which has

caused the increasingly bizarre series of events that they have been

witnessing: it has been trying to give them a warning, but a

warning about what? The Doctor discovers that the 'fast return'

switch on the control console has become jammed and that they

have been rushing backwards through time towards the beginning

of the Universe. With the fault repaired, the ship returns to normal.

The Doctor is forced to admit that Barbara's intuition has saved

the day, and the tensions which have existed since the two teachers

first pushed their way into the ship now ease a little.

The ship's next landing point is a snowy landscape, where

Susan finds a huge footprint which appears to have been made by a

giant!

WHO FAX

• Novelised as Doctor Who - The Edge of Destruction by Nigel

Robinson in 1988. ,

• This is the only story in Doctor Who's history to be set almost entirely within the TARDIS and to feature no other characters

apart from the Doctor and his companions.

COMMENT

One of the most interesting and impressive aspects of the first

season o/Doctor Who is the sheer range of subjects and styles that it encompasses, from out-and-out adventure yarns like The Daleks to tense psychological dramas like this story. There is an

64

Establishing The Myth

intriguing sense of weirdness about Inside the Spaceship, and the claustrophobic setting gives the viewer the chance really to get to know the four regular characters and their motivations, helping to

establish them for future stories. (8/10)

Marco Polo (D)

1. The Roof of the World 2. The Singing Sands 3. Five Hundred

Eyes 4. The Wall of Lies 5. Rider from Shang-Tu 6. Mighty

Kublai Khan 7. Assassin at Peking

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

22.02.64

17.15

24’12”

9.4

33

2

29.02.64

17.15

26’34”

9.4

33

3

07.03.64

17.16

22’20”

9.4

34

4

14.03.64

17.15

24’28”

9.9

31

5

21.03.64

17.16

23’26”

9.4

37

6

28.03.64

17.30

25’36”

8.4

49

7

04.04.64

17.30

24’48”

10.4

22

PRODUCTION DETAILS

Ealing filming: 13.01.64-17.01.64.

Studio recording:31.01.64,07.02.64,14.02.64,21.02.64,28.02.64,

06.03.64 and 13.03.64, all in Lime Grove D.

Ian realises that the footprint could be just an ordinary one

enlarged by the snow melting. A more serious problem soon

presents itself as the Doctor reports that the TARDIS has

developed a major fault: 11 the lights have failed, the water supply

has been affected and the sating is inoperative: 'Everything's gone

to pot!' As Barbara points out, they are now in danger of freezing

to death. Exploring the snowy plateau, the travellers are confronted

by a group of Mongol warriors led by a man named Tegana

(Derren Nesbitt), who prepares to have them put to death as evil

spirits. They are saved by the arrival of a man of European

appearance whom Barbara later identifies as the Venetian explorer

Marco Polo (Mark Eden).

65

Doctor Who – The Handbook – The First Doctor

The year is 1289 and Polo is taking a caravan from the Pamir

Plateau - also known as the Roof of the World - across Cathay

enroute for the court of Kublai Khan. He is accompanied not only by Tegana, an emissary from the rival Mongol warlord Noghai, by

also by a young girl named Ping-Cho (Zienia Merton) who is to

undergo an unwelcome arranged marriage to a 75-year-old noble

man at the Khan's summer palace in Shang-Tu. Polo seizes the

TARDIS, intending to present it as a gift to the Khan in the ho that

he may then be allowed to return to his native Venice, and t

Doctor's group have little choice but to join the caravan. Tegana

also secretly plans to steal the TARDIS, but for his own master

Noghai.

Mistrust and acrimony abound as the caravan makes its way

across the Gobi desert and through Cathay, stopping every so often

at way stations along the route. Tegana and his Mongol allies make

a number of unsuccessful attempts to kill the rest of the party, but

the time travellers are unable to convince Marco Polo of the man’s

treachery or to regain access to the TARDIS, which the Doctor has

in the meantime managed to repair.

The caravan finally arrives at the Khan's summer palace in

Shang-Tu, where the travellers have an audience with the ageing

leader. The Doctor and the Khan (Martin Miller) strike up a cordial

relationship, which continues when the whole party moves on i the

imperial palace in Peking. This leads to a game of backgammon

between the two old men, with the TARDIS as the prize.

Unfortunately, the Doctor loses. There is some good news,

however, as Ping-Cho learns that her intended husband has died

after drinking an aphrodisiac, allowing her to continue her romance

with the dispatch rider Ling-Tau (Paul Carson).

Tegana now plays his hand: his true intention has always been

to assassinate the Khan, leaving the way clear for Noghai's army to

attack and overrun Cathay. Marco Polo, having been alerted b the

time travellers and Ling-Tau, saves the Khan's life by engaging

Tegana in a sword fight and overpowering him. Humiliated, the

Mongol takes his own life by throwing himself upon a sword.

Polo returns the TARDIS key to the travellers in gratitude for

what they have done, and they make good their escape. The Khan

is philosophical, commenting that the Doctor would have won it

back at backgammon in any case ...

66

Establishing The Myth

WHO FAX

• Novelised as Doctor Who - Marco Polo by John Lucarotti in

1984. Working title: A Journey to Cathay. The working title of the third individual episode was The Cave of Five Hundred

Eyes, and this was actually given as the tide in the 'Next

Episode:' caption at the end of the previous episode.

• Zienia Merton, who played Ping-Cho, was required to deliver a

lengthy dramatic recital in Five Hundred Eyes, telling of Ala-

Eddin and his band of Hashasnins. Zorah Segal, who played her

attendant in the story, was booked to coach her for this as she

was highly experienced in dance and mime.

• Books used by designer Barry Newbery in researching his sets

for this story included: Chinese Houses and Gardens by Henry

Inn and S.C. Lee, Chinese and Indian Architecture by Nelson I.

Wu, Ruins of Old Cathay Volumes I and II by Sir Aural Stein

and Imperial Peking (author unknown).

QUOTES

• 'Being set in China, that production was a very tough one to cast.

Half the actors weren't Chinese. Martin Miller, for example, was

a tiny little man who just seemed to exude some strange

eccentricity that was right for the role of Kublai Khan, and all

we did was to tape his eyes back. Nowadays, of course, there

would be a riot if one did something like that!' Director Waris

Hussein interviewed by Stephen James Walker and David J.

Howe for The Frame Issue 16.

• "The Mongols historically travelled on horseback, and appar-

ently everything they carried with them - the rolls on their backs,

the blankets over their horses and even their arms - went into the

construction of their tents, which were known as yurtas. A yurta

was typically 30 or 40 foot in diameter, with a sloping roof, and

apparently the Mongols could put one of these together in half

an hour. Absolutely amazing! I based my set partly on drawings

of the period and partly on some photographs I found in a colour

supplement of contemporary yurtas. Of course, the studio was

far too small to accommodate a full tent, besides which I

naturally had to allow for the positioning of cameras, booms and

lights, so I actually had just a small section made.' Designer

67

Doctor Who – The Handbook – The First Doctor

Barry Newbery interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 17.

• "The way stations, which were supposed to be a day's journey

apart, were organised by Kublai Khan and paid for out of taxes.

As they were state buildings I assumed, whether rightly or

wrongly, that they would all have a similar layout. This meant.

that I could use the same basic set every time and simply change

certain details such as the doors, the shutters over the window

the veranda railings and the frets hanging from the veranda roof.

The idea was to make each one look more opulent than the last

as they gradually approached Peking, and of course I also

changed the furniture and the wall hangings to help create that

impression. Eventually we got the set repainted too - once it had

been put up and taken down a few times it w as so badly

damaged that it really needed it!' Designer Barry Newbery

interview by Stephen James Walker and David J. Howe for The

Frame Issue 17.

COMMENT

Marco Polo must surely rate as one of the finest Doctor Who

stories ever transmitted. John Lucarotti's enthralling, dramatic

and meticulously researched scripts possess a genuinely epic

quailty perfectly matched by Waris Hussein's assured direction

and by the uniformly superb production values. Barry Newbery's

exquisite and finely detailed sets deserve particular praise for the way which they capture the feel of ancient Cathay, adding so much

to the charm and atmosphere of the story. Abona fide classic.

(10/10)

The Keys of Marinus (E)

1. The Sea of Death 2. The Velvet Web 3. The Screaming Jungle

4. The Snows of Terror 5. Sentence of Death 6. The Keys of

Marinus

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

11.04.64

17.32

23’20”

9.9

22

2

18.04.64

17.31

25’37”

9.4

25

68

Establishing The Myth

3

25.04.64

17.30

23’45”

9.9

22

4

02.05.64

17.30

24’54”

10.4

20

5

09.05.64

17.15

25’03”

7.9

29

6

16.05.64

17.18

25’11”

6.9

43

PRODUCTION DETAILS

Ealing filming: Dates unknown.

Studio recording: 20.03.64,27.03.64,03.04.64,10.04.64,17.10.64

and 24.10.64, all in Lime Grove D.

The TARDIS materialises on a beach of glass bordering a sea of

acid on an island on the planet Marinus. There the four tune

travellers discover some transparent submarines, empty save in one

case for a rubber suit bearing a small tear through which the acid

has apparently seeped and dissolved the wearer. Stalked by the

submarines' other rubber-suited occupants, the travellers eventually

make their way to a large pyramid they have seen in the distance.

Inside the pyramid they encounter Arbitan (George Coulouris),

the keeper of the Conscience of Marinus - a machine designed to

eliminate fear and aggression from the minds of the planet's

inhabitants. Arbitan explains that four of the five micro-circuit

keys required to activate the Conscience have been concealed in

different locations around the planet to prevent them from falling

into the hands of acreature called Yartek(StephenDarmell)and his

followers the Voords (Martin Cort, Peter Stenson, Gordon Wales) -

the rubber-suited assailants - who have developed a resistance to

the machine's influence and plan to turn it to their own evil

purposes. The machine has now been modified to overcome the

Voords' resistance and Arbitan, by placing an impenetrable force

field around the TARDIS, coerces the Doctor and his companions

into undertaking the retrieval of the keys. He gives them wrist-

watch-like travel dials which will transport them instantaneously to

each of the keys' locations in turn.

In their quest, the travellers visit such exotic locations as the

city of Morphoton, where they almost fall prey to the hypnotic

influence of disembodied brains (voiced by Heron Carvic) and join

forces with Arbitan's daughter Sabetha (Katharine Schofield)

69

Doctor Who – The Handbook – The First Doctor

and friend Altos (Robin Phillips); a ruined citadel, home to

Arbitan'sl friend Darrius (Edmund Warwick), which is being

overrun by rampaging plant life; a snowy wasteland where the

dangers include wolves, an unscrupulous hunter named Vasor

(Francis de Wolff) and a group of fearsome Ice Soldiers (Alan

James, Anthony Vemer, Peter Steason, Michael Allaby); and

Millenius, a city where Ian is falsely accused of murder and learns

from prosecutor Tarron (Henley Thomas) that the legal rule is

'guilty until proven innocent'.

Eventually, having found the four keys, and also one fake, the

travellers return to the island. In their absence, the Voords have

murdered Arbitan and taken control, but Ian tricks Yartek into

using the fake key along with three of the real ones and, as a result,

the Conscience machine is destroyed - a fact about which the

Doctor is not altogether unhappy as he considers that man was not

meant to be controlled by machine.

WHO FAX

• Novelised as Doctor Who and the Keys ofMarinus by Philip

Hinchcliffe in 1980.

• Three heads and three pairs of webbed gloves were made for the

Voords by Jack Lovell and his son John; freelance contractors

who did much of Doctor Who's specialist costume work during

the first Doctor's era. The price quoted was less than £70.

• The Conscience Machine prop was accidentally damaged after

the recording of episode one but repaired again in time for its

next appearance in episode six. Scenic Servicing footed the bill.

QUOTES

• 'The main thing I remember is that the director, John Gorrie,

seemed totally disinterested. For example, there was a seer

where one of the characters had a struggle with a Voord, who

was supposed to fall backwards through a secret panel and in a

pit of acid. I remember saying "What are you going to do for

that?" He didn' t understand what I meant, so I said, "Well, when he falls through the secret panel, are the viewers going to hear a

blood-curdling scream and a splash, or are they going to see

something? Otherwise, he could just have fallen into the broom

cupboard!" It's a common problem with directors: they are so

70

Establishing The Myth

familiar with the script and the set that they sometimes forget

that they need to explain things for the viewer. "Yes, I suppose

we ought to do something about that," he told me. "I'll leave it to you." So I set up a model shot at Ealing. And all the time we

were doing this shot, John Gome was sitting at the other end of

the studio reading a newspaper! That's the only time I've ever

experienced that with a director. He was very laid back.'

Designer Raymond Cusick interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 21 & 22.

• 'I remember designing the room with the machine into which the

keys fitted. Shawcraft built the console and the keys to go with

it. They also built the frame-like structure on which it was

suspended; it was made out of three-inch diameter wooden

tubing sprayed silver, which they brought into the studio in

sections and assembled on the spot. It got to a point, though,

where I couldn't afford the rest of the set! Fortunately, there used

to be a place at TV Centre where they would leave all the

scenery from shows which had just been finished, ready to be

broken up, and the chap in charge used to put to one side

anything he thought other people might be able to use ... I

managed to find some panels of purply-coloured fibreglass in

black metal frames, which had been used in a light entertainment

show and then junked, so I put these up in front of some black

drapes and had a whole set for no money!' Designer Raymond

Cusick interviewed by Stephen James Walker and David J.

Howe for The Frame Issue 21 & 22.

COMMENT

After the excellence of the first four stories, The Keys of Marinus comes as something of a disappointment. The constant jumping

about from place to place leaves no time for any in-depth charac-

terisation or detailed plotting and also over-strains the programme

's resources, leading to a noticeable downturn in production

values. There are some interesting ideas, and the Voords are good

monsters, but all too often Terry Nation's script resorts to B- I movie cliches. Certainly the weakest of the first season stories.

(5/10)

71

Doctor Who – The Handbook – The First Doctor

The Aztecs (F)

1. The Temple of Evil 2. The Warriors of Death 3. The Bride of

Sacrifice 4. The Day of Darkness

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

23.05.64

17.16

23’56”

7.4

25

2

30.05.64

17.16

24’11”

7.4

34

3

06.06.64

17.15

25’27”

7.9

19

4

13.06.64

17.15

25’30”

7.4

34

PRODUCTION DETAILS

Ealing filming: 13.04.64 and 14.04.64.

Studio recording: 01.05.64 in Lime Grove D, 08.05.64 in TC3,

15.05.64 in TC3 and 22.05.64 in Lime Grove D.

The TARDIS lands in 15th-century Mexico inside the tomb of

Yetaxa, one-time High Priest of the Aztecs. When the four travel-

lers leave the tomb, the door swings shut behind them and they

find that they are unable to open it from the outside. They soon

encounter Autloc (Keith Pyott), the High Priest of Knowledge, and

Tlotoxl (John Ringham), the High Priest of Sacrifice. Seeing that

Barbara is wearing Yetaxa's bracelet, which she found in the tomb,

Autloc proclaims her to be a divine reincarnation. While Susan

stays with Barbara as her handmaiden, Ian is persuaded to

represent the gods as leader of the Aztec army, finding himself in

competition with the established leader, Ixta (Ian Cullen). The

Doctor meanwhile joins the Aztec elders in the Garden of Peace,

where he flirts with a wise woman named Cameca (Margot van der

Burgh), partly in the hope of learning a way back into the tomb.

Barbara incurs Tlotoxl's enmity when, against the Doctor's

advice, she attempts to put a stop to the Aztec practice of human

sacrifice. Susan also causes an outcry when she refuses the last

wish of the Perfect Victim (Andre Boulay) to become his wife

before he is sacrificed to the gods.

Events come to a head on the Day of Darkness - the time of a

solar eclipse - when the Perfect Victim's sacrifice is due to take

place. Ian and Ixta fight on the roof of the temple, and Ixta falls to

72

Establishing The Myth

his death in the streets below. The Doctor then opens the tomb

door using a wheel-and-pulley arrangement he has constructed,

and the travellers make good their escape.

WHO FAX

• Novelised as Doctor Who - The Aztecs by John Lucarotti in

1984.

• Story released in edited form on BBC Home Video in 1992.

• The closing credits for The Bride of Sacrifice had to be reshot during the studio day for The Day of Darkness as the original

roller caption was considered too erratically printed to be

suitable for transmission.

QUOTES

• 'I was writing the scripts for The Aztecs while Marco Polo was being recorded ... To my mind The Aztecs was a more complex

serial than Marco Polo as it dealt in far greater depths with the human relationships and conflicts of those involved. Essentially,

it was Barbara's show as she was the central character, the

reincarnation of an Aztec god, but then again both Ian and Susan

had to contend with their difficulties.' Writer John Lucarotti

quoted by Peter Haining in The Doctor Who File.

• 'I came into the studio one day to find that one of the sets was

missing! All the scenery for the base of the temple had been

broken up by mistake! The plants had arrived - they were hired

each week from a company called Greenery Hire - and fortu-

nately the backcloth hadn''t been repainted and wasn't in too bad

a state, but there was no temple. Luckily, I remembered that

when we had filmed the seminary scenes at Ealing I had asked

the people there to hang onto the set. So when this situation

arose I didn’t panic just said, "Oh well, we’d better get that stuff sent down from Ealing." It gave the director, John Crockett,

quite a fright, but I told him, "Don't worry, we'll sort something out." When the seminary set arrived I had it put up at the other

end of the cloth from where the temple should have been, and

the plants repositioned. He then had to turn his shooting round

and do it from a different position from that which he'd

originally intended, and of course the lighting man had to re-

73

Doctor Who – The Handbook – The First Doctor

light to adjust to that. As far as the actors and the cameras were

concerned, though, their moves were unchanged. So that was

how we got around it - and all without extra studio time.'

Designer Barry Newbery interviewed by Stephen James Walker

and David J. Howe for The Frame Issue 18.

COMMENT

Another gem of a historical story from John Lucarotti, whose

scripts give a well-researched insight into a fascinating - and in its own way very alien - culture. Well directed by John Crockett, with

good performances from all the cast - Jacqueline Hill deserving

special praise for her excellent handling of the moral dilemmas

facing Barbara - and fine production values all round. (9/10)

The Sensorites (G)

1. Strangers in Space 2. The Unwilling Warriors 3. Hidden Danger

4. A Race Against Death 5. Kidnap 6. A Desperate Venture

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

20.06.64

17.15

24’46”

7.9

17

2

27.06.64

17.40

24’44”

6.9

39

3

11.07.64

17.15

24’53”

7.4

22

4

18.07.64

17.15

24’49”

5.5

58

5

25.07.64

17.15

25’47”

6.9

29

6

01.08.64

17.15

24’29”

6.9

39

PRODUCTION DETAILS

Ealing filming: Dates unknown.

Studio recording: 29.05.64 in TC3, 05.06.64 in TC3, 12.06.64 in

Lime Grove D, 19.06.64 in TC4, 26.06.64 in Lime Grove D and

03.07.64 in Lime Grove D.

The TARDIS lands on board a spaceship from 28th-century Earth.

Its three occupants at first appear to be dead but then suddenly

74

Establishing The Myth

revive. Captain Maitland (Lome Cossette) explains that he and his

crew members, Carol Richmond (DonaRodgers) and John

(Stephen Dartnell), have come under the influence of a race of

telepathic al lens called Sensorites, who plunge them into catatonic

trances for indeterminate periods.

Through telepathic communication with Susan, two Sensorites

Ken Tyllsen, Joe Grcig) convey a request from their leader for a

meeting with the travellers. While Maitland and Barbara remain on

the spaceship, the Doctor, Ian, Susan, Carol and John all journey

down to the creatures' planet, the Sense-Sphere, for talks.

The Sensorites' First Elder (Eric Francis) and Second Elder

(Bartlett Mullins) explain that they know the humans have discov-

ered the metal molybdenum on the Sense-Sphere and that they are

afraid of being exploited. They fear humans as, since an earlier

expedition left, many of their race have died from a mysterious

disease. Despite opposition from the devious City Administrator

(Peter Glaze), the Doctor is given permission to try to learn the

cause of the deaths.

After carrying out extensive tests, the Doctor discovers that the

deaths are due not to a disease at all, but to deadly nightshade

poison in one of the city's aqueducts. He tracks down the culprits

to a cave system near the aqueduct. They are three spacemen (John

Bailey, Martyn Huntley, Giles Phibbs) left behind from the earlier

expedition, who have become deranged after experimenting with

telepathy. The City Administrator is arrested and banished after his

attempts to cause mistrust between the Sensorites and humans are

brought to light.

WHO FAX

• Novelised as Doctor Who - The Sensorites by Nigel Robinson

in 1982.

• There was a one week gap in transmission between The Unwill-

ing Warriors and Hidden Danger due to the sports programme Grandstand being extended on 4 July 1964 to cover a cricket

Test Match and the Wimbledon tennis tournament.

• Peter Glaze was perhaps better known for his regular appear-

ances on the BBC children's series Crackerjack.

75

Doctor Who – The Handbook – The First Doctor

QUOTES

• "The Sensorites were fun. I remember doing a shot of two

Sensorites walking towards camera down a corridor - the camera

followed two pairs of circular plate-like feet. On the take, when

the camera came to a stop, one foot of one Sensorite overlapped

the foot of his partner. The camera panned up their faces as they

turned to communicate with each other (by pressing those disc-

like things to their foreheads, remember?) and I collapsed with

laughter in the gallery. They were surely saying, "I say, old

chap, you're standing on my foot!" "Sorry, old bean!" I thought the costumes looked good, though. Convincing, with a hint of

comedy to take the edge off the creepiness for younger watchers/

Director Frank Cox interviewed by Ian K. McLachlan for

TARDIS Volume 7 Number 1.

• 'In designing the Sensorite city I was influenced by Antoni

Gaudi, the Spanish architect. Gaudi rarely used right angles in

his work; it was all very organic, which was very much hi

keeping with the art nouveau movement at the time. Anyway, I

took inspiration from him and thought I would try to eliminate

all right angles and straight edges in my designs for the

Sensorite city, as a contrast to alien buildings seen in other

stories. Designer Raymond Cusick interviewed by Stephen

James Walker and David J. Howe for The Frame Issue 23 & 24.

COMMENT

This story has a lot going for it, including some interesting

concepts and, proving that aliens are not always monstrous, the

rather charming Sensorites. The drawback is that it doesn't fully

sustain its six episode length, and there is a certain amount of

padding and repetition - including repetition of explanations,

which makes this a rare example of an early Doctor Who story which 'talks down' to its audience. On the whole, though, the good

points outweigh the bad and it is never less than entertaining.

(7/10)

76

Establishing The Myth

The Reign of Terror (H)

1. A Land of Fear 2. Guests of Madame Guillotine 3. A Change of

Identity 4. The Tyrant of France 5. A Bargain of Necessity 6.

Prisoners of Conciergerie

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

08.08.64

17.15

24’24”

6.9

37

2

15.08.64

17.15

24’04”

6.9

35

3

22.08.64

17.30

25’23”

6.9

34

4

29.08.64

17.15

24’46”

6.4

36

5

05.09.64

17.31

23’51”

6.9

39

6

12.09.64

17.30

25’04”

6.4

38

PRODUCTION DETAILS

Location filming: 15.06.64.

Haling filming: 16.06.64-18.06.64.

Studio recording: 10.07.64,17.07.64,24.07.64 and31.07.64,all in

Lime Grove G, and 07.08.64 and 14.08,64, both in TC4.

The TARDIS brings the four time travellers to Paris in 1794 - one

of the bloodiest years of the French Revolution - where they

become involved with an escape chain rescuing prisoners from the

guillotine. Ian, Barbara and Susan are captured by soldiers and

taken to the Conciergerie Prison in Paris, where they arouse the

interest of its governor, Lemaitre (James Cairncross). The Doctor,

left for dead in a burning farmhouse, is rescued by a young boy

(Peter Walker) and makes his way to Paris on foot.

Ian escapes from the prison, much to the alarm of the incompe-

tent jailer (Jack Cunningham), while Barbara and Susan are res-

cued route to the guillotine by Jules Renan (Donald Morley) and Jean (Roy Herrick) - two organisers of the escape chain. Ian

eventually meets up with his friends at Renan's house, and later

exposes one of the man's associates, Leon Colbert (Edward

Brayshaw), as a traitor betraying escapees to the authorities.

The Doctor, posing as a civic dignitary, has meanwhile arrived

at the Conciergerie Prison in search of his friends. Twice he is

77

Doctor Who – The Handbook – The First Doctor

brought by Lemaitre before the great tyrant Robespierre (Keith

Anderson) and has to talk his way out of trouble.

It eventually transpires that Lemaitre is an English undercover

spy, James Stirling, in Paris to observe developments there. In

return for his help in freeing Susan, who has been recaptured and

taken back to the Prison, Ian and Barbara journey to an inn called

the Sinking Ship to spy on a clandestine meeting between

Robespierre's deputy, Paul Barrass (John Law), and an even more

ambitious man, Napoleon Bonaparte (Tony Wall), who are plotting

the tyrant's downfall. The two friends subsequently report back to

Stirling, who is intrigued at the suggestion that Bonaparte could be

the next ruler of France ...

As events reach their climax, Robespierre is overthrown - shot

in the jaw and dragged off to the Prison - and the Doctor and his

companions slip quietly away,

WHO FAX

• Novelised as Doctor Who - The Reign of Terror by Ian Marter in 1987.

• The working title of the second individual episode was Guests of

the Guillotine.

• The first ever location filming on Doctor Who took place for this story on a poplar-lined lane at White Plains, Tile House Lane,

Denham, Bucks, and on a lane and field at Isle of Wight Farm,

Gerrards Cross, Bucks.

• Leon Colbert's surname was originally to have been Corneille.

QUOTES

• 'My first instinct was to write a science-fiction story, because

there hadn't been many science-fiction ones at that time, but

unfortunately Terry Nation had already been commissioned to

do the Dalek one so I realised that if I was to write for the first

season it would have to be a historical story. We talked about

various things and I decided, in consultation with the producer

Verity Lambert and the story editor David Whitaker, to do one

based on the French Revolution, because that fitted the general

series.' Writer Dennis Spooner interviewed for The Doctor Who

Review Issue 4.

78

Establishing The Myth

• Of course one could not have scenes of the carts going through

the square, and heads being chopped off to a crowd of over

3000, because that would have taken all the budget. So I decided

that a vast amount of it was going to be set in the Conciergerie

Prison. Instead of us doing two scenes where people were being

arrested in vast stately homes that we’d have to build, and then

have them executed, which we'd have to depict, the programme

would see them arriving at the prison, and we'd do it all within

that prison. Then I had to come up with an idea that one could

do within a prison, and obviously one had to have some sort of

mystery. At that time there were all the James Bond films, and I

thought it might be rather nice to do the first ever spy story in

Doctor Who. The basic plot was slightly lifted from The Scarlet Pimpernel insofar as there was this secret agent in there who was after various things/ Writer Dennis Spooner interviewed for

The Doctor Who Review Issue 4.

COMMENT

Rather different in style from the earlier historical stories, relying less on historical detail and more on humour and adventure, The Reign of Terror is a highly enjoyable tale, full of exciting incident and well-drawn characters. It has its serious moments, too, and

Keith Anderson gives an excellent performance as Robespierre -

although James Cairncross lets the side down somewhat with his

decidedly wooden portrayal of Lemaitre/Stir-ling. All in all, a fine end to a superb season. (8/10)

SEASON TWO

Planet of Giants (J)

1. Planet of Giants 2. Dangerous Journey 3. Crisis

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

31.10.64

17.16

23’15”

8.4

37

2

07.11.64

17.15

23’40”

8.4

45

3

14.11.64

17.15

26’35”

8.9

33

79

Doctor Who – The Handbook – The First Doctor

PRODUCTION DETAILS

Ealing filming: 30.07.64 and 13.08.64.

Studio recording: 21.08.64,28.08.64,04.09.64 and 11.09.64, all in

TC4.

A malfunction of the TARDIS systems reduces the Doctor and his

companions to just an inch in height. In their miniaturised state,

they arrive in contemporary England and stumble across a plot by

a ruthless businessman, Forester (Alan Tilvem), and his misguided

scientist colleague, Smithers (Reginald Barren), to launch a new

insecticide, DN6 - a product so destructive that it would kill not

only those insects harmful to agriculture but also those vital to it.

Forester is even willing to commit murder to ensure the success of

his business, as civil servant Arnold Farrow (Frank Crawshaw)

discovers to his cost.

The criminals are eventually brought to justice when the Doctor

and his friends - hampered by the fact that Barbara has herself been

made ill by the insecticide -tamper with the telephone in Smithers'

laboratory, thus fuelling the suspicions of the local exchange

operator, Hilda Rowse (Rosemary Johnson), who sends her police

constable husband, Bert (Fred Ferris), to investigate.

WHO FAX

• Novelised as Doctor Who - Planet of Giants by Terrance Dicks in 1990.

• Working title: The Miniscules. The working title of the second individual episode was Death in the Afternoon.

• Hilda Rowse's first name was originally to have been Emma.

• Episodes three and four of the story as recorded were edited together prior to transmission. Roughly half the material from

each was discarded. Episode four was entitled The Urge to Live.

• Terrance Dicks used some of the cut material in his novelisation

of the story for the Target range.

QUOTES

• 'I had just read Rachel Carson's book The Silent Spring and had been very impressed by her attack on the perils of insecticides.

80

Establishing The Myth

Bringing the Doctor back one inch high seemed a good way of

getting him involved in the problem at close quarters, so to

speak.' Writer Louis Marks interviewed by Ian K. McLachlan in

1990 for Matrix Issue 7.

• 'Planet of Giants was quite an interesting one to do, because obviously we had to create the illusion that the Doctor and his

companions had been miniaturised. We used different tech-

niques. For instance, there was a shot of them looking up at a

house, and that was probably the first glass shot I ever did. It

was done on film at Haling. I built the ground floor of the house

as scenery and got a scenic artist to come in and paint the upper

storey on the glass, which was fixed in front of a locked-off

camera. It was a fairly unusual technique to use back then,

because it was time-consuming and there was a premium on

time on the studio days.' Designer Raymond Cusick interviewed

by Stephen James Walker and David J. Howe for The Frame

Issue 23 & 24.

• 'There was a scene where the Doctor and his companions were

on the lab bench and had to attract somebody's attention, and I

remember a planning meeting where everyone was sitting

around trying to puzzle out how this could be done. It occurred

to me that on a lab bench there is usually a small gas tap to

which a Bunsen burner can be connected, so I suggested that the

characters might use this to set fire to an aerosol can, causing it

to explode - which, as you know, is what they eventually did.

Designers get involved quite early on in a production, you see,

and at that stage everyone tends to contribute ideas.' Designer

Raymond Cusick interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 23 & 24.

COMMENT

Ray Cusack’s superb giant sets are the highlight of this

production, belying the relatively small budget on which they were

created. The miniaturisation of the four time travellers is of course the main focus of the story, and it retains the viewer's interest

throughout. This is just as well, in fact, as the parallel plot

involving Forester, Smithers and co. makes nowhere near enough

of the ecological the meandis in truth rather dull, being more

suited to a cosy police series like Dixon of Dock Green than to 81

Doctor Who – The Handbook – The First Doctor

Doctor Who. Not a bad start to the second season, but the best was

yet to come. (6/10)

The Dalek Invasion of Earth (K)

1. World's End 2.TheDaleks 3. Day of Reckoning 4. The End of

Tomorrow 5. The Waking Ally 6. Flashpoint

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

21.11.64

17.41

23’42”

11.4

12

2

28.11.64

17.41

24’19”

12.4

10

3

05.12.64

17.40

26’50”

11.9

10

4

12.12.64

17.40

23’23”

11.9

11

5

19.12.64

17.41

24’29”

11.4

18

6

26.12.64

17.59

25’41”

12.4

12

PRODUCTION DETAILS

Location filming: 23.08.64-27.08.64.

Haling filming: 28.08.64.

Studio recording: 18.09.64,25.09.64.02.10.64,09.10.64,16.10.64

and 23.10.64, all in Riverside 1.

The TARDIS materialises in 22nd-century London, where the

travellers discover that the Earth is now ruled by the Daleks

(Robert Jewell, Gerald Taylor, Nick Evans, Kevin Manser, Peter

Murphy, Ken Tyllsen; voiced by Peter Hawkins and David

Graham). The invaders have converted some humans into

Robomen (Martyn Huntley, Peter Badger, Reg Tyler, Bill Moss) -

zombie-like slaves - by clamping metal control helmets to their

heads. Many others have been shipped to Bedfordshire to work in a

vast mining complex that the Daleks have established there.

While Barbara and Susan meet up with a team of resistance

fighters, led by the wheelchair-bound Dortrnun (Alan Judd), the

Doctor and Ian are captured by Robomen and taken to a Dalek

saucer which has landed at the Chelsea Heliport. The Doctor is

about to be turned into a Roboman when the resistance fighters,

using ultimately ineffective bombs designed by Dortrnun, stage an

attack on the saucer and rescue him. He is subsequently reunited

82

Establishing The Myth

with Susan and meets David Campbell (Peter Fraser), a young man

with whom she has become friendly. Ian is still on board the Dalek

saucer when it takes off. There he meets Larry Madison (Graham

Rigby), who is hitching a lift to the Dalek mine in Bedfordshire in

the hope of being reunited with his brother. Dortmun has

meanwhile persuaded Barbara and a young resistance fighter

named Jenny (Ann Davies) to travel with him to the Transport

Museum, which is used as a safe house by the resistance group.

His obsession with the success of his bombs eventually leads him

to make a suicidal attack on a Dalek patrol, under cover of which

Barbara and Jenny escape and head for Bedfordshire. The Doctor

also makes his way to the Daleks’ mine, accompanied by Susan,

David and another resistance fighter named Tyler (Bernard Kay).

The travellers eventually learn that the purpose of the Daleks’

mining operation is to remove the Earth's core using a powerful

bomb and replace it with a drive system which will enable them to

pilot the planet around the galaxy. On the Doctor's instructions,

Susan and David use one of Dortmun's bombs to destroy the

Daleks' communications network, temporarily immobilising them.

The Doctor then orders the Robomen to turn on the invaders. Ian

has meanwhile erected a barrier in the mine shaft and prevented

the Daleks’ bomb from falling into the bowels of the planet.

Having cleared the area, the time travellers and their resistance

friends watch as the Daleks and their mine are destroyed in the

resulting explosion, which causes a spectacular volcanic eruption.

Realising that Susan has fallen in love with David, the Doctor

locks the TARDIS doors against her and leaves her to begin a new

life on Earth as he continues his travels with Ian and Barbara.

WHOFAX

• Novelised as Doctor Who and the Dalek Invasion of Earth by

Terrance Dicks in 1977.

• Story released in edited form on BBC Home Video in 1990.

• Working titles: The Daleks, The Return of the Daleks.

• Locations: Westminster Bridge, Trafalgar Square, Victoria

Embankment, Royal Albert Hall, Albert Memorial, Whitehall

and other London landmarks; exterior of Riverside Studios,

Hammersmith; unknown quarry.

• The Daily Mail of 21 August 1964 reported that filming for this story was planned to take place in the Mall, with Buckingham

Palace in the background, but could not go ahead due to the

83

Doctor Who – The Handbook – The First Doctor

Changing of the Guards and other tourist attractions which,

combined with Daleks, could have caused traffic jams.

• Following transmission of this story's first episode, the produc-

tion office received a letter dated 23 November 1964 from a

viewer, Mrs Patricia Stern of Uxbridge in Middlesex, who

complained that it had been too horrific and had scared her

children. Verity Lambert replied on 2 December 1964, defend-

ing the episode in question and making some more general

points about the series’ content:

1) Doctor Who is an adventure serial. There are bound to be

some unpleasant incidents to sustain suspense and to show

the ultimate triumph of good over evil.

2) There were two bodies in last week's episode of Doctor

Who, but we do not feel that too much attention was paid to

'gruesome detail'. For example, there were no pools of blood

or other unpleasant details. After all, death is a part of life. I

do not feel that Doctor Who goes any further in portraying

this than the average Western.

3) In Grimm's fairytales and in some classics, which are

acceptable to children, there is just as much, if not more,

'horror and violence' as there is in Doctor Who. It is our aim to entertain children and not frighten them out of their wits,

and a great many children watch and enjoy Doctor Who with

no ill effects.

• The Slyther - the Black Dalek' s 'pet' - was made by Shawcraft

and consisted of a boiler suit with pieces of sponge and plastic

added.

• The Daily Express of 6December 1964 claimed that the level of violence in Doctor Who was to be cut after scenes of 'William

Hartnell being put on an operating table and threatened by whip-

wielding Daleks' had brought complaints from some BBC

executives.

QUOTES

• 'All the exteriors had to be shot one Sunday morning in August

starting at 4 a.m. Even so there were bands of all-night hippies in

Trafalgar Square, and the police didn’t' t like me stopping a bus

over Westminster Bridge. By 10 a.m. we were on the Albert

Memorial and had to avoid the traffic and tourists. We built the

mark two Daleks on an invalid's pedal tricycle, but even so to

84

Establishing The Myth

get them to look really mobile and menacing was difficult. They

tended to get stuck on matchboxes and uneven paving/ Director

Richard Martin interviewed by Ian K. McLachlan for TARD1S

Volume 8 Number 2.

• 'When the Daleks had to go on location in this story, which was

• designed by Spencer Chapman, they were adapted to make

them more mobile. I believe it's been reported that Spencer used

trikes, but that's not true. There just wasn't a suitable trike

available - we'd looked into that when we started. What he did

was to put small pneumatic tyres inside, and he had to raise the

skirt section to accommodate them.' Designer Raymond Cusick

interviewed by Stephen James Walker and David J. Howe for

The Frame Issue 21 & 22.

COMMENT

An excellent return for the Daleks in a highly entertaining adven-

ture yarn full of memorable images. Terry Nation has clearly

decided by this point that the Daleks represent the Nazis, and the

Second World War symbolism adds an extra frisson. The extensive use of location filming is a further bonust bringing a breath of fresh air to the series and giving the production an impressive

high-budget look, marred only by a few dodgy effects such as the

model shots of the Dalek saucer in-flight. (9/10)

The Rescue (L)

1. The Powerful Enemy 2. Desperate Measures

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

02.01.65

17.40

26’15”

12.0

11

2

09.01.65

17.41

24’36”

13.0

8

PRODUCTION DETAILS

Ealing filming (models): 16.11.64-17.11.64.

Studio recording: 04.12.64 and 11.12.64, both in Riverside 1.

Arriving on the planet Dido in the 25th-century, the time travellers

come upon a crashed spaceship from Earth. Its two occupants - a

paralysed man, Bennett (Ray Barrett), and a young girl, Vicki

85

Doctor Who – The Handbook – The First Doctor

(Maureen O'Brien) - are living in fear of the imposing figure of

Koquillion, a native of the planet, whose people have apparently

killed the other members of the human expedition. However, it

does not take the Doctor long to deduce that Koquillion is in fact

Bennett in disguise; it was actually he who killed the others in

order to conceal an earlier murder he had committed on the ship.

Confronted by two of the humanoid Didonians (John Stuart, Colin

Hughes) - whom he thought he had completely wiped out -Bennett

falls from a high rock ledge to his death.

On discovering that Vicki's father was amongst the murdered

crewmen, and that consequently she is now an orphan, the Doctor

offers her a place aboard the TARDIS, which she gratefully

accepts.

WHO FAX

• Novelised as Doctor Who - The Rescue by Ian Marter in 1987.

Ian Marter died whilst working on the manuscript and it was

ultimately completed by editor Nigel Robinson.

• Story released on BBC Home Video in 1994.

• Working title: Doctor Who and Tanni.

• Tom Sheridan, who played both the Captain of the rescue ship

and the Sand Monster, was originally due to play a Didonian as

well.

• Director Christopher Barry decided to use the same sound effect

for the death of the Sand Monster as had been used for the death

of a Dalek in The Daleks. He sent a tape of this to Brian

Hodgson at the Radiophonic Workshop and asked him to ensure

that the Monster's other sounds matched it.

• To preserve the 'whodunnit' aspect of the story, Koquillion was

credited as being played by 'Sydney Wilson' both at the end of

the first episode and in the Radio Times billing. This was a

pseudonym made up by the production team from the forename

of Sydney Newman and the surname of Donald Wilson.

86

Establishing The Myth

QUOTES

• 'The Rescue was already written when I came into the job as

story editor, but then I had to do a big rewrite, as it was vastly

overwritten. I mean, it was so long, we’d have had to make each

episode two hours long to do it. And, as it stood, the whole cast

refused to do it; hence the rewrite/ Story editor Dennis Spooner

interviewed by John Peel in June 1981, published in Fantasy

Empire Issue 4.

• 'The crashed spaceship was realised both as a model and as a

studio set. For the model, which was made by Shawcraft, I did

two drawings: one showing how it would have looked whole and

another showing how it had to appear on screen, in a crashed

state. I had to bear in mind that the ship couldn't be a total wreck

because a lot of the story took place inside it. So I gave it just a

broken back and a broken nose. The filming was done at Ealing,

with the model positioned on a rostra set-up depicting a sandy

terrain with mountains in the background. The studio set was

constructed partly from the same fluted hardboard I had used on

The Sensorites. A lot of the control panels and other set dressing came from a company called Trading Post, which hired out all

sorts of interesting bits and pieces, ideal for that purpose.

Designer Raymond Cusick interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 23 & 24.

COMMENT

Despite its modest scope and aims - being essentially a vehicle to

introduce the new companion, Vicki - The Rescue is actually an extremely good story, due largely to its sparkling dialogue, fine

performances and high production values. An entertaining inter-

lude from some of the season's more substantial adventures. (9/10)

87

Doctor Who – The Handbook – The First Doctor

The Romans (M)

1. The Slave Traders 2. All Roads Lead to Rome 3. Conspiracy

4. Inferno

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

16.01.65

17.40

24’14”

13.0

7

2

23.01.65

17.40

23’14”

11.5

15

3

30.01.65

17.40

26’18”

10.0

28

4

06.02.65

17.40

23’09”

12.0

13

PRODUCTION DETAILS

Ealing filming: 17.11.64-18.11.64.

Studio recording: 18.12.64,01.01.64,08.01.65 and 15.01.6S, all in

Riverside 1.

The Doctor and his companions are enjoying a rare holiday from

their travels, resting up in a vacant villa not far from Rome in 64

AD. However, the Doctor soon becomes restless and sets off to

visit the city, taking Vicki with him. In their absence, Ian and

Barbara are kidnapped by a band of slave traders led by a man

named Sevcheria (Derek Sydney) and his deputy Didius (Nicholas

Evans).

Having been mistaken for the famous lyre player Maximus

Pettulian (Bart Allison) and asked to perform at the Court of the

Emperor Nero (Derek Francis), the Doctor is forced to devise ever

more elaborate schemes to avoid revealing that he cannot actually

play the instrument.

Barbara is presented at a slave auction and bought by Tavius

(Michael Peake) as a servant for Nero's wife, the Empress Poppaea

(Kay Patrick). Ian is meanwhile sold as a galley slave, but the

galley sinks in a storm at sea and he and a Greek friend named

Delos (Peter Diamond) manage to escape and make their way to

Rome. There he is eventually reunited with Barbara, who is helped

to escape by Tavius, now revealed to be an early Christian.

Events reach a climax when, by accidentally setting light to the

Emperor's plans for the rebuilding of Rome, the Doctor gives him

the idea of having the city razed to the ground. Nero sits playing

88

Establishing The Myth

his lyre while Rome burns around him. The four time travellers

escape back to the villa, the Doctor and Vicki knowing nothing of

the adventures experienced by Ian and Barbara and vice versa.

WHO FAX

• Novelised as Doctor Who - The Romans by Donald Cotton in

1987.

• Story released on BBC Home Video in 1994.

• Derek Francis, a well-known comic actor, was initially reluctant

to take the part of Nero but was persuaded to do so by

Jacqueline Hill, whose husband Alvin Rakoff was a close friend

of his.

• The scripts for this story underwent some late rewriting. One

change was the introduction of the minor character of Nero's

servant, Tigilinus, played by actor Brian Proudfoot.

• During the making of the story, director Christopher Barry

queried that rule that, for copyright reasons, specially composed

incidental music could be played back only in the studio and not

during rehearsals. He pointed out that this was likely to deprive

musicians of work as it encouraged directors to use stock music

instead. However, he was informed that the rule could not be

changed.

QUOTES

• 'It's very easy when you start a new TV show to arrive at your

own boundaries without thinking. In other words, you can say,

"We can do only science-fiction" or "We can do only drama."

Verity Lambert in the chair had said that Doctor Who was a far-reaching subject so there wasn't any reason why we couldn't or

shouldn't do anything. Indeed The Romans did have a very

heavy comedy element in it, as we felt that it was possible to run

the complete range from science-fiction to comedy to drama. In

retrospect, I don't remember anybody saying, "Oh, that didn't

work," but my opinion was that it didn't work as well as it might

have done.' Writer Dennis Spooner interviewed for The Doctor

Who Review Issue 4.

89

Doctor Who – The Handbook – The First Doctor

• "Some people have criticised The Romans as not being Doctor Who but, at the time, we thought it worked as Doctor Who. It did have two things against it, if you like: first, it was historical;

secondly, it was funny. The humour was slapstick and it had

been written with Derek Francis in mind... The idea was to pm

two and two together and try to get five out instead of four, r v$

gone on record as saying I think that when Doctor Who stops

being serious and sends itself up it doesn't work ... but I think

that ever since the show started, there's always been an element

of humour in it. To write an out-and-out comedy was a bit

daring, but you have to break new ground and the only way to

do that is to try it/ Director Christopher Barry interviewed by

David J. Howe and Rosemary Howe for The Frame Issue 1.

• 'I didn't do a lot of research when designing this story. Quite

apart from the fact that there wasn't much time, there came a

point when no amount of research was going to make any real

difference to what I could achieve with the budget I'd got 1

knew that at the end of the day I was going to have to fall back

on stock architectural pieces - columns, pilasters, pedestals and

so forth - and just hope that they gave the feeling of Nero's

Rome. There was no way I could afford to have a lot of scenery

specially made. Fortunately, things like classical columns are

really multi-purpose; they can be used for anything from a

modern-day town hall set to a palace in Nero's Rome’ Designer

Raymond Cusick interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 23 & 24.

• ‘I remember I was suddenly asked, at very short notice, to

provide a point-of-view shot of Rome burning at night. I was

down to about fourpence in the budget, so all I could manage

were some silhouette cut-out shapes of buildings, with flames

flickering behind them. It was awful - a real lash-up! If I'd had a

bit more notice I could certainly have done something better

than that/ Designer Raymond Cusick interviewed by Stephen

James Walker and David J. Howe for The Frame Issue 23 & 24.

COMMENT

As an experiment in doing a more humorous type of Doctor Who

story, The Romans must be judged only partially successful. The production team's hope was that by trying out a range of different

90

Establishing The Myth

styles they would prevent the programme's parameters from being

too tightly drawn, but perhaps they were already too late: the first season had left viewers with an expectation that historical subjects would be treated seriously, and that genuine historical figures

would be portrayed realistically and intelligently — something

which is certainly not the case here, as Nero comes across as a

ludicrous bumbling idiot. Or perhaps it is just that the humour

seems to be grafted on, rather than arising naturally out of the

drama. There are, though, some redeeming features, notably some

good performances from the cast - including William Hartnell, who clearly appreciated the opportunity to demonstrate his considerable comic talents. (5/10)

The Web Planet (N)

1. The Web Planet 2.TheZarbi 3. Escape to Danger 4. Crater of

Needles 5. Invasion 6. The Centre

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

13.02.65

17.40

23’57”

13.5

7

2

20.02.65

17.42

23’20”

12.5

12

3

27.02.65

17.42

22’52”

12.5

11

4

06.03.65

17.40

25’50”

13.0

9

5

13.03.65

17.40

26’04”

12.0

12

6

20.03.65

17.55

24’32”

11.5

14

PRODUCTION DETAILS

Ealing filming: 04.01.65-08.01.65 and 11.01.65.

Studio recording: 22.01.65,29.01.65,05.02.65,12.02.65,19.02.65

and 26.02.65, all in Riverside 1.

The TARDIS is seized by a mysterious force and dragged down to

its latest resting place - Vortis, a craggy, forbidding world where

the dangers include pools of lethal acid. Here, the Doctor, Ian.

Barbara and Vicki get involved in the struggles of the moth-like

Menoptra (Roslyn de Winter, Arne Gordon, Arthur Blake, Jolyon

Booth, Jocelyn Birdsall, Martin Jarvis) to reclaim the planet -

originally their home - from an alien parasite. The Animus (voiced

91

Doctor Who – The Handbook – The First Doctor

by Catherine Fleming) has invaded Vortis and taken control of the

once-docile, ant-like Zarbi (Robert Jewell, Gerald Taylor, John

Scott Martin, Kevin Manser), turning them into its vicious drones

who use organic Venom Guns (Jack Piti, Hugh Lund) to enforce

the Animus' will.

Eventually, with the time travellers' help, a group of Menoptra

and Optera (Ian Thompson, Len Russell, Jane Bowman, Barbara

Joss) - stunted troglodyte descendants of the planet's original

Menoptra inhabitants - manage to infiltrate the Animus' web-city,

the Carsenome, and confront the creature directly, destroying it

with a weapon, the Isop-tope, devised by their scientists.

WHO FAX

• Novelised as Doctor Who and the Zarbi by Bill Strutton 1966.

• Story released in edited form on BBC Home Video in 1990. The

working tide of the final episode was Centre of Terror. The

Menoptra were designed by costume supervisor Daphne Dare

and made by the Costume Department. There were eight in all,

and four of these each had a flying harness and a pair of wings

added by freelance contractors Shawcraft Models (Uxbridge)

Ltd. The costumes, which were black with stripes of yellow fur,

were slightly redesigned between the pre-filming at Haling 2 and

the studio recordings at Riverside 1 . Shawcraft also provided

four Zarbi costumes and two Venom Guns, built to scenic

designer John Wood' s drawings, as well as a number of special

props and a model set of the Carsenome. The scenes of the

Menoptra flying through the air were supervised by Kirby's

Flying Ballet.

• Jacqueline Hill was concerned to see that her name was omitted

from the closing credits of Escape to Danger as she was on

holiday when it was recorded. She was under the impression that

the regular cast were to be credited even if they did not appear,

and she subsequently asked for her name to be reinstated in case

the episode was sold abroad. No action was taken on this,

however.

• While director Richard Martin was out of the country on

holiday, having completed his work on this story, producer

Verity Lambert edited out from episode six a shot of the

Carsenome web dissolving. On 10 March 1965 she sent him a

92

Establishing The Myth

memo in which she explained: 'I did not like taking this

decision, but honestly I thought nobody would know what on

earth was happening. It simply did not work.'

• Two special filters were made to be fitted onto the camera lenses

for scenes set on the planet's surface, giving them a misty, alien

quality. At one point during recording both filters broke and had

to be hastily replaced.

QUOTES

• ‘I remembered that, as a toddler in Australia, playing in the

backyard, I had come upon a shiny, empty four-gallon kerosene

can. In the bottom there were two bull-ants, huge things almost

an inch long, and they were having a hell of a fight. In my

childish innocence I thought I ought to break it up, and I put a

finger down to separate them. For my pains I got the most

horrific bite I can ever remember. And what triggered the

memory of that bull ant fight, I think, was the sight of my two

unruly stepsons locked in fisticuffs. Aged four and six then, they

used to lower their heads and charge at each other with fists

flailing, just like the waving of those ants' antennae. Those two

boys were frankly monsters, and so I thought of monster ants,

radiating deadly venom - the Zarbi.' Writer Bill Strutton from an

article in The Doctor Who Review Issue 8, published 1980.

• 'Once it was settled that the Zarbi would be ants, I worked out a

costume idea and did a sketch to show what I had in mind. The

main thing was to disguise the human form as much as possible.

Obviously I couldn't get the shape of an ant exactly, because at

the end of the day the costume had to be worn by an actor. There

was no way of avoiding the human legs. That didn't really

matter, though, as the rest of the costume was sufficiently ant-

like that it drew the viewer's attention and created the right

impression.' Designer John Wood interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 23 & 24.

• "The Zarbi were built by Shawcraft Models and were basically

just fibreglass shells. Fibreglass was used as we didn't have the

benefit of a lot of lightweight materials in those days. The Zarbi

were quite easy to assemble. They were made up more or less

like suits of armour; they came in various bits and pieces, which

all strapped onto the actor.' Designer John Wood interviewed by

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Doctor Who – The Handbook – The First Doctor

Stephen James Walker and David J. Howe for The Frame Issue

23 & 24.

• 'The planet set took up about half the studio and consisted of a

number of different elements. The starry sky was a painted

backdrop, the effectiveness of which was very reliant on the

quality of the BBC scenic artist's paintwork. Realism was

difficult to achieve in such a small studio so we tried to keep the

cameras away from the backdrops as much as we could. To

create the undulating planet surface we put down sandbags and

suchlike - anything we could lay our hands on, in fact - and

covered them with old scenic cloths which in turn could be

painted. Over the cloths we then put graded sand and sawdust

and maybe a top dressing of finer stuff like Fuller's Earth/

Designer John Wood interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 23 & 24.

• 'It wasn't expensive enough. Those sets should have cost

millions and they probably cost only hundreds. I thought they

were awful.' Director Richard Martin interviewed by Ian K.

McLachlan for TARDIS Volume 8 Number 2.

• ‘I think everyone got a bit carried away with The Web Planet. I think we all got a bit lost in the end. If we could have had a big

budget, it would have been a very, very good story. I mean, it

worked insofar as it was virtually the butterflies versus the ants,

with the butterflies being "free enterprise" if you like, and the ants being the "communists." That serial was written on a lot of different levels, if you really looked at it. But I think we went

too far. I wouldn't have gone that far, in fact, and I know that

Verity got a bit upset. Everybody got inspired about that show, and in TV inspiration costs money... Everybody was trying to do

well for themselves and not for the show. Usually if Make-up

was £500 overspent the Costume Department would say, "Well,

don't worry, you've got to have it, so we'll cut back." Depart-

ments helped each other. The Web Planet was the only serial I

remember where departments started not to give. It's hard to

explain the atmosphere of that story.' Story editor Dennis

Spooner interviewed by John Peel in June 1981, published in

Fantasy Empire Issue 4.

COMMENT

This must certainly be one of the most bizarre and daring stories

ever to have been attempted in Doctor Who 's long history; and, 94

Establishing The Myth

unlike The Romans, it is an experiment which largely succeeds.

Bill Strutton's highly imaginative scripts placed considerable

demands on the programme's designers, and they rose to the

challenge admirably. To modern-day viewers, brought up on post-

Star Wars special effects, the production tends to look rather

dated, but at the time of its original transmission it was clearly a stunning tour de force. The only thing which really mars it is the ridiculous portrayal of the Optera as bumbling, comical

characters, completely out of keeping with the rest of the

production. (9/10)

The Crusade (P)

1. The Lion 2. The Knight of Jaffa 3. The Wheel of Fortune

4. The Warlords

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

27.03.65

17.42

24’56”

10.5

16

2

03.04.65

17.43

23’28”

8.5

29

3

10.04.65

17.41

24’51”

9.0

32

4

17.04.65

17.40

23’40”

9.5

27

PRODUCTION DETAILS

Ealing filming: 16.02.65-18.02.65.

Studio recording: 05.03.65,12.03.65,19.03.65 and 26.03.65,all in

Riverside 1.

The TARDIS arrives in 12th-century Palestine, currently in the

grip of a Holy War between King Richard the Lionheart (Julian

Glover) and the Saracen ruler Saladin (Bernard Kay).

Having got caught up in a Saracen ambush, during which

Barbara is abducted by the attackers, the Doctor, Ian and Vicki are

welcomed at King Richard's palace in the nearby city of Jaffa. Ian

is granted permission to ride off in search of Barbara as an official

emissary - the King knighting him Sir Ian of Jaffa to fit him for the

role - while the Doctor and Vicki stay behind and try to avoid

getting involved in court intrigue.

King Richard secretly plans to arrange a marriage between his

95

Doctor Who – The Handbook – The First Doctor

sister, Joanna (Jean Marsh), and Saladin's brother, Saphadin

(Roger Avon), in the hope of ending the war; when Joanna finds

out about it, though, she refuses point blank. The Doctor and his

young ward flee the palace after making an enemy of the King's

advisor, the Earl of Leicester (John Bay), Eventually they reach the

wood where the TARDIS materialised. Ian is already waiting there

with Barbara, having rescued her from the savage clutches of the

Saracen Emir El Akir (Walter Randall); however, the travellers'

escape is almost thwarted when the Doctor is seized by a party of

English soldiers led by the Earl. Fortunately, they manage to regain

the safety of the ship by means of a ruse, the soldiers believing that

the brave Sir Ian has been spirited away by sorcerers!

WHO FAX

• Novelised as Doctor Who and the Crusaders by David Whitaker

in 1966.

• The Wheel of Fortune released on BBC Home Video on The

Hartnell Years tape in 1991.

• Working title: The Saracen Hordes. The working tide of the

second individual episode was Damsel in Distress, that of the

third was Changing Fortunes and that of the fourth was The Knight of Jaffa.

• David Whitaker's original scripts for this story contained hints of

an incestuous relationship between King Richard and his sister

Joanna, but these were removed at the insistence of William

Hartnell.

QUOTES

• 'This had the best scripts of any Doctor Who I ever worked on.

Beautifully written, meticulously researched, and I don't re-

member having to alter a line. David Whitaker, at his best, was

great! I enjoyed working on a costume piece because of the

research involved and the challenge of trying to recreate another

world in another time. Director Douglas Camfield interviewed

by Gary Hopkins for The Doctor Who Review Issue 1.

• 'I always wanted Julian Glover to play the part of Richard, but at

first he was unavailable. I then thought of Nicholas Courtney

who, at that point, I knew only by name, because we had been at

96

Establishing The Myth

school in Egypt at the same time. I was just going to cast him

when Julian Glover suddenly became available again. So it all

worked out okay ... I kept Nick in mind and cast him as Bret

Vyon some time later.’ Director Douglas Camfield interviewed

by Gary Hopkins for The Doctor Who Review Issue 1. • 'We had

great fun doing this one, although it was all done in the studios

at the BBC and in Ealing. At one point William Russell was

captured by Tutte Lemkow and was staked out in the sand. He

was supposed to have ants crawling over his honey-smothered

hand, but Bill Russell was dead against it. The hand you saw on

screen belonged to my production assistant [Viktors Ritelis]. We

had real honey, real ants and a great time. Also I wanted a

camera shot of Bill Russell through a rib cage of a dead animal,

so I had a cow's carcass brought in. By the time we'd finished,

the studio lights had done their work and the stench was

terrible!' Director Douglas Camfield interviewed by Gary

Hopkins for The Doctor Who Review Issue 1.

COMMENT

The Crusade marks a return to the more serious style of the first

season historicals, and the result is as good a story as Doctor Who ever had. David Whitaker's scripts are brilliant, Douglas

Cornfield's direction immaculate and Barry Newbery’s sets

superb. The casting is just right, Julian Glover as King Richard

and Jean Marsh as Joanna giving particularly good, highly-

charged performances. William Hartnell, too, is clearly relishing

his dialogue, and turns in one of his best ever performances as the Doctor. What more could one ask for? (10/10)

The Space Museum (Q)

1. The Space Museum 2. The Dimensions of Time 3. The Search

4. The Final Phase.

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

24.04.65

17.41

23’38”

10.5

16

2

01.05.65

17.55

22’00”

9.3

23

3

08.05.65

18.00

23’33”

8.5

22

4

15.05.65

17.43

22’15”

8.5

27

97

Doctor Who – The Handbook – The First Doctor

PRODUCTION DETAILS

Haling filming: 11.03.65.

Studio recording: 02.04.65,09.04.65,16.04.65 and 23.04.65, all

TC4.

Having apparently reached a new destination -a space museum on

the barren planet Xeros - the four travellers discover that the

TARDIS has in fact 'jumped a time track', giving them a glimpse

into their own future: a future in which they end up as static

exhibits in museum display cases!

As time catches up with them, the Doctor and his companions

have to try to avert this possible future by altering events in the

present, never sure whether the steps they are taking will lead to

their demise or their salvation. Fortunately they win through in the

end, helping a group of youthful Xeron rebels (Peter Sanders, Peter

Craze, Jeremy Bulloch, Bill Starkey, Michael Golden, Edward

Granville, David Wolliscroft) to overthrow the warlike Morok

invaders (Ivor Salter [Commander], Billy Cornelius, Lawrence

Dean, Peter Diamond, Ken Norris, Salvin Stewart [Guards]), led

by Governor Lobos (Richard Shaw), who have established the

museum as a monument to their galactic conquests.

WHO FAX

• Novelised as Doctor Who - The Space Museum by Glyn Jones in

1987.

• The working title of this story's opening episode was The Four

Dimensions of Time and that of the fourth was Zone Seven.

• Writer Glyn Jones later appeared in the season twelve story The

Sontaran Experiment.

QUOTES

• 'I went to dinner with Trevor Bannister, later famous for his role

in Are You Being Served?, who was in a play of mine at the time. The Doctor Who story editor David Whitaker was there

and suggested that I write him a storyline, which I did. He liked

it, so he commissioned it, and that's how 1 came to write it.'

Writer Glyn Jones interviewed by David Auger and Gordon

Blows for TARDIS Volume 3 Number 4.

98

Establishing The Myth

COMMENT

After a very promising first episode, which unusually sees time

travel being used as a concept rather than as simply a device to get the Doctor and his companions into their latest adventure, The Space Museum deteriorates into possibly the weakest of any of the

first Doctor's stories. The spartan settings and small cast list

betray the fact that this is a very low-budget production, and the

basic plot of a small band of youthful rebels trying to overthrow a warlike occupying power is frankly dull. The Xerons are nonde-script ciphers and, apart from the four regulars, the only real

character to speak of is the Morok Governor Labos, whose princi-

pal trait is his boredom with life on Xeros - a sentiment with which the viewer can only sympathise. (3/10)

The Chase (R)

1. The Executioners 2. The Death of Time 3. Flight Through

Eternity 4. Journey Into Terror 5. The Death of Doctor Who 6.

The Planet of Decision

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

22.05.65

17.41

25’25”

10.0

14

2

29.05.65

17.41

23’32”

9.5

12

3

05.06.65

17.47

25’23”

9.0

12

4

12.06.65

17.41

23’49”

9.5

8

5

19.06.65

17.41

23’27”

9.0

11

6

26.06.65

17.40

26’29”

9.5

7

PRODUCTION DETAILS

Location filming: 09.04.65 and (still photographs only) 06.05.65.

Ealing filming: 12.04.65-15.04.65 and 10.05.65. Studio recording:

30.04.65,07.05.65,14.05.65,21.05.65,28.05.65 and 04.06.65, all in

Riverside 1.

The Daleks (Gerald Taylor, Robert Jewell, Kevin Manser, John

Scott Martin; voiced by Peter Hawkins, David Graham) have

constructed a time machine, and an execution squad is dispatched

99

Doctor Who – The Handbook – The First Doctor

to pursue and kill the Doctor.

The chase begins on the desert planet Aridius, where the

travellers encounter ferocious Mire Beasts (Jack Pitt) and narrowly

avoid being handed over to the Daleks by the native Aridians, led

by Malsan (Ian Thompson), Rynian (Hywel Bennett) and Prondyn

(Al Raymond). It then takes in such stopping-off points as the top

of the Empire State Building, the 19th-century sailing ship Mary

Celeste - the Daleks' appearance causing all the crew and passengers to jump overboard - and a spooky haunted house which,

although the Doctor and his friends do not realise it, is actually a

futuristic funfair attraction, Frankenstein's House of Horrors, at the

Festival of Ghana in 1996.

Eventually the action moves to the planet Mechanus, where the

travellers are taken prisoner by the Mechanoids (Murphy Grumbar,

Jack Pitt, John Scott Martin, Ken Tyllson), A fellow prisoner,

Steven Taylor (Peter Purves), tells them that the Mechanoids are a

group of robots sent some 50 years earlier to prepare landing sites

for human colonists who, in the event, never arrived. At the story's

climax, the Daleks and the Mechanoids engage in a fierce battle

which ultimately results in their mutual destruction. As the city

burns behind them, the Doctor's party seize this opportunity to

escape and return to the TARDIS. Steven Taylor also manages to

get away.

Ian and Barbara realise that they can use the Daleks' now-

abandoned time machine to return to 20th-century Earth and, once

his initial objections have died down, the Doctor helps them to do

so. The two friends are delighted to be back home, although they

quickly realise that they have arrived in 1965, two years later than

when they left, leaving them with the difficulty of explaining their

long absence!

WHO FAX

• Novelised as Doctor Who - The Chase by John Peel in 1989.

• Story released on BBC Home Video in 1993.

• Working title: The Pursuers.

• Locations: Camber Sands, East Sussex; exterior of Television

Film Studios, Ealing.

• The director initially considered for this story was Christopher

Barry.

100

Establishing The Myth

• The Mechanoids were called Mechons in Terry Nation's first

draft scripts, and their planet Mechanus was called Mechon.

Three Mechanoid props were built by Shawcraft from Raymond

Cusick's designs, at a total cost of £812. The Mire Beast was

designed by costume supervisor Daphne Dare and constructed

by Jack Lovell Ltd. It was orange in colour.

• Director Richard Martin arranged to borrow from Aaru Produc-

tions eight of the Daleks used in their cinema film Dr. Who and

the Daleks. He intended to have six of these modified to

resemble more closely the BBC's own Daleks so that they could

be featured in The Chase. This proved impracticable, however,

so in the end only two of them were used, standing in the

background of a couple of shots. Four of the BBC’ s own Daleks

were refurbished, at a total cost of £118. £100 was paid towards

this by the Publicity Department, who had been making exten-

sive use of the props for promotional purposes. It was originally

intended that the scenes of Abraham Lincoln delivering the

Gettysburg Address would be achieved using stock footage.

Nothing suitable was available, however, so they were mounted

in the studio with actor Robert Marsden playing Lincoln.

• An early idea was that the famous pop group the Beatles might

appear in the first episode of this story, made up to look like old

men and supposedly playing a concert in the 21st-century.

Although the group themselves were apparently keen on the

idea, it was vetoed by their manager Brian Epstein.

• The production team then explored the possibility of using a clip

of the Beatles from a Top Of The Pops appearance, but the only one which had not been wiped was a recording of 'I Feel Fine'

which had already been used the maximum number of times

permitted under the contract. Fortunately, however, the Beatles

were due to perform their new single "Ticket to Ride' at

Riverside Studios on 10 April 1965, and production assistant

Alan Miller was able to arrange for a copy of that tape to be

made available.

• Richard Martin's first choice of incidental music composer for

this story was Max Harris, but the job eventually went to Dudley

Simpson.

• David Newman and Barbara Joss doubled for William Russell

and Maureen O'Brien for certain shots in episodes one and two,

101

Doctor Who – The Handbook – The First Doctor

• It was originally intended that Peter Hawkins should provide all

the Dalek voices for this story, but on 12 April 1965 it was

decided that David Graham should also be used, as for the

previous Dalek stories.

• The scenic design work on this story was split between

Raymond Cusick and John Wood. Wood designed the sets for

the Empire State Building and the Marie Celeste, the latter of which featured a 33 foot long ship's boom hired from Pinewood,

while Cusick was responsible for the Dalek time machine.

Frankenstein's House of Horrors and the Mechanoid city.

QUOTES

• 'The director, Richard Martin, was young, keen and enthusiastic,

and had lots of ideas. He wanted to do a shot on location at

Camber Sands where the Daleks appeared out of a sand dune.

We all told him that if we buried a Dalek in the sand and tried to

pull it out again there would be a vacuum created which would

hold it in place. He still wanted to try it, though, so we

compromised and only partially buried the Dalek. We attached a

hawser to it and tried to drag it out with a land rover. If I

remember correctly, the hawser snapped; at any rate, we couldn't

budge it. So in the end, at my suggestion, we did it as a model

shot.' Designer Raymond Cusick interviewed by Stephen James

Walker and David J. Howe for TV? Frame Issue 23 & 24.

• 'In their first story the Daleks had got their power from static

electricity and been restricted to moving on metal floors. In The

Chase, when they were seen moving around outside, that

obviously didn't apply, so I decided to give them a different

power source in the form of solar panels - that's what the slats

around their middles represented.' Designer Raymond Cusick

interviewed by Stephen James Walker and David J. Howe for

The Frame Issue 23 & 24.

• 'In designing the Mechanoids I was inspired by the work of an

American architect named Buckminster Fuller. It was he who

devised the principle of geodesic construction, in which dome-

shaped structures are assembled from a configuration of small

triangular elements. They were going to be used on a very large

set at Ealing, so I could afford to make them quite big. I had real

flame-throwers built into them to make the battle scene as

102

Establishing The Myth

spectacular as possible.' Designer Raymond Cusick interviewed

by Stephen James Walker and David J. Howe for The Frame

Issue 23 & 24.

COMMENT

As with The Keys of Marinus in the first season, The Chase ultimately fails because of the numerous locations and characters

introduced as the story progresses. It also lacks some of the saving graces of that earlier story as the individual episode plots are often far-fetched or just plain silly - the episode set in the haunted house faring particularly poorly in this regard. The Daleks themselves

are treated less than seriously, too, indicating that Terry Nation

was perhaps growing bored with his creations, as indeed he said in

press interviews at the time. (4/10)

The Time Meddler (S)

1. The Watcher 2. The Meddling Monk 3. A Battle of Wits

4. Checkmate

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

03.07.65

18.55

24’05”

8.9

15

2

10.07.65

17.39

25’17”

8.8

19

3

17.07.65

17.41

24’10”

7.7

28

4

24.07.65

17.41

24’00”

8.3

24

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

03.01.92

19.20

24’05”

2.4

15

2

10.01.92

18.50

25’17”

2.8

21

3

17.01.92

18.50

24’10”

2.6

13

4

24.01.92

18.50

24’00”

2.6

15

103

Doctor Who – The Handbook – The First Doctor

PRODUCTION DETAILS

Ealing filming: 10.05.65.

Studio recording: 11.06.65 in TC4,18.06.65 in TC3,25.06.65 in

TC4 and 02.07.65 in TC4.

The Doctor and Vicki discover that Steven Taylor has stumbled on

board the TARDIS prior to its departure from Mechanus. Steven is

sceptical of Vicki's explanation that the ship is a time machine, but

the Doctor assures her that they will soon show him the truth of the

matter.

The TARDIS lands on the Northumbrian coastline in the year

1066. Here, the three travellers meet the Saxon villagers Wulnoth

(Michael Miller), Edith (Alethea Charlton) and Eldred (Peter

Russell) and come into conflict with the Viking raiders Sven

(David Anderson), Ulf (Norman Hartley) and Gunnar the Giant

(Ronald Rich), who are on a reconnaissance mission for their King,

Harald Hardrada, prior to a planned invasion of England.

Also present in this time is the Monk (Peter Butterworth), a

mischievous rogue from the same planet as the Doctor who travels

from place to place in his time machine endeavouring to 'improve'

things - for example, enabling the ancient Britons to build

Stonehenge with the aid of his anti-gravitational lift. Currently he

is engaged in his 'master plan': trying to engineer events so as to

reverse the outcome of the Battle of Hastings. Appalled at such

frivolous interference with the course of history, the Doctor

determines to put a stop to it - an aim he eventually achieves by

removing the dimensional control from the Monk's TARDIS,

reducing its interior to miniature proportions.

WHO FAX

• Novelised as Doctor Who - The Time Meddler by Nigel

Robinson in 1987.

• Working tide: The Monk. The working title of the first individual episode was The Paradox.

• This story was originally to have been recorded in studio

Riverside 1, but was eventually done at Television Centre.

• The story included stock film of Viking ships taken from a BBC

newsreel.

104

Establishing The Myth

QUOTES

• "The character of the Monk had a certain comic element that I

wanted to emphasise, particularly in contrast to the Doctor. I

chose Peter Butterworth because he was a very good comedy

actor, and seemed suited to the Monk. On the one hand we had

the mischievous and cunning Monk, on the other the very

serious and determined Doctor. The contrast worked well, and

we were very lucky to have one of Dennis Spooner's better

scripts.' Director Douglas Camfield interviewed by Gary

Hopkins for The Doctor Who Review Issue 1.

• "The Saxons used to build a type of cottage known as a cruck,

which was based around a wooden framework. The vertical

surfaces would be filled with wattle and daub, but the sloping

surfaces of the roof would have to shed water, so they would be

thatched. There wouldn't be any cladding under the roof, so

when you were inside you would actually be able to see the

underside of the thatch. All these features I incorporated in my

design.' Designer Barry Newbery interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 19.

• 'For the exterior of the monastery - which was actually more like

a ruined church -1 built the base of a Saxon tower, behind which

I put a background of painted cut-out silhouettes depicting

burned-out, pillaged buildings. The interior I based on a real

Saxon church. I'd found some photographic plates of it in a book

and had them copied so that I could carry them around with me.

That way, I was able to show the carpenters and the painters

exactly how I wanted the set to look. The script described the

Monk's TARDIS as a stone sarcophagus, and I based it on a

Saxon altar block.' Designer Barry Newbery interviewed by

Stephen James Walker and David J. Howe for The Frame Issue

19.

COMMENT

The Time Meddler is a story with both good and bad points. On

the positive side, the character of the Monk is superbly devised,

and well brought over by Peter Butterworth, but to its detriment,

the story's attempted depiction of an invasion by Vikings fails

dismally as we only ever see half a dozen characters in total, and

the ensuing fight scenes are rather lame. Barry Newbery again

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Doctor Who – The Handbook – The First Doctor

provides some superb sets, most notable here being the monastery.

(6/10)

SEASON THREE

Galaxy 4 (T)

1, Four Hundred Dawns 2. Trap of Steel 3. Air Lock 4. The

Exploding Planet

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

11.09.65

17.41

22’21”

9.0

23

2

18.09.65

17.50

24’51”

9.5

22

3

25.09.65

17.52

24’19”

11.3

13

4

02.10.65

17.50

24’47”

9.9

20

PRODUCTION DETAILS

Haling filming: 21.06,65-24.06 M

Studio recording: 09.07.65,16.07.65 and 23.07.65, all in TC4, and

30.07.65 in TC3.

The Doctor, Vicki and Steven arrive on an arid planet in Galaxy 4,

where they meet the occupants of two crashed spaceships: the

beautiful Drahvins and the hideous Rills (Bill Lodge, Brian

Madge, Peter Holmes, David Brewster, voiced by Robert

Cartland). Confounding expectations, the latter prove to be

friendly, compassionate explorers while the former are a group of

mindless cloned soldiers (Marina Martin, Susanna Carroll, Lyn

Ashley) terrorised by a warlike matriarch, Maaga (Stephanie

Bidmead), Both ships were damaged when the Drahvins

precipitated a confrontation in space, but whereas the Rills is

almost ready to take off again -having been repaired by their robot

drones, which Vicki names Chumblies (Jimmy Kaye, Angelo

Muscat, William Shearer, Pepi Poupee, Tommy Reynolds) - the

Drahvins’ is irreparable.

When the planet is discovered to be on the point of disintegra-

tion, Maaga tries to force the time travellers to help her steal the

Rills' ship. Instead, the Doctor allows the Rills to draw power from

106

Establishing The Myth

the TARDIS in order to refuel and escape, leaving the Drahvins to

their fate.

WHOFAX

• Novelised as Doctor Who - Galaxy Four by William Emms in 1985.

• Working title: The Chumblies.

• The Drahvins were originally written as male characters, whose

leader was called Gar.

• The Chumblies were played by midget actors.

• The Rills vaguely resembled wart hogs and were seen lurking in

their spaceship behind glass screens and swathed in ammonia

gas - in reality carbon dioxide dry ice. Four costumes were

made, out of fibreglass and rubber. They were grey-green in

colour and each large enough to house an actor who could

operate the creature's arm-like appendages and thereby bring

some movement to its otherwise static form.

• Actor Anthony Paul was originally due to provide the Rills'

voices but in the event was unable to do so and was replaced by

Robert Cartland. David Brewster was a late replacement for Bill

Me Allister playing one of the Rills.

QUOTES

• 'I came off the BBC director's course, and there was a panic on.

The Doctor Who director, Mervyn Pinfield, had fallen ill or

something, and filming of his story had already started at Haling

Studios. It was suggested that I might take over. It was a strange

situation, because Mervyn was supposed to be sick but he was

still there working on the production, and I was alongside him

making suggestions. The show had all been cast, and the

costumes were all made, and they had been shooting at Haling

for several days. I prepared my own camera scripts for the studio

work and it was a very quick indoctrination into television.1

Director Derek Martinus interviewed by Stephen James Walker

and David J. Howe for The Frame Issue 21 & 22.

• I’d not seen many episodes of the series at that time, so I was

given an intensive course on what Doctor Who was all about. I

sat down and watched some episodes, and Verity Lambert, the

producer, asked me what I thought. I shocked her by comment-

ing that I thought we should aim for higher standards! It was

obviously not the thing to say, but when you' re young and

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Doctor Who – The Handbook – The First Doctor

eager, and just off the course, you have high ideals.1 Director

Derek Martinus interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 21 & 22.

COMMENT

Galaxy 4 contains one of the all-time great shock moments in

Doctor Who, when the hideous face of one of the Rills emerges

from the ammonia gas to peer at Vicki through the glass partition

surrounding their living area. Along with the sets and the

costumes, the Rills are one of the high points of the production.

Unfortunately the depiction of the Drahvins does not work as well

as it might and the plot is ultimately too simple to really sustain four episodes. (6/10)

Dalek Cutaway (DC)

1. Mission to the Unknown

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

09.10.65

17.50

24’42”

8.3

37

PRODUCTION DETAILS

Haling filming: 25.06.65. Studio: 06.08.65 in TC3.

Marc Cory (Edward de Souza), an agent of the Space Security

Service, has been despatched on a secret mission to the planet

Kembel to investigate a recent sighting of a Dalek spaceship.

Cory's suspicion that the creatures may have established a base on

Kembel proves well-founded. His two companions, Jeff Garvey

(Barry Jackson) and Gordon Lowery (Jeremy Young), both fall

victim to the poisonous thorns of Varga plants (Tony Stam, Roy

Reeves, Leslie Weeks) - flora indigenous to the Daleks’ home

world, Skaro - and he has no choice but to shoot them before they

are themselves transformed into Vargas.

Having overheard the Daleks (Robert Jewell, Kevin Manser,

John Scott Martin, Gerald Taylor; voiced by Peter Hawkins, David

Graham) plotting with Malpha (Robert Cartland), Trantis (Ronald

Rich,) and other alien allies (Johnny Clayton, Pat German, Sam

108

Establishing The Myth

Mansaray, Len Russell) to invade Earth's galaxy, Cory records a

warning message and prepares to send it into orbit with a rocket

launcher. Before he can do so he is discovered and exterminated,

but the Daleks fail to destroy the tape, so the information that he

has gathered still exists to be discovered.

WHOFAX

• Novelised as part of Doctor Who - Mission to the Unknown (The

Daleks' Masterplan I) by John Peel in 1989.

• Although the on-screen title of this episode was Mission to the

Unknown, all relevant BBC documentation lists the actual story title as Dalek Cutaway.

• It has been generally believed for a long time that the production

code for this serial was T/A'. However this does not appear on

any available BBC documentation for the period. The only

production code which does appear is 'DC' and this only on one document. This is therefore the code that we have adopted here.

QUOTES

• 'We were given an extra episode and plans were already afoot

for The Daleks' Master Plan, so we used the extra episode to

"trail" the Dalek story. For economic reasons we didn't use the regular cast because they were away having a well-earned

holiday and to change all that would have caused untold

difficulties and expense. Story editor Donald Tosh interviewed

by Jan Vincent-Rudzki, Stephen Payne and Ian Levine for

TARDIS Volume 3 Number 3.

• 'I remember Robert Cartland, as Malpha, dressed up like a

balloon! I also remember the guys who played the Daleks. They

were wonderful in rehearsal, particularly when one was new to

the show and didn't know how the Daleks should be directed.

They took great pride in their creations and knew all about what

a Dalek could and could not do and even how it would talk.

They would go around doing the voices even though they were

not actually speaking them on screen - they still had to know the

script. Director Derek Martinus interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 21 &2 22.

• 'I designed the humans' rocket ship for this episode. It was

constructed mainly from stock scenery pieces, although the

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Doctor Who – The Handbook – The First Doctor

stabiliser fins and the exhaust burners at the base were specially

made. It was quite prophetic that I put both a Union Jack and a

United Nations symbol on the side; that's exactly what you see

today on all the troops' uniforms out in what was Yugoslavia! I

also provided the small rocket launcher with which the human

agent, Marc Cory, plans to send a message into space. However,

I don't remember designing either the forest or the Dalek

conference chamber, so they may well have been done by

Richard Hunt, who was co-designer on the episode.' Designer

Raymond Cusick interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 23 & 24.

COMMENT

As a largely experimental episode in which none of the regular

characters appear, Dalek Cutaway works very well. Almost every aspect of the production is superb, but in particular Edward de

Souza as Marc Cory puts in a fine performance, and the impressive

jungle sets serve as an effective backdrop to the action. Perhaps

the only point of contention is in the choice of stock incidental

music, which lends an overly melodramatic air to the proceedings.

If anything, this episode proves that Terry Nation's belief that the Daleks could sustain a television series on their own was not far

wrong. (8/10)

The Myth Makers (U)

1. Temple of Secrets 2. Small Prophet, Quick Return 3. Death of a

Spy 4. Horse of Destruction

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

16.10.65

17.51

24’45”

8.3

34

2

23.10.65

17.49

24’43”

8.1

40

3

30.10.65

17.50

25’39”

8.7

33

4

06.11.65

17.50

24’25”

8.3

38

PRODUCTION DETAILS

Location filming: 01.09.65.

Ealing filming: Dates unknown.

110

Establishing The Myth

Studio recording: 17.09.65,24.09.65,01.10.65 and 08.10.65, all in

Riverside 1.

When the TARDIS arrives on the plains of Asia Minor, not far

from the besieged city of Troy, the Doctor is hailed by Achilles

(Cavan Kendall) as the mighty god Zeus and taken to the Greek

camp, where he meets Agamemnon (Francis de Wolff) and

Odysseus (Ivor Salter). Forced to admit that he is a mere mortal -

albeit a traveller in space and time - he is given just two days to

devise a scheme to capture Troy.

First Vicki, and then later Steven, are meanwhile taken prisoner

by the Trojans. King Priam (Max Adrian) gives Vicki - the

supposed possessor of supernatural powers - two days to banish the

Greeks and thus prove that she is not a spy.

Having initially dismissed the famous wooden horse as a

fiction of Homer's, the Doctor is eventually driven to 'invent' it

himself, thereby giving the Greeks the means to defeat the Trojans.

Vicki, having assumed the guise of Cressida, falls in love with

one of Priam's sons, Troilus (James Lynn), and decides to remain

behind with him when the TARDIS leaves. Steven, having adopted

the identity of Odysseus' s dead friend Diomede, has been injured

in a clash of swords with a Trojan warrior, and is helped into the

ship by Katarina (Adrienne Hill), a handmaiden to the prophetess

Cassandra (Frances White). The TARDIS dematerialises with

Katarina still on board.

WHO FAX

• Novelised as Doctor Who - The Myth Makers by Donald Cotton

in 1985.

• Working titles: The Mythmakers, The Trojans and The Trojan War. The working title of the first individual episode was Deus ex Machina; that of the third individual episode was recalled by Donald Cotton to have been Is There a Doctor in the Horse?

• Locations: Ham, near Petersham, Surrey; Frensham Ponds, near

Guildford, Surrey.

• Derek Martinus was at one point considered as the director for

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Doctor Who – The Handbook – The First Doctor

this story, but in the end Michael Leeston-Smith was allocated to

it.

QUOTES

• 'Donald Cotton, who wrote it, had a wide knowledge of all the

then known facts about the fall of Troy - so far as I can recall it

was the fifth fall Troy had suffered - and also was fully

conversant with all the mythology surrounding it. He took the

known facts, which were fairly scant, and wove various bits of

the myths through them and turned the whole thing into a

thrilling high comedy. On the strength of his reputation we were

able to line up one of the most distinguished casts ever assem-

bled for a story. Don Cotton' s first version of the script had

some really wild effects. If we had done it like that we would

have had a cross between Ben Hur and Kubrick's200./: A Space Odyssey but far wittier than both. Unfortunately our budget

made that impossible.' Story editor Donald Tosh interviewed by

Jan Vincent-Rudzki, Stephen Payne and Ian Levine for TARDIS

Volume 3 Number 3.

• To research my designs for this story I went along to the British

Museum and spoke to their archaeological department, who told

me all about the history of Troy. I discovered that Trojan

architecture was fairly basic and monumental - large buildings

constructed from huge blocks of stone - and we didn't really

have the money to do it properly. For the interior of King

Priam's palace there was a staircase leading down into a curved,

spacious hall. The sense of space was achieved mainly with the

use of a painted backcloth showing walls of heavy, monumental

stonework. The Greek encampment was a lot easier to do, as it

just meant putting up some tent sections and dressing them with

cushions, drapes and so on.' Designer John Wood interviewed by

Stephen James Walker and David J. Howe for The Frame Issue

23 & 24.

• 'The Greeks are supposed to have built the Trojan Horse

overnight, but when you consider that it housed maybe a

hundred soldiers that doesn't seem very likely. It was one big

horse! We had debates about how it would have been done. I

thought that it would have been built by people, not necessarily

experienced carpenters, who just knocked it up out of timber

112

Establishing The Myth

from the shipyards. So it would have been very rough and ready.

That was my idea for the look of it. I was quite happy with the

way the model turned out, because it had that sort of rough,

hurried look to it. I built it myself because I wanted to get it

more or less right. I don't think it took more than a week, maybe

four days, to build.' Designer John Wood interviewed by

Stephen James Walker and David J. Howe for The Frame Issue

23 & 24. I '1 was playing Diomede and had nice clothes to wear,

so I could swashbuckle a bit. Max Adrian was lovely, although

he and Bill Hartnell didn't get on too well. Bill was having

difficulty with the script and there were other leading players

with strong roles. I think Bill felt that got in the way of the

Doctor Who concept, although I may be putting thoughts into his head. It had some comic elements but was largely a serious

piece. We had some fun at rehearsals though. I shouldn’t tell

this, but Bill was having some trouble with his lines and there

was this feast that Agamemnon was giving and he had this line

to deliver to Bill: "Come in Doctor, sit down and have a ham

bone." At which point he handed a huge chunk of meat across.

But on the first take he said: "Ah, come in Doctor. Sit down,

ham, and have a bone." This destroyed everyone, although to his

credit Bill took it in good part.' Actor Peter Purves interviewed

for Flight Through Eternity No. 2.

COMMENT

Although at this point in the series' history purely historical stories were on the dec/me, The Myth Makers is one of the better

examples of this form. In its favour is the fact that the period in question is not so well known as, say, the French Revolution, and

so more scope Is allowed in the characterisations and historical

detail. It also features one of the few occasions that romance is

included as a part of the plot, and Vicki 's relationship with Troilus is sensitively handled. This story also scores over The Romans in that although it too is humorous, the humour is more sophisticated

and arises out of the drama rather than being grafted on. (7/10)

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Doctor Who – The Handbook – The First Doctor

The Daleks' Master Plan (V)

1. The Nightmare Begins 2. Day of Armageddon 3. Devil's

Planet 4. The Traitors 5. Counter Plot 6. Coronas of the Sun

7.The Feast of Steven 8. Volcano 9. Golden Death 10. Escape

Switch 11. The Abandoned Planet 12. Destruction of Time

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

13.11.65

17.51

22’55”

9.1

35

2

20.11.65

17.50

24'25"

9.8

31

3

27.11.65

17.51

24'30"

10.3

29

4

04.12.65

17.50

24'42"

9.5

34

5

11.12.65

17.52

24'03"

9.9

26

6

18.12.65

17.50

24'45"

9.1

40

7

25.12.65

18.36

24'36"

7.9

71

8

01.01.66

17.51

24'42"

9.6

31

9

08.01.66

17.51

24'38"

9.2

43

10

15.01.66

17.51

23'37"

9.5

37

11

22.01.66

17.51

24'34"

9.8

35

12

29.01.66

17.51

23'31"

8.6

39

PRODUCTION DETAILS

Location filming: 25.10.65 (still photographs only).

Haling filming: 27.09.65-01.10.65, 04.10.65-08.10.65, 18.10.65

(remount of model filming), 21.10.65 (remount of model filming),

15.11.65 (remount of model filming) and 23.12.65.

Studio recording: 22.10.65,29.10.65,05.11.65,12.11.65,19.11.65,

26.11.65, 03.12.65, 10.12.65, 17.12.65, 31.12.65, 07.01.66 and

14.01.66, all in TC3 except 19.11.65 in TC4.

The TARDIS materialises on the planet Kembel, where the Doctor

and his friends meet Space Security Service agent Bret Vyon

(Nicholas Courtney), who has been sent in search of Marc Cory.

Learning of the Daleks' scheme, which hinges on the use of the

fearsome Time Destructor weapon, they determine to warn the

authorities on Earth; an undertaking which proves problematic as

the human leader Mavic Chen (Kevin Stoney), who holds the title

114

Establishing The Myth

Guardian of the Solar System, is a traitor in league with the Daleks

(Robert Jewell, Kevin Manser, Gerald Taylor, Jack Pitt, John Scott

Martin; voiced by Peter Hawkins, David Graham). Fortunately, the

Doctor has managed to make off with the taranium core of the

Time Destructor, thus disrupting the Daleks' plans.

Fleeing from the Daleks in Mavic Chen’s Spar ship, the Doctor,

Steven, Katarina and Bret are forced to land on a prison planet

called Desperus. A convict named Kirksen (Douglas Sheldon)

manages to get on board just before they take off again. He holds

Katarina hostage in the ship1 s airlock, but she opens the outer door

and they are both ejected to their deaths in space.

In one of a number of attempts to regain the taranium, Mavic

Chen dispatches Space Security Service agent Sara Kingdom (Jean

Marsh) to track down the Doctor's party. Unaware of Chen's

treachery, Sara has already killed Bret - her own brother - before

the time travellers can convince her of the truth. She then joins

forces with them and, after a brush with their old adversary the

Monk (Peter Butterworth), they all arrive back on Kembel. There,

the Doctor contrives to steal the Time Destructor and turn it

against the Daleks, annihilating them. Sadly, Sara has ignored his

instruction to return to the TARDIS, and she is aged to death.

WHO FAX

• Novelised in two volumes, as part of Doctor Who - Mission to the Unknown (The Daleks' Masterplan 1) and as Doctor Who -

The Mutation of Time (The Daleks' Masterplan //), both by John

Peel, in 1989.

• Counter Plot and Escape Switch released on BBC Home Video on Daleks - The Early Years tape in 1992.

• The story was originally to have been set in 1,000,000 AD, but

this was amended to 4,000 AD for the transmitted version.

• The working title of the fifth episode was There's Something

Just Behind You, that of the sixth was Counter-Plot, that of the ninth was Land of the Pharaohs, that of the tenth was Return to Varga (the planet Kembel being called Varga in Terry Nation's

draft scripts) and those of the twelfth were The Mutation of Time

and A Switch in Time.

• Original character names (with final names in brackets) were:

Brett Walton (Bret Vyon), Mavick Chen (Mavic Chen, whose

115

Doctor Who – The Handbook – The First Doctor

designation was also changed from Galactic President to Guard-

ian of the Solar System), Kert Gantry (Kurt Gantry), Reinman

(Lizan), Gilson (Roald, after the intermediate Ronald had been

suggested) and Carlton (Karlton).

• An early draft of the script for The Feast of Steven suggested that some original footage of the Keystone Cops should be

incorporated. This idea was later dropped.

• Barry Newbery was due to design episode twelve of this story,

but around 20 December 1965 it was agreed that Raymond

Cusick should take charge of it instead. This was because

Newbery was by that stage tied up on preparatory work for The

Ark.

• Trampoline instructor Rob Walker donned a wig and beard to

double for actor Doug Sheldon in two nigh trampoline shots for

the film insert scene where Sheldon's character, Kirksen, was

ejected into space.

• The Technix were originally to have been called Technocrats.

• Part of the action of The Feast of Steven was set in a Liverpool police station. The original intention was to use the Z Cars set and even some of the regular Z Cars cast. This idea was dropped as David Rose, the producer of Z Cars, withheld his permission.

• In Golden Death, the Doctor tampers with the chameleon circuit of the Monk's TARDIS so that its appearance changes from a

block of stone to: a motor cycle, a state coach, a Western wagon,

a tank and finally a police box.

QUOTES

• 'This story was great fun to do and a great success. Most of the

credit must go to Douglas Camfield who directed it. Terry

Nation delivered his scripts all very late and all rather short, so

there was a great deal of work to be done and Douglas had a

filming schedule fixed without even knowing what he was really

supposed to be filming!' Story editor Donald Tosh interviewed

by Jan Vincent-Rudzki, Stephen Payne and Ian Levine for

TARDIS Volume 3 Number 3.

• 'We realised that we were going to go out on Christmas Day at a

time when everyone would be full of food and drink and not

interested in trying to pick up the threads of a long running

story, so we had to make that a sort of one-off episode which let

116

Establishing The Myth

the story mark time without actually either breaking the

continuity or advancing the story too much so the festive

euphoria wouldn't consign any development into the well of

forgotten dreams.' Story editor Donald Tosh interviewed by Jan

Vincent-Rudzki, Stephen Payne and Ian Levine for TARDIS

Volume 3 Number 3.

• 'Douglas Camfield approached the production like a military

exercise. He had his schedule worked out like a battle plan, and

he actually gave everyone a rank. "That’s what your rank would

be if you were doing this in the army," he would say. I

remember once we were in the studio and he looked up at the

clock and said, "If s 3.25 and we're still on shot 39 when we

should be on shot 41, so we need to catch up." That's how

precise his planning was.' Designer Raymond Cusick

interviewed by Stephen James Walker and David J. Howe for

The Frame Issue 23&24.

• 'Certain sections of the pyramid exterior had to be built as studio

sets, both at Television Centre and at Haling. My man-hours

were limited, of course, so I had to improvise. I remember I

made use of two cyclorama cloths: a light blue one, which

looked white on black-and-white TV, and a dark blue one, which

looked grey. What I did was to have the light blue one hung

behind the set and the dark blue one placed up against it, folded

back at an angle. This gave the impression of the sloping side of

a pyramid against a pale sky background. All that was then

necessary was to build the porticoed entrance and the steps

leading up to it. I also used painted backcloths for some scenes.'

Designer Barry Newbery interviewed by Stephen James Walker

and David J. Howe for The Frame Issue 19.

COMMENT

As epic stories go. The Daleks' Master Plan is one of the best.

Unlike the previous two attempts at stories which utilised numer-

ous settings and characters (The Keys of Marinus and The Chase), here Terry Nation and Dennis Spooner have got it right. The story

is given continuity by the regular characters along with the superb Movie Chen, acted to near-perfection by Kevin Stoney, and, of

course, the Daleks. The movement between settings comes over as

natural and not forced, and the whole story leads to a very

satisfying climax as not only the Daleks, but also some of the 'good 117

Doctor Who – The Handbook – The First Doctor

guys' are killed. It has to be said that despite all the good material, the Christmas Day episode is a little superfluous. (9/10)

The Massacre of St Bartholomew's Eve

(W)

1. War of God 2. The Sea Beggar 3. Priest of Death 4. Bell of

Doom

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

05.02.66

17.15

24'51"

8.0

45

2

12.02.66

17.15

24'43"

6.0

96

3

19.02.66

17.15

24'33"

5.9

92

4

26.02.66

17.15

25'06"

5.8

94

PRODUCTION DETAILS

Ealing filming: 03.01.66-06.01.66.

Location filming: 07.01.66.

Studio recording: 21.01.66,28.01.66,04.02.66 and 11.02.66, all in

Riverside 1.

When the TARDIS materialises in Paris, 1572, the Doctor decides

to visit the famous apothecary Charles Preslin (Erik Chirty).

Steven, meanwhile, is befriended by a group of Huguenots from

the household of the Protestant Admiral de Coligny (Leonard

Sachs). Having rescued a young serving wench, Anne Chaplet

(Annette Robertson), from some pursuing guards, the Huguenots

gain their first inkling of a plan by the Catholic Queen Mother,

Catherine de Medici (Joan Young), to have all French Protestants

massacred. A further shock is in store for Steven, as it appears that

the hated Catholic dignitary the Abbot of Amboise (William

Hartnell) is actually the Doctor in disguise.

Held responsible for the failure of a plot to assassinate de

Coligny, the Abbot is subsequently executed by the Catholic

authorities and his dead body left lying in the gutter. However, to

Steven' s relief, it transpires that the Abbot was not the Doctor after

\

118

Establishing The Myth

all, but merely his physical double. The two time travellers meet

up again at Preslin's shop, where Steven has gone in search of the

TARDIS key, and regain the safety of the ship just as the massacre

begins.

The TARDIS next arrives on Wimbledon Common in contem-

porary London, where a young girl named Dorothea 'Dodo'

Chaplet (Jackie Lane) enters, believing it to be a real police box,

and joins the Doctor and Steven on their travels.

WHO FAX

• Novelised as Doctor Who - The Massacre by John Lucarotti in 1987.

• Working title: The Massacre.

• Location: Wimbledon Common, South London.

• G. Evans was at one point considered as the scenic designer for

this story, but the job eventually went to Michael Young.

• Gerry Davis received his first Doctor Who story editor credit on the Bell of Doom episode, while his predecessor Donald Tosh

received a co-writer credit with John Lucarotti. Tosh had in fact

rewritten all four episodes of the story quite extensively, but

could not be credited on the first three as he was still officially a

member of the series' production team at that time.

QUOTES

• “I wrote this almost two years after The Aztecs. Both Verity Lambert and David Whitaker had moved on to other shows and

the new producer, John Wiles, as well as his story editor, Donald

Tosh, and I did not see eye to eye. To begin with, the subject

matter of the St Bartholomew's Day Massacre of 1572 in Paris

was imposed on me, and the absence of Bill as the Doctor

seemed to me incongruous, even if he did appear as the Abbot of

Amboise, an ecclesiastical Doppelganger. The director, Paddy

Russell, did the best she could with what I considered a botched-

up idea with frequent inconsistent rewriting and a denouement I

thought ridiculous.' Writer John Lucarotti quoted by Peter

Haining in The Doctor Who File.

• 'Originally we wanted to take Ann Chaplet from Paris as the new

companion but we ran into problems over changing history. For

even if it was a million-to-one chance that she would have

119

Doctor Who – The Handbook – The First Doctor

survived the slaughter of St Bartholomew's Eve, had she

survived then a multitude of complications would have arisen.

The only way to have done it would have been to take her away

and then bring her back at exactly the same moment she left, but

it was firmly established that the TARDIS couldn't do this. So

instead of bringing Ann into the story we introduced Dodo, who

was supposed to be the descendent of Ann. The point never

came across very clearly for, although we had written a speech

for the Doctor, it was a complex and possibly rather untidy

explanation and Bill Hartnell accidentally cut part of it so it

appeared even more muddled on transmission.' Story editor

Donald Tosh interviewed by Jan Vincent-Rudzki, Stephen Payne

and Ian Levine for TARDIS Volume 3 Number 2.

• 'Whilst at the Library Theatre I had played the part of a Cockney

kid in a play called Never Had It So Good written by John

Wiles, who came to see rehearsals and of course the first night.

When he was casting the part of Dodo some four years later he

remembered me and asked to see me. And, with the approval of

the Head of Serials, I was given the part.' Actress Jackie Lane

interviewed by Ian K. McLachlan for TARDIS Volume 6

Number 1.

COMMENT

Another very good historical story, echoing the high standards set

by the first season. William Hartnell is given a rare opportunity to show his range when he takes on the role of the scheming Abbot,

and it is refreshing to see the character of Steven step into the gap left by a mostly-absent Doctor, and to take charge for much of the

story, giving Peter Purves a chance to shine. (8/10)

The Ark (X)

1. The Steel Sky 2. The Plague 3. The Return 4. The Bomb

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

05.03.66

17.15

24'00"

5.5

102

2

12.03.66

17.15

25'00"

6.9

70

120

Establishing The Myth

3

19.03.66

17.15

24'19"

6.2

85

4

26.03.66

17.15

14'37"

7.3

71

PRODUCTION DETAILS

Ealing filming: 31.01.66-03.02.66.

Studio recording: 18.02.66,25.02.66,04.03.66 and 11.03.66, all in

Riverside 1.

The TARDIS materialises on a huge spaceship some ten million

years in the future at a time when the Earth is about to plunge into

the Sun. The spaceship is carrying all the world's plant, animal and

human life (much of it miniaturised and in suspended animation)

on a 700-year voyage to colonise the planet Refusis II. Dodo is

suffering from a cold and, as the human Guardians of the ship,

including the Commander (Eric Elliott), Zentos (Inigo Jackson),

Mellium (Kate Newman), Manyak (Roy Spencer) and Baccu (Ian

Frost), along with their servant race, the Monoids (Edmund Coul-

ter, Frank George, Eric Blackburn), have no resistance to this

ancient virus despite the efforts of their medical staff, led by Rhos

(Michael Sheard), a plague breaks out. The Doctor is fortunately

able to develop a cure, and he and his companions leave in the

TARDIS.

This seems to be the end of this particular adventure, but a

surprise is in store as the TARDIS immediately rematerialises in

what appears to be almost exactly the same place. The travellers

discover that they have in fact returned to the ship - which Dodo

has nicknamed the Ark - at the end of its voyage. Partly as a result

of the earlier plague, the Monoids (Ralph Carrigan, Edmund

Coulter, Frank George, voiced by Roy Skelton and John Halstead),

have now grown strong and enslaved the humans whose number

includes Maharis (Terence Woodfield), Yendom (Terence Bayler),

Dassuk (Brian Wright) and Venussa (Eileen Helsby). However,

with the help of an invisible Refusian (voiced by Richard Beale),

the Doctor is able to persuade both races to live in peace together

on Refusis II.

WHO FAX

• Novelised as Doctor Who - The Ark by Paul Erickson in 1986.

121

Doctor Who – The Handbook – The First Doctor

• See Chapter Seven on the making of this story for a full account

of how Doctor Who episodes were brought to the screen during

the first Doctor's era.

• This was Jackie Lane's first full story as Dodo. It was originally

intended that the character should have a Cockney accent, and

Lane had already begun to rehearse the part in that way when

producer John Wiles was informed by his superiors that this was

unacceptable and that the Doctor's companions should continue

to speak 'BBC English'. Consequently Dodo's accent was rather

variable in her earliest episodes.

• The Guardians' costumes were pastel colours, pink and white

stripes for the females and blue and white for the males. The

Commander had some red in his costume to designate his rank.

QUOTES

• "This story was mine, at least from the conceptual point of view.

I had this idea of an enormous ship that was so big that you

could get the whole of south London into it. You could drive

cars, ride bicycles - the whole notion of forests floating in the

air. It seemed a marvellous idea but it lacked story material, so

we gave it out to two writers with whom I had a very enjoyable

time working to shoot a storyline. They delivered some very

good material although, in the end I think a lot of it was

rewritten by Donald Tosh.' Producer John Wiles interviewed by

Jeremy Bentham for Doctor Who Monthly Winter Special

1983/84.

COMMENT

Despite the low budget afforded the series, in general this story

manages to look and feel as though a lot of money was spent on it.

This is in part due to Barry Newbery 's imaginative sets, but also to Michael Imison's impressive and unusual direction, resulting in

many visually appealing shots and ideas. The Monoids, whilst no

doubt a good idea on paper, don't really work, mainly due to the

fact that their legs are joined together and they therefore tend to waddle like ducks - this results in a very static and lack-lustre battle in episode four. (7/10)

122

Establishing The Myth

The Celestial Toymaker (Y)

1. The Celestial Toyroom 2. The Hall of Dolls 3. The Dancing

Floor 4. The Final Test

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

02.04.66

17.50

24'40"

8.0

44

2

09.04.66

17.50

24'45"

8.0

49

3

16.04.66

17.50

24'10"

9.4

32

4

23.04.66

17.51

23'57"

7.8

36

PRODUCTION DETAILS

Ealing filming: 03.03.66.

Studio recording: 18.03.66,25.03.66,01.04.66 and 08.04.66, all in

Riverside 1.

The travellers arrive in a strange domain presided over by the

Toymaker (Michael Gough) - an enigmatic, immortal entity who

forces them to play a series of games, failure at which will render

them his playthings. The Doctor has to solve the complex Trilogic

game while Steven and Dodo are faced with defeating a succession

of apparently child-like but potentially lethal animated toys (Car-

men Silvera, Campbell Singer, Peter Stephens) in contests such as

blind man's buff, musical chairs and 'hunt the key'.

The Doctor finally overcomes the Toymaker by imitating his

voice in order to complete the Trilogic game from within the

TARDIS, which then dematerialises as his foe's universe is de-

stroyed.

WHO FAX

• Novelised as Doctor Who - The Celestial Toymaker by Gerry

Davis and Alison Bingeman in 1986.

• The Final Test was released on BBC Home Video on The

Hartnell Years tape in 1991.

• Working titles: The Toymaker, The Trilogic Came.

• Brian Hayles' scripts for this story were completely rewritten,

first by story editor Donald Tosh with additional input from

producer John Wiles and then by Tosh's successor Gerry Davis.

123

Doctor Who – The Handbook – The First Doctor

• At the conclusion of the final episode, the BBC transmitted a

verbal assurance to viewers that the character of the mischievous

schoolboy Cyril - with whom Stephen and Dodo played the final

game - was in no way based upon Frank Richards' 'Billy Hunter'

character.

QUOTES

• 'I had in fact written all the episodes of The Celestial Toymaker based on an idea by Brian Hayles, but Gerry Davis had a very

different view from mine as to how the story should be treated. I

saw it as a story full of pure menace: two people, Steven and

Dodo, caught up in a world of childish games in which every-

thing is at stake. Gerry had a much lighter, more pantomime

view of it and rewrote it accordingly. The story was Brian's, the

dialogue was Gerry's, the only thing left of mine was the

Trilogic game, which was ancient Chinese - so I claimed no

authorship at all.' Story editor Donald Tosh interviewed by Jan

Vincent-Rudzki, Stephen Payne and Ian Levine for TARDIS

Volume 3 Number 2.

• 'We suddenly had a crisis on this one. Gerald Savory had written

a famous play called George and Margaret and Donald Tosh

thought it would be terribly funny to do a Doctor Who version of this. This was a bit precious for a young audience, I felt, but

Hayles had been asked to write this thing about two characters

who actually never appear in the play - they are expected

throughout but they only arrive, off stage, at the end. We had

booked the players, and then suddenly Gerald, who was our

Head of Department, read the script and dropped his bombshell.

He didn't like the script and wasn't having the names of his

characters used for this. And it was actually pretty tedious, but

the framework was good. The content was a sort of pseudo-

smart Noel Coward comedy which was wrong for the audience,

but we had to salvage something - there was no option.

Everybody was screaming for something, from the designers

down. I literally had to sit down in the garden of the bungalow

I'd just bought in Cookham and dash out an episode a day. What

happened was that the Toymaker character suggested toys,

which suggested nursery, and I played around with something

sinister on those lines. Had I had more time I could have done a

124

Establishing The Myth

better job.' Story editor Gerry Davis interviewed by Richard

Marson for Doctor Who Magazine No. 124.

• 'I remember there was talk about featuring a dolls' house, and I

quite liked the idea of having one which would actually open up,

like the real thing. I eventually based the design on Queen

Mary's dolls' house. It ended up being about twenty feet across

by fourteen feet high. With hindsight, I think that was too big as

it tended to look like a real building until the front opened up.

The furniture wasn't specially made; I knew that would be too

expensive, so I had to root around and find it from specialist

suppliers. I wanted to do some opticals where we'd see figures

moving about inside the house. We did think at one point of

using children, dressed up as dolls, but that idea seemed to go by

the board. It was elaborating too much.' Designer John Wood

interviewed by Stephen James Walker and David J. Howe for

The Frame Issue 23 & 24.

• 'The Toymaker' s tinplate desk moved along by itself and

sparked out of the back, just like a friction-drive toy. I think that

was made by Shawcraft. They were originally going to use just

an ordinary desk, but I had this one built. The Toymaker would

sit in his chair and the desk would come in, sparking out of the

back, and place itself in front of him so that he could start

writing or whatever.' Designer John Wood interviewed by

Stephen James Walker and David J. Howe for The Frame Issue

23 & 24.

COMMENT

The Celestial Toymaker is one of the most imaginative and

unusual stories presented by Doctor Who during its first three years. Michael Cough is superbly cast as the eponymous Toymaker

and he exudes both charm and menace in equal portions. Mention

must also be made of the rest of the cast, who, during the course of the story, play several characters each. The direction by Bill

Sellars, making his only contribution to Doctor Who, is also very assured, creating some highly dramatic moments. The contrast

between the child-like games and the menace of the Toymaker' s

purpose comes over very effectively. (9/10)

125

Doctor Who – The Handbook – The First Doctor

The Gunfighters (Z)

1. A Holiday for the Doctor 2. Don't Shoot the Pianist 3. Johnny

Ringo 4. The OK Corral

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

30.04.66

17.51

23'48"

6.5

50

2

07.05.66

17.50

23'47"

6.6

45

3

14.05.66

17.56

23'52"

6.2

51

4

21.05.66

17.52

23'53"

5.7

60

PRODUCTION DETAILS

Haling filming: 28.03.66-31.03.66.

Location filming: 01.05.66.

Studio recording: 15.04.66 in TC4 and 22.04.66, 29.04.66 and]

06.05.66 in Riverside 1.

The TARDIS lands in the Wild West town of Tombstone in 1881.

The Doctor, suffering from toothache, seeks out the local dentist,

who turns out to be none other than the notorious Doc Holliday

(Anthony Jacobs), currently engaged in a feud with Pa Clanton

(Reed de Rouen) and his sons Dee (William Hurndell), Phincas

(Maurice Good) and Billy (David Cole). Lawmen Wyatt Earp

(John Alderson) and Bat Masterson (Richard Beale) are meanwhile

doing their best to keep the peace. For once, the Doctor is unable

to help and, in the climactic shoot-out, the young Clanton brothers

and their gunman ally Johnny Ringo (Laurence Payne) are all

killed by Holliday, Earp and Harp's brother Virgil (Victor Carin).

WHO FAX

• Novelised as Doctor Who - The Gunfighters by Donald Cotton

in 1985.

• Working title: The Gunslingers.

• Location: Virginia Water, Surrey.

• An unusual feature of this story was The Ballad of the Last

Chance Saloon, passages from which were heard throughout all

four episodes. The main lyrics were written by Donald Cotton,

•

126

Establishing The Myth

the score by incidental music composer Tristram Gary and

additional lyrics by director Rex Tucker. It was largely pre-

recorded, the singer being Lynda Baron and the pianist Tom

McCall.

• For the scenes in which Steven was forced to sing the ballad to

Dodo's accompaniment, the singer was Peter Purves himself

while Jackie Lane mimed playing the piano. As originally

scripted, Dodo was to have sung to Steven's accompaniment, but

the roles were reversed at the insistence of Jackie Lane, who

considered her singing voice too poor. Tom McCall played the

piano in the studio (out of vision) for episode one, and Winifred

Taylor for episode two.

• Sheena Marshe, who played Kate, was director Rex Tucker's

daughter. It was originally intended that she too should be heard

singing The Ballad of the Last Chance Saloon, and she was

present at the initial sound recording session on 5 April 1966,

but Tucker decided her voice was not suited to the song. She

therefore mimed to Lynda Baron's pre-recorded voice in the

transmitted episodes.

• It was actor Maurice Good's idea to give his character Phineas

Clanton a stutter.

• Patrick Troughton was one of the actors originally considered

for the role of Johnny Ringo, but was unavailable.

• Head of Drama Sydney Newman was less than impressed with

this story, sending Head of Serials Gerald Savory a memo of

comment on 23 May 1966 from which the following is taken:

In my view it was a very sad serial despite the fact it was

quite well acted and certainly well shot. The trouble was that

the entire attack was misconceived. Somehow or other Dr.

Who audiences, as proven from many past successes, always

want to believe in the particular life-and-death situation that

Dr. Who and his companions find themselves in. The

mickey-taking aspects of this particular one I think alienated

all except the most sophisticated - and I'm not even sure

about the latter.

The use of the song was a drag. It seemed to me that every

time the story began to gallop, it was slowed down to a

desperate crawl by the use of the song. I also didn't like the

way Lynda Baron sang. Somehow or other she could not

127

Doctor Who – The Handbook – The First Doctor

sustain this type of ballad.

• An unusual props requirement for The O.K. Corral, recorded on 6 May 1966, was conveyed in a memo of 4 May 1966 from

props assistant June Gillespie to the catering manageress of

Riverside Studios:

Please make fully practical:

Sixteen lamb chops and baked beans -eight of these to be

delivered to studio Riverside 1 at 5.15 p.m. with equal

amount of beans on four separate plates and the rest of the

chops to be delivered at 8.15 p.m. also on four separate

plates with beans, i.e. two chops and spoonful of beans for

each of the four Clantons for the actual take.

Two glasses of ice cold milk for Doctor Who to be

delivered to studio Riverside 1 at 8.15 p.m.

QUOTES

• 'By the time I wrote The Gunfighters, Donald Tosh - with whom I could work well - was loosening his ties with the series, and I

was not allowed so much latitude by the new team. The research

for The Gunfighters was actually done in Tombstone, by my old friend and cabaret partner, Tony Snell, who was performing

some of our material over there at the time of my writing the

piece.' Writer Donald Cotton quoted in 1982 in The Black and

White of Doctor Who - Pan One.

• 'Rex Tucker was the director of this story. He was a delightful

man, and very competent. He was more at home on serious

dramas, but I think his attitude was similar to mine: how many

people get the chance to do a Western on British television? I

remember he said to me, "Let" s have fun on this one"; and it was great fun. But of course it was also a challenge.' Designer Barry Newbery interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 20.

• 'Our library got in touch with Yale University, who sent us over

a stack of photographs of the relevant area, some taken in

Tombstone and some elsewhere. To my surprise, many of the

houses could have been built in the East End of London! They

were red brick, four storey affairs in very narrow terraces, and

all the details resembled those you can see on houses of a similar

age in the East End. So obviously they had some British builders

128

Establishing The Myth

and brickies out there in the States. There weren't any photo-

graphs of the O.K. Corral itself, but there were some showing

the gateways to other corrals which I was able to refer to instead.

In fact, all the sets I created for The Gunfighters were based largely on the stills sent over from Yale. However, with sets like

the saloon interior I did pay heed to the basic conventions of the

Western and made sure they had all the features one would

expect.' Designer Barry Newbery interviewed by Stephen James

Walker and David J. Howe for The Frame Issue 20.

COMMENT

After the high drama of the previous story, The Gunfighters is a disappointment. This is a rare example of Doctor Who attempting something previously untried, and failing. On the plus side, the

cast perform well, with the Clantons and Doc Holliday coming

over as believable characters. William Hartnell seems to enjoy the

humourous slant to the story, and Peter Purves also shows perhaps

a surprising flair for comedy. Ultimately the attempt to stage a full scale Western adventure in a small UK TV studio proves too much

of a challenge and is what lets the story down. The other point of

concern is the ballad which is both intrusive and irritating in the extreme. (4/10)

The Savages (AA)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

28.05.66

17.36

23'41"

4.8

62

2

04.06.66

17.35

23'57"

5.6

50

3

11.06.66

17.35

24'59"

5.0

66

4

18.06.66

17.35

24'41"

4.5

93

PRODUCTION DETAILS

Location filming: 01.05.66.

Ealing filming: 27.04.66-28.04.66.

Studio recording: 13.05.66,20.05.66,27.05.66 and03.06.66, all in

Riverside 1.

129

Doctor Who – The Handbook – The First Doctor

Having arrived on a far-distant and seemingly idyllic world, the

Doctor, Steven and Dodo discover that it hides a terrible secret: the

apparently civilised Elders maintain their advanced society by

draining off and transferring to themselves the life-force of a group

of defenceless Savages. Outraged at this exploitation, the Doctor is

seemingly helpless to prevent it when some of his own life-force is

tapped by the Elders' leader, Jano (Frederick Jaeger). However, in

the process, Jano also acquires some of the Doctor's attitudes and

conscience. Turning against his own people, he enlists the help of

the Savages to destroy the Elders' transference laboratory - a task

with which the time travellers gladly assist.

Steven is asked by the Elders and the Savages to remain behind

on the planet as their leader. He agrees to do so, and the Doctor

and a tearful Dodo leave him to his new life.

WHO FAX

• Novelised as Doctor Who - The Savages by Ian Stuart Black in 1986.

• Working title: The White Savages.

• Locations: quarries near The Chalfonts, Bucks; sandpit near

Sunningdale.

QUOTES

• 'While I was working on a BBC drama serial called Ransom for

a Pretty Girl I happened to notice that the office adjacent to producer Alan Bromly's had the words 'Doctor Who' on the

door. I asked him if this was where the Doctor Who team

worked, and when he said that it was I told him that I'd like to

meet them ... I said, "Is there any chance that I could write a

Doctor Who story?" They were amazed that I would even

consider it, and wondered if I was serious. I said, "Yes, I am, for this special reason: none of my children believes I'm a writer

because I haven't done a Doctor Who" They asked me if I had any ideas, and I told them the basic outline for what I called The

White Savages. They liked it, and commissioned me. That's how

casual it was!' Writer Ian Stuart Black interviewed by Stephen

James Walker for The Frame Issue 23 & 24.

• "This was to be Peter Purves's swansong. It was a good, old-

fashioned "goodies versus baddies" story by my friend Ian Stuart 130

Establishing The Myth

Black. I was lucky to get, in leading parts, Frederick Jaeger and

Ewen Solon. And Stuart Walker... gave The Savages some

superb sets.' Director Christopher Barry interviewed by David J.

Howe and Rosemary Howe for The Frame Issue 1.

COMMENT

The Savages is another story which fails due to a lack of identifi-

able characters, and the lack of a sufficiently complex plot in

which to place them. About the only three-dimensional character

aside from the regulars, is Jano, and even Frederick Jaeger seems

to struggle to bring him to life. The Savages are faceless and

ineffectual - unable to help themselves - and the Elders come over

as condescending and oh-so-boring. One of the high points is the

music, with Raymond Jones' use of woodwind providing an eerie

alternative to the style of music featured in other stories. (5/10) The War Machines (BB)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

25.06.66

17.35

24'01"

5.4

71

2

02.07.66

18.56

24'00"

4.7

76

3

09.07.66

17.35

23'58"

5.3

62

4

16.07.66

17.17

23'11"

5.5

67

PRODUCTION DETAILS

Location filming: 22.05.66 and 26.05.66.

Haling filming: 23.05.66-25.05.66.

Studio recording: 10.06.66,17.06.66,24.06.66 and 1.07.66, all in

Riverside 1.

When the TARDIS arrives in London, 1966, the Doctor visits the

Post Office Tower, having sensed evil emanations from the build-

ing. There, he meets Professor Brett (John Harvey), who demon-

strates his revolutionary new computer, WOTAN (voiced by

Gerald Taylor), standing for Will Operating Thought Analogue.

Designed as a universal problem-solver, this machine can actually

think for itself. Moreover, it is shortly to be linked up to other

131

Doctor Who – The Handbook – The First Doctor

major computers around the world - a project overseen by civil

servant Sir Charles Summer (William Mervyn).

All is not as it seems, however, as WOT AN has decided that

humans are inferior to machines and should therefore be ruled by

them. Exerting a powerful hypnotic influence, it initiates the

construction of War Machines - heavily-armed, self-contained

mobile computers - with which to effect its plan of world domina-

tion. The War Machines (Gerald Taylor) prove more than a match

for troops, but by establishing a magnetic force field the Doctor is

able to capture one of them. He then reprograms it to destroy

WOTAN.

Now back in her own time, Dodo decides to leave the Doctor at

this point. However, the Doctor soon finds himself with two new

companions - Brett's secretary Polly (Anneke Wills) and her

merchant seaman friend Ben Jackson (Michael Craze) - whom he

inadvertently whisks off in the TARDIS when they come aboard

just as it is about to dematerialise.

WHO FAX

• Novelised as Doctor Who - The War Machines by Ian Stuart

Black in 1989.

• Working title: The Computers.

• Locations: Bemers Mews, Newman Passage, Fitzroy Square,

Charlotte Place and Bedford Square; panoramic shots taken

from Centre Point in Tottenham Court Road and the Duke of

York public house in Charlotte Place; exterior of Television

Film Studios, Ealing; Covent Garden and Kensington areas,

including Cornwall Gardens; high angle shots taken from a

house at 50F Cornwall Gardens. All locations in London.

• Sir Charles was originally to have been called Sir Robert.

• Kenneth Kendall, a BBC TV newsreader, appeared as himself in

this story. Similarly Dwight Whylie, who played a radio

announcer, was a genuine BBC announcer on the staff of the

BBC's Presentation (Sound) Department.

• The taxi in which the Doctor was seen arriving at the Royal

Scientific Club in Bedford Square was a genuine London cab

hailed by the production crew on location. Its driver, Mr W.

Busell, was paid £2 and signed a form giving the BBC all rights

to his contribution.

132

Establishing The Myth

• John Boddimeade, the driver of a fork lift truck seen in episode

two, and Bill Taylor, the driver of a lorry seen in episode three,

were BBC scene men who each received a staff contribution fee

in payment.

• Mike Yarwood was to have appeared as an walk-on in episode

three but left the studio at 1.00 p.m. to go to hospital for an X-

ray and did not return.

• This story featured some special graphics sequences, designed

by Bernard Lodge, giving the story title, writer's credit and

episode number at the start of each episode.

QUOTES

• 'When I talked to the production team about the possibility of

doing another story I was told that the Post Office Tower was

nearing completion and that someone had come up with the

brilliant idea of using it in Doctor Who. A story involving the Post Office Tower obviously had to be set in this day and age

and on Earth. My task was to devise a plot which made its

inclusion seem quite natural so that people wouldn't think it had

been put in just for the sake of it.' Writer Ian Stuart Black

interviewed by Stephen James Walker for The Frame Issue 23 & 24.

• 'What the production team were trying to do, I believe, was to

find a middle path between pure fantasy and a kind of realistic

projection of future technology -and of course they had brought

in the scientist Kit Pedler to advise them. The story revolved

around computers, and the feeling was that this gave it a basis in

reality -computers exist, they're not something fictional. The

question was, what would happen if computers had so much

power that they were able to take over? At the time, I remember,

this wasn't seen as a fanciful idea; it was quite a common fear.

Indeed, there are still some people who feel that way!' Director

Michael Ferguson interviewed by Stephen James Walker for The

Frame Issue 18.

COMMENT

After three years of stories set on alien planets and in different

ages, it is refreshing to see a story set in contemporary London.

The idea of people being attacked and hypnotised via their own

telephones is quite chilling for the viewer and the sight of a War

133

Doctor Who – The Handbook – The First Doctor

Machine smashing its way violently through crates, people and

telephone boxes is very impressive, even though the design of the

machine leaves something to be desired. The departure of Dodo

seems abrupt, although the introduction of Ben and Polly is well

handled and shows promise for the future. (7/10)

SEASON FOUR

The Smugglers (CC)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

25.06.66

17.50

24'36"

4.3

96

2

02.07.66

17.55

24'27"

4.9

77

3

09.07.66

17.50

23'55"

4.2

96

4

16.07.66

17.52

23'37"

4.5

109

PRODUCTION DETAILS

Location filming: 19.06.66-23.06.66.

Studio: 08.07.66,15.07.66,22.07.66 and 29.07.66, all in Riverside

1.

To the astonishment of newcomers Polly and Ben, the TARDIS

arrives on the coast of seventeenth-century Cornwall. Here, pirates

led by Captain Samuel Pike (Michael Godfrey) are searching for a

hidden treasure, while a smuggling ring masterminded by the local

Squire (Paul Whitsun-Jones) is trying to offload contraband.

The Doctor is kidnapped by Pike's men after inadvertently

learning, from church warden Joseph Longfoot (Terence de

Mamey), who is subsequently murdered, a cryptic rhyme which

holds the key to the treasure's whereabouts. Although he manages

to escape, the Doctor is eventually forced to tell Pike the rhyme's

meaning -it refers to names on tombstones in the church crypt -

and the treasure is uncovered. At this point, however, the militia

arrive, having been summoned by Revenue Officer Josiah Blake

(John Ringham).

A fight ensues in which Pike and many of his men are killed

and the rest taken prisoner. The Doctor and his companions, mean-

134

Establishing The Myth

while, slip back to the TARDIS.

WHO FAX

• Novelised as Doctor Who - The Smugglers in 1988.

• This was the first Doctor Who story on which the crew stayed away from London for a time on a location shoot. A week was

spent in Cornwall to film scenes at Sennen, Porthcurno, Helston,

Breage church, Ruan Minor church and Church Cove.

• Writer Brian Hayles was asked by story editor Gerry Davis to

come up with an idea for a historical adventure and decided that

the seventeenth century would make a good setting. Davis

agreed that smuggling would be a suitable theme to explore as

this was in line with his desire for the series' historical stories to

be based on identifiable, romantic areas of fiction - in this case,

Russell Thorndike's Doctor Syn books.

• At the beginning of the first episode of this story, following the

title sequence and a brief reprise from the previous episode,

there was then a shot of the TARDIS scanner screen displaying

part of the howl-around title graphics, which were overlaid in

black, on the monitor" s picture, with the title, writer and

episode number captions.

QUOTES

• 'We did quite a lot of location work for this story, which I

enjoyed tremendously. I knew Cornwall very well and decided

that down there out of the season we would be able to find the

caves and old-looking houses plus the atmosphere. The outside

of the inn, I remember, was actually a cow barn as most houses

had too many windows to be authentic. The caves and beach

were great fun and the actors enjoyed it. I'm not so certain if the

cameramen and scene boys enjoyed carrying their lamps and the

TARDIS down the high cliffs! We also had very little shooting

time as the tide came in very fast. My favourite memory is of the

"pirates" on the ship wearing plastic caps over their wigs,

looking pea green (luckily we weren't in colour) and being sea

sick over the side of the fishing boat we had dressed up to be the

pirates' boat. It was rough!' Director Julia Smith interviewed by

Ian K. McLachlan for TARDIS Volume 7 Number 2.

135

Doctor Who – The Handbook – The First Doctor

COMMENT

The Smugglers is very different in style to all the previous

historical stories, being a swashbuckling adventure in the tradition of romantic fiction favoured by new story editor Gerry Davis. The

location filming is highly effective - all the more so because it was extensive and a rare example of filming away from London. The

cast really throw themselves into their pans, obviously relishing

the opportunity to play 'larger than life characters. The Doctor is also on good form, and manages to strike up an immediate rapport

with his new travelling companions Ben and Polly. (7/10)

The Tenth Planet (DD)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

08.10.66

17.52

23'08"

5.5

77

2

15.10.66

17.50

23'15"

6.4

57

3

22.10.66

17.54

23'31"

7.6

46

4

29.10.66

17.51

24'02"

7.5

48

PRODUCTION DETAILS

Ealing filming: 30.08.66-02.09.66.

Studio recording: 17.09.66,24.09.66,01.10.66 and 08.10.66, all in

Riverside 1.

The TARDIS materialises in December 1986 at the entrance to a

South Pole Space Tracking Station under the command of General

Cutler (Robert Beatty). The scientists there are experiencing prob-

lems in controlling the return to Earth of a manned space capsule,

and the Doctor realises that this is due to the gravitational pull of

another planet which has entered the solar system and is now

heading for Earth. His prediction is borne out when the base is

invaded by a force of alien Cybermen (Gregg Palmer, Reg

Whitehead, Harry Brooks, Bruce Wells, John Haines, John Slater,

John Knott; voiced by Roy Skelton, Peter Hawkins).

The Cybermen's world, Mondas, is draining energy from the

Earth, and the situation will soon become critical. Although Ben

and Cutler manage to destroy the first wave of attackers, the base

136

Establishing The Myth

is then overrun by a second. However, one of the scientists,

Barclay (David Dodimead), suddenly realises that the invaders are

susceptible to radioactivity, and this suggests a means of fighting

back. Using hand-held uranium rods, Ben and a group of the

scientists are able to hold off and kill a number of Cybermen. At

the story's climax, Mondas disintegrates due to absorbing too much

energy, and all the remaining Cybermen collapse and die, having

been totally dependent on their planet.

The Doctor has become steadily weaker during the course of

the adventure, and after the defeat of the Cybermen he hurries back

to the TARDIS. Polly and Ben follow, and find him collapsed on

the floor of the control room. As they watch, his face is

transformed into that of a much younger, dark-haired man (Patrick

Troughton).

WHO FAX

• Novelised as Doctor Who - The Tenth Planet by Gerry Davis in 1976.

• The master videotape of episode four was lent to the production

office of Junior Points of View after transmission as they wished to use extracts from it on their programme on 4 November 1966.

• Seven Cyberman costumes were made for this story. The guns,

chest units and head gear were supplied by Shawcraft to

costume supervisor Sandra Reid's specifications.

• This story featured some special title graphics for the opening

captions and closing credits of each episode. Designed by

Bernard Lodge, they resembled a computer print-out.

QUOTES

• 'The Tenth Planet and the Cybermen were done together with

Kit Pedler. I wanted a scientific adviser for the show, and I

wanted to generate new science-fiction-based story ideas, as we

had decided to phase out the historical stories. I'd been having

meetings with Patrick Moore, Alex Comfort, Professor

Laithwaite and the like, with one or two stock questions to see if

I could provoke their imaginations... Every time Kit and I met

we'd talk for hours and ideas would start bubbling out.' Story

editor Gerry Davis interviewed by Richard Marson for Doctor

Who Magazine No. 124.

137

Doctor Who – The Handbook – The First Doctor

• 'The perennial problem with Doctor Who monsters is that inside the monster there's always got to be a human being. You've got

to try to make a costume that can be worn by an actor, yet at the

same time change the shape so that it looks less humanoid. The

development of the Cybermen came from discussions between

myself, Kit Pedler, Sandra Reid (the costume designer) and

Gerry Davis (the story editor). Gerry and Kit would put their

fourpenny's worth in, but Sandra and I evolved it between us.'

Director Derek Martinus interviewed by Stephen James Walker

and David J. Howe for The Frame Issue 21 & 22.

• "The Cybermen wore grey jersey masks and we had to cut holes

for the eyes and the mouth. Once the actor had the mask on, we

would prod his face with our fingers, asking him where his eye

was, and then cut a hole in the appropriate position! On their

chests they had to wear something like a metal computer and

they couldn't sit down with this thing hanging around their neck,

so we used to lean them up against walls. Our make-up role was

to paint round their eyes and mouths with silver. Because their

faces were covered with this stretchy jersey material, the eyes

looked like holes, but we painted silver in the background so

that if you caught a glimpse you didn't see the flesh, which you

might have done even though the picture was in black-and-

white.' Make-up assistant Sandra Exelby interviewed by David

J. Howe and Mark Stammers for The Frame Issue 21 & 22.

• 'There were endless discussions about the Cybermen's voices. I

wanted something that had an eerie feeling to try to get away

from the human voice, but we didn't want to repeat the Dalek

voice. So we came up with the idea of them opening their

mouths and then not closing them again until they'd finished

speaking. We hoped that would add an other-worldly feel to it.

We also developed the Cybermen's elliptical speech patterns,

which worked quite well.' Director Derek Martinus interviewed

by Stephen James Walker and David J. Howe for The Frame

Issue 21 &22.

• "The change over between the Doctors took a long time to do,

and there was a lot of consultation about the technical capabili-

ties and how we could use the technical resources and so on. It

took a whole morning of studio time to rehearse because it was

138

Establishing The Myth

thought to be so important. A lot was riding on it working. We

wanted people to cany on watching Doctor Who even though

William Hartnell was no longer playing the Doctor.' Director

Derek Martinus interviewed by Stephen James Walker and

David J. Howe for The Frame Issue 21 & 22.

COMMENT

As the final story of the first Doctor's era, The Tenth Planet is a mixture of the classic and the banal. The Cybermen are very well

realised, and tower, literally, over the rest of the cast. The blank, impassive faces command the viewer's attention, and their eerie

fluting voices add an element of alien menace to their actions. The rest of the cast just seem to be going through the motions as a

routine story of alien attack is played out. It is also very unclear precisely what the Cybermen's plan actually is. Overall the direction is good, but the scenes of the Doctor regenerating are

particularly effective, with the use of pulsing lights, combined with the intercutting of images to give the impression of something

momentous occurring. The final scene of the Doctor transforming

before the viewer's eyes is both unexpected and shocking. (8/10)

SEASON TEN

The Three Doctors (RRR)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

30.12.72

17.51

24'39"

9.6

41

2

06.01.73

17.50

24'18"

10.8

22

3

13.01.73

17.51

24'22"

8.8

44

4

20.01.73

17.51

25'07"

11.9

17

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

23.11.81

17.39

2442

5.0

12

2

24.11.81

17.34

2418

4.5

16

3

25.11.81

17.40

2422

5.7

9

139

Doctor Who – The Handbook – The First Doctor

4

26.11.81

17.41

25'06"

5.8

8

PRODUCTION DETAILS

Location filming: 06.11.72-10.11.72

Ealing filming: 06.11.72

Studio recording: 27.11.72-28.11.72 in TCl, 12.12.72-13.12.72

in TC8.

The first Doctor (William Hartnell), although caught in a time

eddy and able only to advise, assists his second and third

incarnations (Patrick Troughton and Jon Pertwee) in defeating the

insane Time Lord renegade Omega (Stephen Thome).

WHO FAX

• Novelised as Doctor Who - The Three Doctors by Terrance

Dicks in 1975.

• Story released on BBC Home Video in 1991.

• William Hartnell's appearance in this story was his last work as

an actor. His health had deteriorated to such an extent that all his

scenes had to be pre-filmed, with him reading his lines from

large cue cards.

• These scenes were shot at Ealing on 6 November 1972.

QUOTES

• 'It was obvious that Bill would never be able to play the

extensive part which had been written for him, so I hurriedly had

to rewrite the script - in particular the final episode, where he

was due to appear with Pat and Jon in a dramatic showdown

with Omega. Instead I confined him to a few scenes where he

would appear on the screen of the TARDIS scanner to deliver

advice to his other truculent selves.' Script editor Terrance Dicks

interviewed by Jeremy Bentham for Doctor Who-An Adventure

in Space and Time.

COMMENT

William Hartnell's last ever performance is a good one, capturing

much of the spirit of his original portrayal of the first Doctor, even though it is inevitably coloured/or the viewer by the obviously poor state of his health. It is fitting, though, that he should have been on

140

Establishing The Myth

hand to help celebrate the tenth anniversary of the series he had

played such a major pan in launching on its road to success. (8/10)

TWENTIETH ANNIVERSARY SPECIAL

The Five Doctors (5K)

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

23.11.83

19.20

90’20”

7.7

54

Repeat

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

14.08.84

18.15

24'15"

4.7

88

2

15.08.84

18.16

25'11"

4.5

93

3

16.08.84

18.17

24'16"

3.7

107

4

17.08.84

18.15

24'51"

4.0

102

PRODUCTION DETAILS

Location filming: 05.03.83,07.03.83-11.03.83,13.03.83-15.03.83,

17.03.83.

Ealing filming: 18.03.83

Studio recording: 29.03.83-31.03.83 in TC6

Incarnations of the Doctor (Richard Hurndall, Patrick Troughton,

Jon Pertwee, Peter Davison) are gathered and transported to

Gallifrey's 'death zone' by Time Lord President, Borusa (Philip

Latham). There, they are forced to battle some of their old adver-

saries in order that Borusa might gain immortality for himself.

They ultimately defeat him.

WHO FAX

• Novelised as Doctor Who - The Five Doctors by Terrance Dicks in 1983.

• Story released in edited form on BBC Home Video in 1985, and

in complete form in 1990.

• Aside from being portrayed by Richard Hurndall, the first

141

Doctor Who – The Handbook – The First Doctor

Doctor also appears in a pre-title sequence clip from The Dalek

Invasion of Earth.

QUOTES

• 'I was asked to play the first Doctor because John Nathan-

Turner, producer of Doctor Who, saw me as Nebrox in Blake 's 7

and thought I looked very like William Hartnell. I remembered

William's approach to the part very well and decided it would be

stupid to try to 'mimic' him, so I hope I split the difference

between his performance - his personality - and mine. Of course,

the part has been most enjoyable to play.' Richard Hurndall

quoted in Doctor Who: The Making of the Five Doctors.

COMMENT

Richard Hurndell gives a fair performance but really bears very

little resemblance to William Hartnell and comes nowhere near to

capturing the first Doctor's characteristic mannerisms or vocal

inflections. His costume, too, is little more than a caricature of the original. Overall, though, the story works extremely well as a

nostalgic celebration of the series' twentieth anniversary. (7/10)

Stories: Appendix

The first Doctor has also appeared in other productions which,

while not forming a part of the established Doctor Who canon, are detailed here.

Dimensions in Time

EP

DATE

TIME

DURN

VIEWERS

CHART POS

1

26.11.93

20.08

7’34”

13.8

15 *

2

27.11.93

19.23

5’27”

13.6

10 **

* = Shown as a part of the 1993 Children in Need appeal.

** = Shown as a part of Noel's House Party.

In both cases the Viewers figure is for the fifteen-minute segment

of the programme containing the Doctor Who 'episode'. The Chart Pos is for the whole programme.

142

Establishing The Myth

PRODUCTION DETAILS

Studio recording: 21.09.93 at Fountain TV studios, New Maiden,

Surrey

Location/OB: 22.09.93-24.09.93

The Doctor (Jon Pertwee, Tom Baker, Peter Davison, Colin Baker,

Sylvester McCoy) foils a dastardly scheme by renegade Time Lord

chemist the Rani (Kate O'Mara), and in doing so frees his first two

incarnations from her clutches.

WHO FAX

• This was a two-part skit produced for the BBC's annual Children

in Need telethon.

• The first Doctor, along with the second, was represented as a

disembodied head, sculpted by Stephen Mansfield and Susan

Moore.

COMMENT

A dreadful travesty, which fortunately is not generally regarded as part of the bona fide Doctor Who canon.(0/10)

143

Doctor Who – The Handbook – The First Doctor

5: Establishing The Myth

Every era of Doctor Who brings new elements to the series'

developing mythology. Story after story, new facts are invented by

the programme's writers and added to what is already known of the

Doctor's universe. Some new pieces of this ever-growing jigsaw

puzzle interlock neatly with what has gone before, while others fit

so poorly that the viewer is forced to start rebuilding the picture

from scratch. Many hard-core Doctor Who fans expend great

amounts of time and energy trying to find an order that gives all

the seemingly contradictory facts and storylines some kind of

logical continuity.

In this handbook, however, we are concerned not so much with

trying to fit new facts into an existing history, as with seeing how

that history was established in the first place.

The three most enduring elements of Doctor Who's mythology

were all introduced within the space of the first two stories. These

were the TARDIS, the Daleks and of course the good Doctor

himself.

Of the three, the Doctor is by far the most mysterious. There are

however a number of tantalising clues given during the first

Doctor's era which reveal some insights into the time traveller's

background.

One of the most enigmatic aspects of the character is his name.

Susan refers to him as 'Grandfather' or occasionally, when speak-

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ing to others, as 'the Doctor'. When Ian addresses him as 'Doctor

Foreman' in 100,000 BC, the Doctor's brow creases as he mutters

'Eh? Doctor who? What's he talking about?', leaving little doubt

that this is not his name - Susan has apparently taken the surname

Foreman for the purposes of the school records, presumably

because it is the name on the junkyard doors. The only instance of

the Doctor being called 'Doctor Who' is in The War Machines,

where WOTAN and its controlled human slaves use the term;

although, in The Gunfighters, when Bat Masterson asks him,

'Doctor who?', the Doctor does respond, 'Yes, quite right!'

In The Dalek Invasion of Earth, the Doctor berates Tyler for

calling him 'Doc': 'I prefer "Doctor",' he explains to the weary rebel. The Doctor also tells his companion Steven not to use this

diminutive form, but it takes the astronaut slightly longer to get

used to the idea.

The term 'Doctor' does not denote a medical qualification. In

100,000 BC he says, 'I'm not a Doctor of medicine"; in Marco Polo he tells Kublai Khan the same thing; in The Aztecs he corrects the assumption that he is a medical man by explaining that he is 'a

scientist and an engineer - a builder of things'; and in The Rescue he tells Ian, after giving him a cursory medical examination, 'It's a

pity I didn't get that degree, isn't it?'

Equally mysterious is the character's background. First of all

there is his granddaughter Susan. There is little doubt that she is

indeed his granddaughter, and that this is not simply an unusual

term of affection. In Inside the Spaceship he refers to himself as being Susan's grandfather and in The Sensorites he again clearly states that she is his own grandchild. He also demonstrates obvious

familial affection for the girl. What is never explained is the

whereabouts of the Doctor's own son or daughter - as, if he has a

granddaughter, he must have had at least one child of his own. This

of course assumes that his race reproduces in the same way as

ours, but (here is never any suggestion to the contrary. The

Doctor's decision to leave Susan on Earth with David Campbell at

the end of The Dalek Invasion of Earth could otherwise seem

rather thoughtless; or, at any rate, could leave David in for a shock

if he and Susan ever decided to have children!

What is known for sure is that the Doctor and Susan are not

from Earth. 'Susan and I are cut off from our own planet, without

friends or protection,' the Doctor tells Ian and Barbara in 100,000

BC. Susan adds that she was 'born in another time, another world'; 145

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and in Marco Polo, when asked how far away her home is, she

says that it is 'as far as a night star'. In The Sensorites she confirms:

'Grandfather and I don't come from Earth. It's ages since we've

seen our planet. It's quite like Earth, but at night the sky is a burnt orange, and the leaves on the trees are bright silver.' At the end of

the same story, she asks the Doctor when they will return to their

own planet, and her tells her, 'I don't know my dear, this old ship of

mine seems to be an aimless thing.'

There are other pointers to their alien origins, too, like the

Doctor not knowing what cricket is when the TARDIS materialises

in the middle of a Test Match at the Oval in The Daleks' Master

Plan. In The Daleks he states, 'I was once a pioneer amongst my own people'; and, again in The Daleks' Master Plan, he describes himself as 'a citizen of the Universe – and a gentleman to boot!' In

The Rescue Barbara tells Vicki that the Doctor is 'from a different age, a different planet altogether.'

This is about all we ever learn of the origins of the Doctor and

Susan, although Carole Ann Ford (who played Susan) once re-

vealed that the cast had developed their own ideas as to why the

pair were travelling about as they were. They had postulated that

their own planet had undergone some violent natural catastrophe,

like an earthquake or a volcano, and that they had fled in order to

survive. No reference was made to this in the televised stories,

however, and in fact it was arguably contradicted by the Doctor's

meeting with another of his race - the Monk in The Time Meddler.

The Monk, like the Doctor, is a renegade in search of excitement -

but in his case the excitement is derived not from exploring the

Universe and seeing its wonders but from interfering with the

course of history for the sake of his own amusement. The Monk

crosses paths with the Doctor once more in The Daleks' Master

Plan, and is still meddling and interfering; but no other members of the Doctor's race appear or are mentioned during the era of the

first Doctor.

At the start of the series, the Doctor and Susan have been living

in twentieth-century England for five months, and Susan is dis-

traught at the prospect of having to leave. The suggestion is that

she and her grandfather have previously led a very unsettled,

nomadic life to which she has little wish to return. In Marco Polo,

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she says, 'One day we'll know all the mysteries of the skies, and

we'll stop our wanderings.' During the course of the transmitted

stories, details of a number of their earlier adventures are revealed.

These include a visit to the planet Quinnis in the fourth universe,

where they nearly lost the TARDIS (this was four or five journeys

prior to Inside The Spaceship); a meeting with Gilbert and Sullivan (from whom the Doctor acquired the coat borrowed by Ian at the

end of Inside the Spaceship); witnessing the metal seas of Venus (as mentioned by Susan in Marco Polo); and a trip to the planet Esto, where the plants communicate by thought transference (The

Sensorites).

The Doctor has met Pyrrho, the inventor of skepticism (The

Keys of Marinas); travelled to Henry VHTs court, where he threw a parson's nose at the King in order to be sent to the Tower of

London and thereby regain the TARDIS (The Sensorites); and

encountered Beau Brummell ('He always said I looked better in a

cloak') (The Sensorites). He claims to have taught a boxer (or possibly wrestler) called the Mountain Mauler of Montana (The

Romans) and seems to be well-known in contemporary London,

being accepted without question by senior civil servant Sir Charles

Summer and by the scientific community working on the WOTAN

project (The War Machines). It can also be surmised that he has previously visited Earth at the time of the French Revolution, as

Susan asserts in The Reign of Terror that this is his favourite period in the planet's history - a fact which might explain her own

desire in 100,000 BC to borrow a book on the subject from

Barbara, and her subsequent assertion that details in it are

incorrect.

Despite his alien origins, the Doctor seems to have a physiology

very much akin to that of a man from Earth. In Inside the

Spaceship he cuts his head when thrown to the floor of the

TARDIS and, although the viewer never actually sees any blood or

(this being the era of black and white TV) what colour it is, there

are no comments of surprise from Barbara when she dresses the

wound. In The Daleks the Doctor appears to be at least as

susceptible as his companions to radiation sickness, if not more so.

In The Sensorites he is attacked by an unseen assailant and

knocked unconscious by a blow above his heart, suggesting that

his internal organs are akin to a human's, too. His respiration seems

to act in the same way as ours - he is quickly overcome by fumes

in a burning farmhouse in The Reign of Terror and even dislikes 147

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London's night air, judging from his protective handkerchief and the cough he gives the first time he is seen in 100,000 BC. Of course, the cough could be the result of smoking too much, as later

in the same story he produces a pipe and matches; but as he is

never again seen to smoke after he loses these on Stone Age Earth,

perhaps it is not a regular habit.

In The War Machines, the character Professor Brett speaks of

the Doctor's brain as being 'human', and in The Sensorites the Doctor actually refers to himself and his companions as 'we

humans' when speaking of the difference between their eyes and

those of cats. Similarly, in The Savages, he tells a guard harassing a defenceless Savage: "They are men; human beings, like you and

me.' In this context however he is clearly using the term 'human' as

a figure of speech, or as shorthand for 'humanoid', rather than as a

reference to a native of the planet Earth.

The Doctor appears to be elderly, and all the evidence is that this

is exactly what he is. He has bad eyesight, needing the use of either

pince-nez glasses or a monocle for close-up work. He also tires quickly, needs sleep and rest in order to recover and uses a walking

stick to aid his progress. He even faints on several occasions. He

complains of rheumatism in Marco Polo, and again in The Space Museum when he is subjected to the Moroks' freezing process. He tells Ian that he always gets rheumatism when cold, and yet also

comments that throughout the freezing process his mind stayed

active and alert - a clear difference between himself and his human

companion.

If the Doctor's body seems weak and frail, then his mind is

anything but. He displays an enormous intellect and a great wealth

of knowledge on a wide range of different subjects. In The

Sensorites, for example, he can reel off from memory the melting points of steel and molybdenum, and knows not only that the

antidote to atropine poison is caffeine citrate but also how to make

it. In The Ark he even concocts a cure for the common cold virus.

He works out how to operate a complicated mechanism to

escape from a Dalek cell in The Dalek Invasion of Earth and

frequently bamboozles his opponents with his wit and charm,

always leaving himself with the advantage. Despite all this, there is

no mention at all of the Doctor's age or of any special alien powers

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Establishing The Myth

Susan are both partially telepathic.

In fact the first suggestion of any special abilities comes in The

Web Planet when the Doctor uses his large, blue-stoned ring to open the TARDIS doors. "This ring isn't merely decorative,' he

explains to Ian. In The Daleks' Master Plan he puts the ring to a similar purpose to overcome the Monk's jamming of the TARDIS

lock mechanism. Later, in The War Machines, he uses it to help him hypnotise Dodo, leading one to believe that he has some

aptitude in that direction.

Of course, the most startling ability of all is revealed right at the

end of the first Doctor's era, when at the conclusion of The Tenth

Planet he collapses on the floor of the TARDIS and undergoes a complete change of physical appearance - a feat no human could

possibly achieve. The result of this remarkable metamorphosis is

the second Doctor, who subsequently comments that without the

TARDIS he couldn't have survived the process.

Like the Doctor, the TARDIS keeps many of its secrets to itself,

but during the first Doctor's era viewers do learn a surprising

amount about its properties, size and facilities.

The ship's name is revealed in the first episode of 100,000 BC to be an acronym made up by Susan from the initials of Time And

Relative Dimension In Space - a term which apparently describes

the craft and what it does. The inference is that this is the only

TARDIS' (and the name does not enter into regular use until the

fifth story, The Keys of Marinus, the more usual appellation being simply 'the ship'). Nothing is said in The Time Meddler to

contradict this, as the Monk's vessel is referred to both by the

Doctor and by the Monk as a time-ship, and not as a TARDIS - it

is the Doctor's companions Vicki and Stephen who assume that its

name is the same. In The Daleks' Master Plan, however, the

Doctor does himself refer to the Monk's machine as a TARDIS.

The fact that the ship is dimensionally transcendental - bigger

inside than out - is established from the outset, but exactly how this

paradox is achieved is left to the viewer's imagination.

Also quickly established is the fact that the police box exterior is

simply a disguise. When the travellers leave the ship to explore the

Stone Age in 100,000 BC, the Doctor and Susan both remark upon its failure to change its appearance. Susan later explains that the

ship's exterior should change to suit its surroundings wherever it

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lands. It has in the past been an ionic column and a sedan chair,

amongst other things. The implication is that this is the first time

this particular malfunction has occurred - the TARDIS had dis-

guised itself as a police box as this was a commonplace sight in

London in 1963.

The precise details of the ship's interior lay-out and of its

instrument panels and contents vary from story to story, suggesting

that its dimensions may be in some way unstable.

Inside the Spaceship reveals more of its secrets than perhaps any other story. From the main control room - which is the first room

one enters from the external doors - there is a connecting lobby

area, with at least two adjoining bedrooms. In the main control

room, one wall is taken up with the fault locator - a bank of

computers monitoring and checking the operation of the ship. Each

component has a reference number, and the numbers of failed

components appear on a read-out (K7, for example, is the fluid

link).

The centre of the room is dominated by a hexagonal control

console, at the apex of which is a transparent, instrument-filled

column which rises and falls during flight (and also rotates on

occasion, usually when the ship is at rest). The heart of the

TARDIS is held under the column, and when the column rises it

shows the extent of the power thrust. Should the column come all

the way out, then the power would escape; and the Doctor

comments that even if a small fraction of it were to escape then it

would blow the occupants to atoms. Exactly what the power is and

how it is contained is unclear, however.

The control room also has a monitor screen, which gives a black

and white picture - the Doctor explains in The Keys of Marinus that he has a colour screen but that it is temporarily out of order. In

Planet of Giants the screen explodes, requiring a hasty - and unseen - replacement for the following adventure. There are also

chairs, ornaments and other bits and pieces dotted about the control

room.

In the lobby there is a food machine which, as revealed in The

Daleks, can supply any food in any combination in a form which looks like a small, foil-wrapped chocolate bar. The machine also

supplies water that comes sealed in a plastic bag (although in The

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Establishing The Myth

breaks). The bedrooms have contoured sleeping couches which

swing down from the walls; and the presence of six buttons on a

wall panel suggests that there are either six beds, or three beds

which each have one button to lower and one to raise them.

In The Web Planet the viewer sees for the first time the 'fourth wall" of the TARDIS control room. It seems to house two alcove-like spaces full of ornaments and clutter; and it is here that the

Doctor operates the doors by passing his ring in front of a light on

one of the pieces of equipment. Also in The Web Planet, the

central console is seen to spin round, and the TARDIS doors open

and close apparently of their own volition. When an inquisitive

Zarbi ventures inside, however, it is repelled by some unknown

force. In Inside the Spaceship Susan remarks upon the fact that the TARDIS is silent, implying that this is highly unusual and that it is

normally active all the time. There is a faint vibration inside when

it is in flight and this ceases when it arrives at its destination. As

Ian and Barbara discover in 100,000 BC, the exterior vibrates slightly while at rest. Perhaps the most intriguing suggestion is that

the TARDIS may actually be sentient. This comes in Inside the

Spaceship when the ship itself attempts to warn the Doctor of the peril into which he has inadvertently placed himself and his fellow

travellers. Although the Doctor is initially adamant that the ma-

chine cannot think for itself, he is later forced to consider the

possibility that it might.

One area of initial inconsistency in the depiction of the TARDIS

concerns the noise it makes on leaving one location and arriving in

another. When it departs from London in the first episode of

100,000 BC a strident roaring is heard inside the control room.

This gives way to a raucous cacophony during flight and fades out

altogether on arrival in the Stone Age. When the ship

dematerialises again at the end of the story, the roaring is heard

outside but there is no subsequent materialisation noise inside -just

the tail end of the dematerialisation whine, as before. In line with

this, when the Doctor sets the controls to dematerialise in the first

episode of The Daleks, the initial phase of the noise is heard inside (although the take off is subsequently aborted due to an apparent

malfunction). The dematerialisation noise is also heard outside the

ship at the end of this story. At the beginning of The Keys of

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TARDIS materialises; and its dematerialisation is also silent at the

end of The Keys of Marinas and Planet of Giants (no

dematerialisation occurs at the end of The Reign of Terror). It is not until the end of The Dalek Invasion of Earth that a fairly consistent pattern emerges whereby the roaring noise is heard both

inside and outside the ship, both when it materialises and when it

dematerialises.

Amongst the other titbits of information revealed about the

TARDIS during the first Doctor's era are: that it is impossible for

the ship to crash (Inside the Spaceship); that it has a defence mechanism (Inside the Spaceship); that it has a memory bank to record all its journeys (Inside the Spaceship); that its doors should never open in flight (Inside the Spaceship and Planet of Giants); that its danger signal sounds like a fog horn or klaxon (Inside the Spaceship and Planet of Giants); that the interior is susceptible to movement of the exterior (Inside the Spaceship, The Romans, The

Web Planet); that the outer shell is light enough to be lifted by several men and carried on a wooden cart (Marco Polo); that the external doors cannot be forced open from outside as this would

'disturb the field of dimensions inside the ship' (The Sensorites); that the lock is 'an electronic miracle' (The Sensorites), requires not only a key but also 'knowledge' to operate (Marco Polo) and has 21 different positions, only one of them correct, so that if the

wrong combination is used, the whole lock fuses (The Daleks);

that the ship can materialise inside a moving object (The

Sensorites) and travel through solid matter (The Rescue); that it has some kind of loudspeaker system enabling the Doctor to address

someone outside (The Dalek Invasion of Earth); and that anyone can operate the controls if properly instructed (The Daleks, The

Rescue and The Daleks' Master Plan to name just three stories in which examples occur).

The Monk's ship is said in The Time Meddler to be a 'Mark

Four" and to have originated some 50 years later than the Doctor's, from which it differs in that for example its control console stands

on a raised dais and that it has an automatic drift control which

allows it to stay suspended in space with absolute safety. When at

the end of the story the Doctor removes its dimensional control, its

interior dimensions contract to occupy the same space as the

exterior. Components from the Monk's ship are only partly com-

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patible with the Doctor's, however, as is demonstrated in The

Daleks' Master Plan when the Doctor attempts to wire the Monk's directional control into his own control console and causes an

explosion.

The other major element of Doctor Who mythology established

right at the start of the first Doctor's era was the Daleks

themselves. In their first story, it is revealed that they are the

mutated survivors of a civil war on the planet Skaro which finished

some 500 years beforehand when a neutron bomb was detonated.

The Doctor deduces that the Daleks - then called Dais - were

teachers and philosophers while the Thals, their opponents in the

war, were warriors. After the bomb was dropped, both races

underwent a cycle of mutation. In the Thals' case this came full

circle, so that they are now a race of physically handsome

humanoids, dedicated to farming and peace. The Daleks, on the

other hand, retreated into their city and built machines in which to

live and travel. They became the warriors.

The Thals seem now to have lost most of their technological

skills - that is assuming they ever had any - although they are

obviously able somehow to make the anti-radiation drugs that they

give to the time travellers. The Daleks on the other hand have

flourished in this respect. Their city is constructed from gleaming

metal and glass, and the machines in which they live are powered

by static electricity picked up from the floors. They are able to

grow food and to analyse and synthesise drugs. They have cameras

which can produce both moving and still pictures; vibration

detectors; and a nuclear reactor which provides the power for their

city.

The Dalek's casings are themselves also very advanced. They

each have an eye-stalk with a dilating lens; a sucker arm which can

operate machinery, open doors via a swipe mechanism and hold

paper and trays with ease; and a gun which can either paralyse or

kill, depending on its setting, and which is powerful enough to

scorch metal.

Only once is a brief glimpse afforded of the creature inside the

casing. When the Doctor and Ian remove the top of one of the

machines, they hear a moist sucking sound and see a sight which

brings a look of extreme distaste to both their faces. They then

remove the creature from its casing, wrap it in a cloak and throw it

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onto the floor nearby, where a withered claw-like appendage

pushes its way into view.

Further evidence of what the creature is like can be gleaned from

the fact its casing is sufficiently spacious for Ian to climb inside in its place, and from the nature of the equipment that he finds once

there. He discovers that there are numerous levers and switches;

and, when the eye lens has been cleared of the mud placed on it to

trap the creature in the first place, he is able to see out, suggesting some sort of screen or periscope device. His voice is also synthesised into a Dalek-like grate, suggesting that the Dalek speaks

aloud. Logically therefore these creatures must have limbs, eyes, a

mouth (with lips and tongue, both needed to form words), vocal

cords and possibly also lungs.

At the conclusion of the story, the Daleks are deactivated and

left on Skaro, apparently dead. When they next appear, in The

Dalek Invasion of Earth, the Doctor speculates that this is a million years in their past, in the 'middle period' of their history when they

are a space-faring race and have invaded Earth in the 22nd-

century. If this is indeed the case - and it is possible the Doctor

may be mistaken - one can only presume that the planet Skaro

must have undergone several rises and falls of civilisation in its

history.

What is most telling is that in The Dalek Invasion of Earth, the Daleks have gone from being just one of a number of alien races

that the Doctor encountered during the series' first season - others

being the Sensorites, the brain creatures in the city of Morphoton,

the Voords and the Thals - to being the most evil race in the

Universe. In behind-the-scenes terms, this change was of course

prompted by the massive surge of popularity that the Daleks had

enjoyed since their debut appearance, which required them to be

developed from one-off characters into recurring villains.

In The Dalek Invasion of Earth the viewer learns that the Daleks can now (or could then, depending on one's perspective) travel

through space; move on non-metallic surfaces; and condition

humans to work for them. They seem also for the first time to have

a hierarchy, based on the colour scheme of their casings. One,

possibly the captain of their space ship, has a shaded dome and

alternately shaded panels on its base unit, and another, apparently

the commander of the entire invasion force, has a black dome and

base unit and is referred to as 'the Dalek Supreme' or, on occasion,

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'the Black Dalek'. All the Daleks in this story are mounted on a

wider skirt section than in The Daleks and have on their backs a saucer-shaped attachment which Ian suggests could account for

their greater mobility.

Also seen in this story is the Slyther-a 'pet' of the Black Dalek,

used to keep guard in their mine. It is revealed that the Daleks have

direct communication with each other and that they are light

enough to be lifted up by several humans. In the process it is seen

that they have a smooth, flat base - with no wheels - suggesting

some form of hover or anti-gravity capability.

By the time of their third story, The Chase, the Daleks have a time machine and are able to follow the Doctor's progress through

time and space in an attempt to destroy him. Then, in The Daleks'

Master Plan, they are seen to have formed a temporary alliance with a number of other races in a plan to take over the Earth's

galaxy using a powerful weapon known as the Time Destructor.

When the Doctor turns this weapon against them at the end of the

story, time runs backwards and their casings split open, leaving the

embryonic Dalek creatures - looking something akin to star-fish -

floundering on the surface of the planet Kembel.

Like The Daleks and The Dalek Invasion of Earth, The Daleks'

Master Plan reveals more about the Daleks than is actually seen on screen. It is now clear that they are in fact one of the dominant

forces in the Universe, with a large and effective power base. In

the light of this, it is perhaps not surprising that the Doctor keeps

crossing paths with them. This, however, was to be the last of the

first Doctor's battles with the creatures from Skaro, and further

revelations would have to await later eras of the series' history.

Of the other creatures and aliens which appeared in Doctor

Who's first three years, many had the potential to develop. The Zarbi and the Menoptra from The Web Planet, for example,

featured in stories in the Doctor Who annuals and in comic strips in TV Comic. None, though, flourished as the Daleks had done. In

fact, apart from the Daleks. the Meddling Monk was the only

adversary who returned for a second TV appearance during the

first Doctor's era. As that era drew to a close, however, another

monster race appeared which was ultimately to rival the Daleks in

popularity: the Cybermen.

In The Tenth Planet it is revealed that the Cybermen were

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originally humanoids from the planet Mondas - Earth's 'twin

planet'. Aeons ago, Mondas drifted away from the solar system on

a journey through space. During this journey the inhabitants started

experimenting with cybernetics and replacing their limbs and

organs with machine parts. Now Mondas has returned to the solar

system and is drawing energy away from the Earth. The Cybermen

intend to destroy the Earth to safeguard their own planet's exist-

ence, and to take with them die occupants of a South Pole space

tracking station for conversion into further Cybermen.

Like the Daleks, the Cybermen would go on to make many

return appearances in later eras of Doctor Who's history. It also appears that the Doctor may have encountered them prior to The

Tenth Planet, as he knows in advance that the planet approaching the Earth will be its twin, and that the tracking station will shortly

be receiving visitors.

During the era of the first Doctor, all the most important

elements of Doctor Who's enduring mythology were established

and developed. As a basis from which to progress, it provided an

almost perfect formula: a mysterious stranger, a powerful and

unpredictable time machine and a race of evil killers who would

stop at nothing to achieve their aims.

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PART THREE – FACT

6: Production Diary

This chapter takes the form of a diary chronicling the production

of Doctor Who during the first Doctor's era, concentrating in particular on the steps which led up to the series' BBC TV debut in

1963 and on its formative and highly turbulent first year, when it

had not only to establish itself with the viewing public but also to

contend with considerable hostility from certain quarters within the

BBC itself. All passages reproduced from contemporary memos

and correspondence are quoted verbatim, save for spelling and

clarifying changes of a minor nature. The sender and the main

recipient are always identified but, for reasons of space, details of

other copy recipients are generally omitted. For ease of reference,

the following people are the main players (not including members

of the series production team:

Kenneth Adam

Controller of Programmes for

Television [later promoted to

Director of Television]

Ian Arkins

Controller of Programme Services

for Television

Donald Baverstock

Chief of Programmes for BBC1

James Bould

Design Manager

Terrence Cook

Acting Drama Organiser for

Television [designation later

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Changed to Serials Department

Organiser]

Richard Levin

Head of Television Design

John Mair

Senior Planning Assistant (I)

[designation later changed to

Planning Manager (Forward)]

James Mudie

Head of Scenic Servicing for

Television

Sydney Newman

Head of Drama

Gerald Savory

Head of Serials [after Donald

Wilson]

Joanna Spicer

Assistant Controller (Planning)

Television

Ayton Whitaker

Drama Group administrator

Donald Wilson

Head of Script Department

[becomes Head of Serials]

The story begins in the spring of 1962 when responsibility for

making all the BBC's plays, series and serials rested with the

Drama Department, within which a large number of staff producer/

directors were employed to take charge of individual projects. The

scripts, on the other hand, were the province of the Script Depart-

ment, which had the task of commissioning and developing mate-

rial to meet the needs not only of Drama but also of many of the

other production departments.

Acting Head of Drama at this time was Norman Rutherford. He

had been temporarily promoted to the post in September 1961

pending the arrival of a permanent successor to the long-serving

and highly-respected Michael Barry, who had left the BBC earlier

in the year. Head of the Script Department was 51-year-old writer,

producer and director Donald Wilson, who had joined the BBC in

1955 after a successful career in the film industry.

Wilson's principal staff consisted of eight script editors - each

responsible for a specific area of programming - and ten writer/

adapters, supported by a team of more junior readers and research-

ers. The Department was always on the lookout for fresh source

material for television adaptation, and in May 1960 Wilson had

established the Monitoring Group, later known as the Survey

Group, the objective of which was 'to cover and report on current

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work in other media, in order that we may keep ourselves fully

informed about writing and writers likely to be useful to us here.'

The media covered were radio, films, stage plays, books and

commercial television. The Group reported its findings at regular

Script Department meetings, and the practical pursuit of new talent

was then delegated to the editor concerned.

It was around March 1962 that Eric Maschwitz, the Head of

Light Entertainment for BBC TV, asked Donald Wilson to have

the Survey Group prepare a report on the literary genre of science-

fiction, the aim being to determine whether or not this would

constitute a suitable source for 'a series of single-shot adaptations'.

The task was delegated by Wilson to Donald Bull, the script editor

for drama, and his colleague Alice Frick; and it is to their report

that Doctor Who's earliest roots can be traced ...

* * *

APRIL 1962

Wednesday 25: Alice Frick sends Donald Wilson two copies of

the report that she and Donald Bull have prepared. She suggests

that one of them be retained for duplication and circulation with

the next Survey Group minutes, and that the other be passed direct

to Eric Maschwitz.

The report is three-and-a-half pages long. It describes the

survey's scope as follows:

In the time allotted, we have not been able to make more than a

sample dip, but we have been greatly helped by studies of the

field made by Brian Aldiss, Kingsley Amis and Edmund

Crispin, which give a good idea of the range, quality and

preoccupations of current SF writing. We have read some useful

anthologies, representative of the best SF practitioners, and

these, with some extensive previous reading, have sufficed to

give us a fair view of the subject. Alice Frick has met and

spoken with Brian Aldiss, who promises to make some

suggestions for further reading. It remains to be seen whether

this further research will qualify our present tentative

conclusions.

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After making the general observations that 'SF is overwhelmingly

American in bulk' and 'largely a short story medium' in which 'the

interest invariably lies in the activating idea and not in character

drama', the report goes on to describe a number of distinct sub-

genres: 'the simple adventure/thriller'; the more sophisticated type

of story which 'takes delight in imaginative invention, in pursuing

notions to the farthest reaches of speculation'; 'the large field of

what might be called the Threat to Mankind, and Cosmic Disaster';

and finally 'satire, comic or horrific, extrapolating current social

trends and techniques'. Of these sub-genres, the report identifies

"Threat and Disaster' as being the one most commonly exploited

by British writers and the one most suitable for TV adaptation.

We thought it valuable to try and discover wherein might lie the

essential appeal of SF to TV audiences. So far we have little to

go on except Quatermass, Andromeda and a couple of shows

Giles Cooper did for commercial TV. These all belong to the

Threat and Disaster school, the type of plot in which the whole

of mankind is threatened, usually from an 'alien' source. Where

the threat originates on Earth (mad scientists and all that jazz) it

is still cosmic in its reach. This cosmic quality seems inherent in

SF; without it, it would be trivial. Apart from the instinctive pull

of such themes, the obvious appeal of these TV SF essays lies in

the ironmongery - the apparatus, the magic - and in the

excitement of the unexpected. Andromeda, which otherwise

seemed to set itself out to repel, drew its total appeal from

exploiting this facet, we consider. It is interesting to note that

with Andromeda, and even with Quatermass, more people watched it than liked it. People aren't all that mad about SF, but

it is compulsive, when properly presented.

Audiences - we think - are as yet not interested in the mere

exploitation of ideas - the 'idea as hero' aspect of SF. They must

have something to latch on to. The apparatus must be attached to

the current human situation, and identification must be offered

with recognisable human beings.

As a rider to the above, it is significant that SF is not itself a

wildly popular branch of fiction - nothing like, for example,

detective and thriller fiction. It doesn't appeal much to women

and largely finds its public in the technically minded younger

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groups. SF is a most fruitful and exciting area of exploration -but

so far has not shown itself capable of supporting a large

population.

This points to the need to use great care and judgement in

shaping SF for a mass audience. It isn't an automatic winner. No

doubt future audiences will get the taste and hang of SF as

exciting in itself, and an entertaining way of probing speculative

ideas, and the brilliant imaginings of a writer like Isaac Asimov

will find a receptive place. But for the present we conclude that

SF TV must be rooted in the contemporary scene, and like any

other kind of drama deal with human beings in a situation that

evokes identification and sympathy.

The report goes on to conclude that 'television science-fiction

drama must be written not by SF writers, but by TV dramatists' and

that 'the vast bulk of SF writing is by nature unsuitable for

translation to TV'. It adds that Bull and Frick 'cannot recommend

any existing SF stories for TV adaptation', but that 'Arthur Clarke

and John Wyndham might be valuable as collaborators' on any

future projects.

Friday 27: Having obtained Donald Wilson's agreement, his

secretary Gwen Jones sends a copy of the report to Eric

Maschwitz.

MAY 1962

Monday 14: Donald Baverstock, the Assistant Controller of

Programmes for BBC television, sends Eric Maschwitz a memo of

thanks for letting him see the Survey Group report:

You describe it as interesting and intelligent. I would go further

and say that it seems to me exactly the kind of hard thinking

over a whole vein of dramatic material that is most useful to us.

I gather that Donald Bull and Alice Frick were responsible for

it and I hope H.S.D.Tel. will thank them.

Tuesday 15: Maschwitz forwards Baverstock's memo to Donald

Wilson (H.S.D.Tel. in the BBC's internal shorthand) after adding a

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hand-written note conveying his own 'admiring thanks'.

A few days later, following further discussion of the report,

Alice Frick and Script Department colleague John Braybon are

asked to prepare a follow-up, identifying some specific science-

fiction stories suitable for TV adaptation.

JUNE 1962

Saturday 9: The BBC transmits in its early evening slot the first of six weekly, half-hour episodes of a science-fiction serial entitled

The Big Pull, written specially for TV by Robert Could. The

serial's producer/director is Terence Dudley.

Sunday 24: ABC TV, one of the ITV companies, screens an hour-

long science-fiction play entitled Dumb Martian, adapted from a story by John Wyndham, in its regular Armchair Theatre slot. It is presented as a prelude to a new thirteen-part anthology series. Out of this World, due to begin the following Saturday.

Thursday 28: A new BBC science-fiction serial entitled The

Andromeda Breakthrough - the sequel to the previous year's A for Andromeda - begins its run with the first of six weekly, 45- to 50-minute episodes.

Saturday 30: ABC's Out of this World begins, becoming the first science-fiction anthology series ever screened on British TV. It has

been given the go-ahead by ABC's drama supervisor, Sydney

Newman, who is a lifelong fan of science-fiction and has previ-

ously produced a number of children's serials in that genre,

including one based partly on Jules Veme's Twenty Thousand

Leagues under the Sea for CBC in his native Canada and the

popular Pathfinders in Space and its two sequels for ABC. He is currently being forced to serve out the final months of his contract

with ABC before leaving to join the BBC as their new Head of

Drama, having accepted an invitation to do so shortly after

Michael Barry's departure in the autumn of 1961.

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JULY 1962

Wednesday 25: John Braybon and Alice Frick present their report

to Donald Wilson. The introduction reads:

It is not the purpose of the comments below to suggest that a

science-fiction series should, or should not, be undertaken.

However, during the course of the past eight weeks, we have

read some hundreds of science-fiction stories; in general, they

have been of the short story variety, so beloved by the current

science-fiction generation of authors. Included in the attached

list are a number of titles each together with a brief synopsis.

They have been chosen as potentially suitable for adaptation to

television because they fulfil one, or all, of the following

requirements:

1. They do not include Bug-Eyed Monsters.

2. The central characters are never Tin Robots (since the

audience must always subconsciously say 'My goodness, there's

a man in there and isn't he playing the part well').

3. They do not require large and elaborate science-fiction type

settings since, in our considered opinion, the presentation of the

interior of a space-ship, or the surface of another planet, gives

rise to exactly the same psychological blockage as the above-

mentioned Robots and B.E.M.s. (In our opinion, this has already

resulted in a failure in the current ITV series, which has included

The Yellow Pill, Dumb Martian and Little Lost Robot).

4.

They do provide an opportunity for genuine

characterisation and in most cases, they ask the audience to

suspend disbelief scientifically and technologically on one fact

only, after which all developments follow a logical pattern.

Because of the above restrictions, we consider that two types

of plot are reasonably outstanding, namely those dealing with

telepaths, see Three to Conquer in the attached list, and those dealing with time travelling, see Guardians of Time. This latter one is particularly attractive as a series, since individual plots

can easily be tackled by a variety of script-writers; it's the Z

Cars of science-fiction.

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The stories covered by Braybon and Frick in the main body of their

report are Guardians of Time by Foul Anderson, Three to Conquer by Eric Frank Russell, Eternity Lost by Clifford Simak, Pictures Don't Lie by Catherine MacLean, Nb Woman Bom by C.L. Moore, The Cerebrative Psittacoid by H. Nearing Jnr and The Ruum by Arthur Forges. The report concludes:

An SF serial or series is a possibility. A number of possible

stories have already been tackled (with varying degrees of

success) by ITV; e.g. The Impostor, Dumb Martian, The Cold

Equations. Best bets are: Three to Conquer (rights are available, we're told) and Guardians of Time.

NOVEMBER 1962

Thursday 8: A science-fiction serial entitled The Monsters begins its run on BBC TV. Its four, 45- to 50-minute weekly episodes are

written by Drama Script Supervisor Vincent Tilsley with play-

wright Evelyn Frazer. The serial's director is Mervyn Pinfield.

DECEMBER 1962

Wednesday 12: Sydney Newman finally takes up his post at the

BBC, beginning his five year contract as Head of Drama. His

superiors are looking to him to revitalise his Department's output

in much the same way as he did at ABC; and this is no easy task,

as he will recall in a later interview:

'I’ll be perfectly frank. When I got to the BBC and I looked

my staff over, I was really quite sick, because most of the

directors there were people whose work I just did not like. I

thought it was soft and slow and had no edge. Believe me, I had

a bad Christmas, because I didn't know what to do - how to

change those people who were stuck in their old ways, many of

them having done their first television work at Alexandra Palace

in 1938! Nice guys, willing guys, but most of them were just

rigid!'

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JANUARY 1963

Early in the new year, Newman receives some welcome news from

the BBC's Controller of Programmes:

'When I turned up early in January 1963, after the Christmas

week, I was called into Kenneth Adam's office, and Kenneth

said, "Sydney, I've got some great news. DG" - that is Hugh

Carleton Green, the Director General - "has convinced the

Government to allow the BBC to do a second channel, and we're

going to go on the air one year from now. So you have an

increase in budget of 40 per cent!"

'Of course, that opened the door -1 could then hire people

whose work I liked. So I put the word around, and many of the

directors and writers who had worked for me at ABC - Philip

Saville, Ted Kotcheff, Peter Luke and so on - came over to join

me at the BBC.'

During the course of this month, Sydney Newman disbands the

BBC Children's Department. For the foreseeable future all chil-

dren's drama programmes will be made by the Drama Department.

FEBRUARY 1963

Newman puts in hand some radical changes to the organisation and

working methods of the Drama Department, which now becomes

the Drama Group:

'When I got to the BBC and saw the whole of it, I thought "I

can't control all this by myself." So I broke the Drama Group

down into three separate departments - Series, Serials and Plays

- and appointed to each of them a Head who would exercise die

direct control and do my bidding.'

One of the most important changes initiated by Newman is the

phasing out of the traditional producer/director role in favour of the

production team approach already established in a number of the

ITV companies but hitherto adopted only infrequently within the

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BBC. The producer will now be invariably an executive rather than

a director and will have full artistic and financial control over a

particular project. Staffer freelance directors will be brought in to

handle individual programmes or episodes on a one-off basis. The

other permanent member of the production team will be a

relatively junior story editor, who will have responsibility for

finding and working with writers to provide the scripts.

These changes, which will take place over the following three

months, will render the Script Department largely obsolete, and it

will consequently be abolished.

MARCH 1963

Sydney Newman discusses with Donald Baverstock, now desig-

nated Chief of Programmes for BBC1, and Joanna Spicer, the

Assistant Controller (Planning) Television, the requirement for a

new drama serial to fill the early Saturday evening slot between the

sports round-up Grandstand and the pop music show Juke Box Jury. What is needed is something which will appeal equally well to the respective audiences of both these highly popular programmes and so bridge the gap between them. Previously the slot

has been filled with a wide variety of different shows such as the

science-fiction serial The Big Pull, a Francis Durbridge thriller and the comedy antics of The Telegoons.

Newman has considered a number of different possibilities -

including, according to his later recollection, a series about two

boys in a boys' school - but eventually decided on a science-fiction

idea.

Newman outlines his idea in general terms to Baverstock and

Spicer, and they react very favourably. He then asks Donald

Wilson, at this point still serving as Head of the Script Department,

to come up with suggestions for a suitable format for a 52-week

science-fiction series comprised of a number of shorter serials.

Tuesday 26: Wilson convenes a meeting in his office to discuss ideas for the proposed new series, taking as a starting point the

Survey Group reports on science-fiction prepared in 1962. Present

are John Braybon, Alice Prick and another Script Department

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writer/adapter, Cecil Edwin Webber. Webber - generally referred

to by the nickname 'Bunny' - has been on the Department's staff for

some time and has previously been responsible for many

successful children's dramas, including some popular adaptations

of Richard Crompton's Just William books.

Wednesday 27: John Mair, who as Senior Planning Assistant (I) is responsible for the allocation of studio time within the BBC's

television service, sends a memo to Joanna Spicer seeking details

of the proposed new series.

Friday 29: Alice Prick sends Donald Wilson a note recording the

main points of the meeting held three days earlier:

The following devices were discussed:

1. Time Machine: Donald Wilson suggested if this were used, it

should be a machine not only for going forward and backwards

in time, but into space, and into all kinds of matter (e.g. a drop of

oil, a molecule, under the ocean, etc.).

2. Flying Saucer: Alice Prick thought this might be a more

modern vehicle than a time machine, much discussed at present,

and with a considerable body of literature concerning it. It would

have the advantage of conveying a group of people (i.e. the

regular cast of characters).

3. Computer: Donald Wilson thought this should be avoided,

since it was the Andromeda device.

4. Telepathy: This is an okay notion in modern science, and a

good device for dealing with outer space inhabitants who have

appropriated human bodies (e.g. Three to Conquer by Eric Frank Russell).

5. John Braybon suggested that the series should be set in the future, and that a good device would be a world body of

scientific trouble-shooters, established to keep scientific ex-

periments under control for political or humanistic reasons.

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Ideas:

A good many possible (and probably some impracticable!) ideas

for themes and content were discussed, among them some

published works - Guardians of Time by Paul Anderson and

Three to Conquer by Russell.

Some recent scientific discoveries or developments whose uses

are still not known nor explored were mentioned, e.g. the Laser

Beam. We all thought that the use of seven or eight such 'new'

ideas, one for each short serial, could make a 52-week series.

Bunny Webber brought forward the idea of the continuance of

thought; the idea that great scientists of the past might continue

in some form of existence and could be contacted to discover

further advances they had made, ideas they might bring to

current discoveries, thought, etc.

Donald Wilson introduced a discussion of human creativity, the

presence in the world of the human capacity to initiate original

thought, to create new concepts, ideas, etc., the immeasurable

and inexplicable work and productivity of genius. This led on to

a discussion of energy, the difference between scientific energy,

which can be measured, and human energy, which cannot.

Format:

Donald Wilson said that the series must be based on a group of

regular characters, some of whom would be employed in major

roles in one limited serial, others in the next, according to the

needs of the different stories. He felt this was essential to

establishing a loyalty audience. He suggested that, for the time-

slot, two young teenagers should be included. Alice Frick

advanced the opinion that children of that age were more

interested in characters who are older than themselves, in their

early twenties. Braybon and Webber supported this idea. Young

children could be introduced occasionally, but should not be

among the regulars.

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The major problems in format are, how to involve a part of a

permanent group in widely differing adventures, and how to

transport them believably to entirely disparate milieu.

The meeting ended with Alice Frick assigned to making this

report and Bunny Webber asked to suggest a cast of viable

characters, which is attached hereto.

Webber's note, headed 'Science Fiction", begins as follows:

Characters and Setup

Envisaged is a 'loyalty programme', lasting at least 52 weeks,

consisting of various dramatised SF stories, linked to form a

continuous serial, using basically a few characters who continue

through all the stories. Thus if each story were to run six or

seven episodes there would be about eight stories needed to form

52 weeks of overall serial.

Our basic setup with its loyalty characters must fulfil two

conditions:

1. It must attract and hold the audience.

2. It must be adaptable to any SF story, so that we do not have to

reject stories because they fail to fit into our setup.

Suitable characters for the five o'clock Saturday audience.

Child characters do not command the interest of children older

than themselves. Young heroines do not command the interest of

boys. Young heroes do command the interest of girls. Therefore,

the highest coverage amongst children and teenagers is got by:

THE HANDSOME YOUNG MAN HERO (First character)

A young heroine does not command the full interest of older

women; our young hero has already got the boys and girls;

therefore we can consider the older woman by providing:

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THE HANDSOME WELL-DRESSED HEROINE AGED

ABOUT 30 (Second character)

Men are believed to form an important part of the five o'clock

Saturday (post-Grandstand) audience. They will be interested in the young hero; and to catch them firmly we should add:

THE MATURER MAN, 35-40, WITH SOME 'CHARACTER'

TWIST (Third character)

Nowadays, to satisfy grown women, Father-figures are intro-

duced into loyalty programmes at such a rate that TV begins to

look like an Old People's Home: let us introduce them ad hoc, as

our stories call for them. We shall have no child protagonists,

but child characters may be introduced ad hoc, because story

requires it, not to interest children.

Under the heading 'What are our three chosen characters?',

Webber* s note goes on to propose that the regulars should be 'the

partners in a firm of scientific consultants' known as:

'THE TROUBLESHOOTERS'

Each of them is a specialist in certain fields, so that each can

bring a different approach to any problem. But they are all

acutely conscious of the social or human implications of any

case, and if the two men sometimes become pure scientist and

forget, the woman always reminds them that, finally, they are

dealing with human beings. Their Headquarters or Base illus-

trates this dichotomy: it consists of two pans: 1. a small lab fitted

with way-out equipment, including some wondrous things

acquired in previous investigations and 2. an office for inter-

views, homely, fusty, comfortable, dustily elegant: it would not

have been out of place in Holmes's Baker Street.

After a brief discussion of the series' villains, suggesting that these be created on an ad hoc basis unless a recurring adversary should happen to emerge in the development of the stories, Webber's note

concludes with a section headed 'Overall Meaning of the Serial.'

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This echoes the reports prepared in 1962 in stressing that science-

fiction on TV should be much more character-based than in

literature; should have some 'feminine interest' added; and should

'consider, or at least firmly raise' serious moral and philosophical

questions.

APRIL 1963

Sydney Newman considers the notes by Frick and Webber, which

have been passed on to him by Donald Wilson, and makes a

number of hand-written annotations to them. He dislikes Frick's

idea of featuring a flying saucer, expressing the view that it is 'Not

based in reality - or too Sunday press.' He also summarily rejects

the idea of a future team of scientific trouble-shooters, writing

simply 'No' against this point in Prick's note. In the margin beside

Webber's suggestions on possible characters he writes: 'Need a kid

to get into trouble, make mistakes.' Concerned that the series

should be partly educational, he notes that within the proposed

team of scientists 'no one has to require being taught* He also

criticises Webber's suggestions on villains as being 'corny.'

Newman's overall reaction to the ideas put forward by Wilson" s

team is that they are too highbrow and unimaginative, very much

in the mould of old-fashioned BBC family drama from which he is

keen to break away. He himself favours a format more akin to that

of the Pathfinders... serials he produced at ABC, following hi the long tradition of children's cliff-hanger adventures pioneered in the

cinema and on radio and since continued on television - an area of

science-fiction completely overlooked in the Script Department

reports of 1 962, even though the BBC had itself produced a

number of earlier serials in this vein, such as Stranger from Space (two seasons, 1951 and l952),The Lost Planet (1954) & Return to the Lost Planet (1955).

Newman does however approve of the idea of a time-space

machine.

Although content to go along with Webber's 'Handsome Young

Man Hero' and 'Handsome Well-dressed Heroine', Newman insists

that a young teenager be added to the regular team. And in place of

Webber's 'Maturer Man", he devises the character who will

become the focal point of the series: a frail and grumpy old man

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called the Doctor, who has stolen the time machine from his own

people, an advanced civilisation on a far-distant planet.

As Newman later recalls (although no contemporary documen-

tation exists to confirm this), he conveys these ideas in a memo to

Donald Wilson.

Following the demise of the Script Department, Newman has

now appointed Wilson as Head of the new Serials Department - the

Department which will be responsible for making the series.

Friday 26: Drama Group administrator Ayton Whitaker replies on

Donald Wilson's behalf to the memo that John Mair sent Joanna

Spicer on 27 March. Noting that the new series is due to be

recorded in Studio D at the BBC's Lime Grove Studios in west

London, he goes on to describe the intended production and

transmission dates and the requirements for special facilities such

as back projection (B.P.):

'I understand that facilities are available for recording the

Saturday serial weekly in Studio D on Fridays, starting from 5

July (Week 27), the first transmission to be in Week 31 on

Saturday 27 July.

The serials, which will in all run for 52 weeks, will average

six episodes, and each serial will require one week's filming at

the Television Film Studios. For the most part this filming will

be confined to special effects, but artists, with therefore

attendant wardrobe and make-up facilities, will be required on

occasions. The first two serials are each of four episodes. Serial

1 will be recorded from Weeks 27-30 (transmitted Weeks 31-

34), Serial

2 recorded Weeks 31-34 (transmitted Weeks 35-38), Serial 3

recording to start Week 35 (transmitted Week 39 onwards). A

week's filming at the Television Film Studios will therefore be

required in Weeks 26,30 and 34.

Moving and Still B.P. will be required in the studio on all

recording days, so there should be a block booking for 52 weeks,

starting on the Friday of Week27. Inlay and overlay will also be

required as a regular facility.

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The serials will cost £2,300 per episode, and an additional £500

will be needed to build the space/time machine which will be

used throughout the 52 weeks.

Whitaker is informed that the Design Department should have

sufficient capacity to handle the new series, provided that the work

involved does not exceed 500 man-hours on the first episode and

350 man-hours on subsequent episodes.

MAY 1963

Around the beginning of May, staff producer/director Rex Tucker

is asked to take charge of the series pending the appointment of a

permanent producer under Sydney Newman's new production team

regime. Tucker - a veteran who joined BBC radio in the thirties

and transferred to TV in the fifties, specialising in children's drama

and classic serials - is summoned to a meeting in Newman's office,

where the format of the new series is explained to him. Also

present is Richard Martin, an inexperienced young director who

has just been assigned to the newly-established Serials Department

after completing the internal directors' training course. It is

expected that Tucker will direct the first story and that Martin will

direct some of the other early episodes.

In subsequent discussions, the series is given the title Doctor

Who. (Actor and director Hugh David, a friend of Tucker's, will later assert that it was Tucker who came up with the tide. Tucker

himself, however, will maintain that it was Newman.)

As the organisational changes initiated by Newman steadily

reach fruition, the remains of the old Script Department are

redesignated as the Television Script Unit. Bunny Webber, mean-

while, continues to be involved in Doctor Who's development.

Early in the month, he drafts a document headed 'General Notes on

Background and Approach', intended primarily as a guide for

prospective writers. It begins by setting out the basic format now

established for the series:

A series of stories linked to form a continuing serial; thus if each

story ran six or seven episodes there would be about eight stories

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needed for 52 weeks of the serial. With the overall title, each

episode is to have its own title. Each episode of 25 minutes will

begin by repeating the closing sequence or final climax of the

preceding episode; about halfway through, each episode will

reach a climax, followed by blackout before the second half

commences (one break).

Each story, as far as possible, to use repeatable sets. It is

expected that B.P. will be available. A reasonable amount of

film, which will probably be mostly studio shot for special

effects. Certainly writers should not hesitate to call for any

special effects to achieve the element of surprise essential in

these stories, even though they are not sure how it would be

done technically: leave it to the Effects people. Otherwise work

to a very moderate budget

The document goes on to give a brief description of each of the

series' four regular characters. Apart from the one for 'Dr. Who'

himself (which is reprinted in Chapter Three), these are:

BRIDGET (BIDDY)

A with-it girl of 15, reaching the end of her Secondary School

career, eager for life, lower-than-middle class. Avoid dialect, use

neutral accent laced with latest teenage slang.

MISS MCGOVERN (LOLA)

24. Mistress at Biddy's school. Timid but capable of sudden

rabbit courage. Modest, with plenty of normal desires. Although

she tends to be the one who gets into trouble, she is not to be

guyed: she also is a loyalty character.

CLIFF

27 or 28. Master at the same school. Might be classed as ancient

by teenagers except that he is physically perfect, strong and

courageous, a gorgeous dish. Oddly, when brains are required,

he can even be brainy, in a diffident sort of way.

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Webber next summarises some of the other main aspects of the

series:

QUALITY OF STORY

Evidently, Dr. Who's 'machine' fulfils many of the functions of

conventional science-fiction gimmicks. But we are not writing

science-fiction. We shall provide scientific explanations too,

sometimes, but we shall not bend over backwards to do so, if we

decide to achieve credibility by other means. Neither are we

writing fantasy: the events have got to be credible to the three

ordinary people who are our main characters, and they are sharp-

witted enough to spot a phoney. I think the writer's safeguard

here will be, if he remembers that he is writing for an audience

aged fourteen ... the most difficult, critical, even sophisticated,

audience there is, for TV. In brief, avoid the limitations of any

label and use the best in any style or category, as it suits us, so

long as it works in our medium.

Granting the startling situations, we should try to add meaning;

to convey what it means to be these ordinary human beings in

other times, or in far space, or in unusual physical states. We

might hope to be able to answer the question: 'Besides being

exciting entertainment, for 5 o'clock on a Saturday, what is

worthwhile about this serial?'

DR. WHO'S 'MACHINE'

When we consider what this looks like, we are in danger of

either science-fiction or fairytale labelling. If it is a transparent

plastic bubble we are with all the low-grade space-fiction of

cartoon strip and soap-opera. If we scotch this by positing

something humdrum, say, passing through some common object

in the street such as a night-watchman's shelter to arrive inside a

marvellous contrivance of quivering electronics, then we simply

have a version of the dear old Magic Door.

Therefore, we do not see the machine at all; or rather it is visible

only as an absence of visibility, a shape of nothingness (Inlaid,

into surrounding picture). Dr. Who has achieved this

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Doctor Who – The Handbook – The First Doctor

'disappearance' by covering the outside with light-resistant paint

(a recognised research project today). Thus our characters can

bump into it, run their hands over its shape, partly disappear by

partly entering it, and disappear entirely when the door closes

behind them. It can be put into an apparently empty van.

Wherever they go, some contemporary disguise has to be found

for it. Many visual possibilities can be worked out. The discov-

ery of the old man and investigation of his machine would

occupy most of the first episode, which would be called:

NOTHING AT THE END OF THE LANE

The machine is unreliable, being faulty. A recurrent problem is

to find spares. How to get thin gauge platinum wire in BC1566?

Moreover, Dr. Who has lost his memory, so they have to learn to

use it, by a process of trial and error, keeping records of knobs

pressed and results (this is fuel for many a long story). After

several near-calamities they institute a safeguard: one of their

number is left in the machine when the others go outside, so that

at the end of an agreed time, they can be fetched back into their

own era. This provides a suspense element in any given danger:

can they survive till the moment of recall? Attack on recaller etc.

Granted this machine, then, we require exciting episodic stories,

using surprising visual effects and unusual scenery, about

excursions into time, into space, or into any material state we

can make feasible. Hardly any time at all is spent in the

machine: we are interested in human beings.

OVERALL CONTINUITY OF STORY

Besides the machine, we have the relationship of the four

characters to each other. They want to help the old man find

himself; he doesn't like them; the sensible hero never trusts Dr.

Who; Biddy rather dislikes Miss McGovern; Lola admires Cliff .

. these attitudes developed and varied as temporary characters

are encountered and reacted to. The old man provides continuing

elements of Mystery, and Quest.

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The document continues with a more detailed discussion of the

Doctor's function within the stories and proposes two 'Secrets of

Dr. Who' (see Chapter Three). It then concludes as follows:

The first two stories will be on the short side, four episodes each,

and will not deal with time travel. The first may result from the

use of a micro-reducer in the machine which makes our charac-

ters all become tiny. By the third story we could first reveal that

it is a time-machine; they witness a great calamity, even possibly

the destruction of the Earth, and only afterwards realise that they

were far ahead in time. Or to think about Christmas: which

seasonable story shall we take our characters into? Bethlehem?

Was it by means of Dr. Who's machine that Aladdin's palace

sailed through the air? Was Merlin Dr. Who? Was Cinderella's

Godmother Dr. Who's wife chasing him through time? Jacob

Marley was Dr. Who slightly tipsy, but what other tricks did he

get up to that Yuletide?

On receiving a copy of this latest format document, Sydney

Newman again records his reactions by making a number of hand-

written annotations to it. At the end of the opening paragraph he

notes that each episode should close with a 'very strong cliff-

hanger'. Much of the section headed 'Quality of Story' he considers

'not clear'. He is concerned that the proposed depiction of the

Doctor's time machine is 'not visual', adding that a 'tangible

symbol' is needed. He is pleased with the paragraph discussing the

unreliability of the time machine, but greatly dislikes the descrip-

tion of the Doctor's role within the stories. As before, his overall

reaction is largely negative:

'I don't like this much - it all reads silly and condescending. It

doesn't get across the basis of teaching of educational experience

- drama based upon and stemming from factual material and

scientific phenomena and actual social history of past and future.

Dr. Who - not have a philosophical arty-science mind -he'd take

science, applied and theoretical, as being as natural as eating. '

Monday 13: Ayton Whitaker circulates a memo indicating that the

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start of the new Saturday serial has been postponed by four weeks,

and that recording will now begin on Friday 2 August.

Wednesday 15: After further discussion with colleagues involved

in the project, Bunny Webber completes a revised draft of the

format document. This is essentially a precise of the previous

version - running to one-and-a-half pages rather than three-and-a-

half- but takes Newman' s comments into account. All the material

under the heading 'Overall Continuity of Story*, including the

'Secrets of Dr. Who*, has now been dropped. The young girl is no

longer named Biddy; instead, Webber suggests a number of

different names - Mandy, Gay, Sue, Jill, Janet and Jane - of which

he appears to consider Mandy and Sue the front runners. The most

significant changes of substance occur in the description of the

Doctor's time machine, which now reads as follows:

THE MACHINE

Dr. Who has a 'machine' which enables them to travel together

through space, through time and through matter. When first

seen, this machine has the appearance of a police box standing in

the street, but anyone entering it is immediately inside an

extensive electronic contrivance. Though it looks impressive, it

is an old beat-up model which Dr. Who stole when he escaped

from his own galaxy in the year 5733; it is uncertain in

performance and often needs repairing; moreover, Dr. Who has

forgotten how to work it, so they have to learn by trial and error.

The new idea for the ship's outward appearance has been suggested

by Anthony Coburn, another BBC staff writer whom Donald

Wilson has allocated to work on the series. Coburn has had the

idea after seeing a police box while out walking near his office.

Also rather different in this version of Webber's document is the

proposed outline for the first story:

THE FIRST STORY

Mandy/Sue meets the old man wandering in fog. He takes her to

a police box in street. Entering the box, she finds herself inside

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this large machine; directly she leaves it she is again in street

outside police box. Cliff and Lola, who have been to a late

meeting at the school, come across Mandy/Sue and the old man.

She shows them the machine. They are all reduced in size, to

about one-eighth of an inch tall, and the story develops this

situation for four episodes within the school science laboratory.

The next story will begin with their regaining normal size, and at

once start them on another adventure.

On this occasion it is Donald Wilson who makes hand-written

annotations to Webber's work. These consist mainly of minor

changes of wording, although he puts a cross right through the

description of the Doctor's character, indicating that he considers

this in need of more extensive revision. He also chooses the name

Sue for the young girl character, striking out Webber's other

suggestions, and changes the heading of the paragraph about the

Doctor's time machine from 'The Machine' to 'The Ship*.

Thursday 16: Another draft of the format document is produced.

Again Wilson makes some hand-written annotations to it, and a

further draft is typed up the same day to incorporate these changes.

The document then reads as follows:

'DR. WHO'

General Notes on Background and Approach for an Exciting

Adventure-Science Fiction Drama Series for Children's Saturday

Viewing.

A series of stories linked to form a continuing 52-part serial;

each story will run from between 4 and 10 episodes. Each

episode of 25 minutes will have its own title, will reach a climax

about halfway through, and will end with a strong cliff-hanger.

APPROACH TO THE STORIES

The series is neither fantasy nor space travel nor science-fiction.

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The only unusual science-fiction 'angle' is that four characters of

today are projected into real environments based on the best

factual information of situations in time, in space and in any

material state we can realise in practical terms.

Using unusual exciting backgrounds, or ordinary backgrounds

seen unusually, each story will have a strong informational core

based on fact. Our central characters because of their 'ship' may

find themselves on the shores of Britain when Caesar and his

legionnaires landed in 44 BC; may find themselves in their own

school laboratories but reduced to the size of a pinhead; or on

Mars; or Venus; etc. etc.

The series, by the use of the characters in action stories, is

designed to bridge the gap between our massive audience who

watch sport on Saturday afternoon and those teenagers who

watch Juke Box Jury.

CHARACTERS

Our four basic characters:

SUE

15, working-class, still at school; a sharp intelligent girl, quick

and perky. She makes mistakes, however, because of inexperi-

ence. Uses the latest teenage slang. Has a crush on Cliff and

regrets that his name is the same as Cliff Richard whom she now

thinks is a square.

CLIFF

27, red-brick university type, the teacher of applied science at

Sue's school. Physically perfect, a gymnast, dextrous with his

hands.

MISS MCGOVERN

23, a history mistress at the same school. Middle class. Timid

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but capable of sudden courage. Admires Cliff, resulting in

undercurrents of antagonism between her and Sue.

These are the characters we know and sympathise with, the

ordinary people to whom extraordinary things happen. The

fourth basic character remains always something of a mystery . .

.

DR. WHO

A name given to him by his three earthly friends because neither

he nor they know who he is. Dr. Who is about 650 years old.

Frail looking but wiry and tough like an old turkey - is amply

demonstrated whenever he is forced to run from danger. His

watery blue eyes are continually looking around in bewilderment

and occasionally a look of utter malevolence clouds his face as

he suspects his earthly friends of being part of some conspiracy .

He seems not to remember where he comes from but he has

flashes of garbled memory which indicate that he was involved

in a galactic war and still fears pursuit by some undefined

enemy. Because he is somewhat pathetic his three friends

continually try to help him find his way 'home', but they are

never sure of his motives.

THE SHIP

Dr. Who has a 'ship' which enables them to travel together

through space, through time, and through matter. When first

seen, this ship has the appearance of a police telephone box

standing in the street, but anyone entering it finds himself inside

an extensive electronic contrivance. Though it looks impressive,

it is an old beat-up model which Dr. Who stole when he escaped

from his own galaxy in the year 5733; it is uncertain in

performance; moreover, Dr. Who isn't quite sure how to work it,

so they have to learn by trial and error.

FIRST STORY

The Giants

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Doctor Who – The Handbook – The First Doctor

Four episodes of turbulent adventure in which proportion and

size are dramatised.

Leaving the secondary modem school where they work at the

end of Parents Day, the applied science master, Cliff, and the

history mistress, Miss McGovern, come across Sue in the fog.

She asks them to help her find the home of a strange old man

(Dr. Who) who is lost.

To their surprise they find that his home is apparently a police

box. To their further amazement they discover that its shabby

exterior conceals a vast chromium and glass interior of a kind of

space ship. They become locked in. Through the pressing of

wrong buttons the ship convulses itself, breaking away from its

moorings (no exteriors of this, please). More wrong buttons

pressed and they discover that the ship has the capacity to

transport them into time, space and other seemingly material

worlds. In fact they get a preview of this.

The first episode ends when they find themselves in Cliff s own

school laboratory. To their horror they have been reduced to the

size of pinheads. 'All we have to do,' says Sue 'is to get back to

the ship.' Miss McGovern (somewhat hysterically) "That's all!

At our present size the door is equivalent to two miles away!'

Three more episodes follow to complete this first story in which

their dreaded enemies turn out to be the other students and

teachers who are of normal size and who might step on them at

any moment. This adventure ends about two-thirds through the

fourth episode and a new adventure begins.

---

Prepared by:

Donald Wilson

C.E. Webber

Sydney Newman

16 May 1963

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Monday 20: Sydney Newman, now satisfied with the format

document, sends a copy of it to Donald Baverstock with the

following memo:

This formalises on paper our intentions with respect to the new

Saturday afternoon serial which is to hit the air on 24 August. As

you will see, this is more or less along the lines of the discussion

between you and me and Joanna Spicer some months ago.

Those of us who worked on this brief, and the writers we have

discussed assignments with, are very enthusiastic about it. If

things go reasonably well and the right facilities can be made to

work, we will have an outstanding winner.

Baverstock later tells Newman that the series is 'looking great.'

Tuesday 21: Ayton Whitaker sends John Mair a memo indicating

that, owing to the previously notified four week postponement in

recording of the series' first episode, the planned pre-filming at the

BBC's Television Film Studios in Baling should also be put back

by four weeks. Filming for the first story should therefore take

place in week commencing Saturday 20 July (Week 30 in BBC

production terms).

Later the same day, Whitaker sends Mair another memo,

requesting that filming for the first story now be brought forward

by two weeks to week commencing 6 July as there is to be an

experimental pilot episode of the series recorded on Friday 19 July.

If this pilot proves successful, it will form the first transmitted

episode on Saturday 24 August: if it proves unsuccessful, however,

there will be two weeks remaining in which to resolve any

technical problems before the previously scheduled first recording

date of Friday 2 August.

Tuesday 28: Rex Tucker sends a memo to Donald Wilson

expressing the view that the facilities available at Lime Grove

Studio D will be inadequate for recording of such a technically

complex production as Doctor Who.

Friday 31: Donald Wilson discusses Rex Tucker's memo of 28

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May with Ian Atkins, who as Controller of Programme Services

for Television has overall responsibility for the BBC's studio facili-

ties. Ayton Whitaker is also present and later in the day produces a

note of the meeting. Atkins agrees that, with its 'old fashioned

lighting equipment,' Studio D is 'virtually the worst possible studio

for such a project.' Other options are considered, including using

either TC2 or TC5 at Television Centre which, because of their

smaller size, would require recording over two days rather than

one, with a concomitant increase in artists' fees. Donald Wilson

decides that this is unacceptable and that the larger TC3 or TC4

should be used for the first serial - unless TC2 and TC5 can both

be used together on the same day, with the artists moving between

them as required. It is also agreed that Studio 2 at Riverside could

be acceptable for the second serial, provided that new inlay

equipment has been installed by then as anticipated.

By the end of May, Doctor Who's production team has gained an

additional member in the person of associate producer Mervyn

Pinfield. Pinfield has worked in the BBC's television service since

its earliest days in the thirties and is particularly expert in technical matters. His job will be to co-ordinate and advise on the technical

aspects of Doctor Who's realisation, drawing in part on his experience of directing the science-fiction serial The Monsters the previous November.

JUNE 1963

Whilst development of the series' format has been progressing,

Rex Tucker has been turning his attention to other aspects of the

production. He has approached composer Tristram Gary to see if

he would be willing to provide both the theme tune and the

incidental music for the first serial, and has asked Hugh David if

he would be interested in taking on the role of the Doctor. David

however has declined, disliking the high public profile he has

gained as a result of a recent stint as a regular in the Granada TV

series Knight Errant. Anthony Cobum has meanwhile started work on the series' second story, another four-parter, in which he

proposes that the Doctor's time machine should journey back to the

Stone Age. Cobum - full name James Anthony Coburn - has been

on staff at

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the BBC ever since coming to England from his native Australia,

where he worked as a butcher's assistant before turning to writing.

Tuesday 4: Donald Wilson sends Sydney Newman a full synopsis

for Webber's story The Giants, promising that draft scripts for the first two episodes will be ready by the end of the week.

Webber's synopsis refers back to the 16 May format guide for

the opening part of the first episode. It goes on to describe how in

the later episodes the four travellers find themselves back in Cliffs

classroom but reduced to one-sixteenth of an inch tall. A biology

class is in progress and Cliff and Sue, having become separated

from Lola and the Doctor, face a variety of dangers including a

caterpillar, a boy carving his initials in a desk with a compass

point, and a spider in a matchbox. They eventually make their way

over to a microscope and position themselves under the lens,

where they are spotted first by the pupils and then by the teacher.

By recording their voices onto tape and playing them back at a

slower speed, so as to compensate for the change in pitch resulting

from their miniat

urisation, Cliff and Sue are able to communicate with the 'giants'

and explain their predicament. The 'giants' and the 'minis' then co-

operate in rescuing Lola, who has set out on a valiant but hopeless

attempt to find Sue and Cliff. The travellers are returned to the

police box just in time to avert an impending clanger (which

Webber suggests might be the threat of the ship being eaten by a

mouse).

Friday 7: Sydney Newman briefly discusses with Donald Wilson

and John Mair the problem regarding the unsuitability of Lime

Grove D for recording of Doctor Who. It now appears that this will be the only studio available on the dates required for the first two

serials. It is agreed that Mair will talk to Ian Atkins to ascertain

how difficult it would be to have the facilities there adapted to

make them more suitable.

Monday 10: Sydney Newman, having made a number of hand-

written annotations to Bunny Webber's synopsis of The Giants,

returns it to Donald Wilson with a memo summarising his reac-

tions. He comments that 'the four episodes seem extremely thin on

incident and character* and that Webber has 'forgotten that his

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Doctor Who – The Handbook – The First Doctor

human beings, even though minuscule, must have normal sized

emotions.' The memo continues:

Items involving spiders etc. get us into the B.E.M. school of

science-fiction which, while thrilling, is hardly practical for live

television. In fact what I am afraid irritated me about the

synopsis was the fact that it seemed to be conceived without

much regard for the fact that this was a live television drama serial The notion of the police box dwindling before the

policeman's eyes until it's one-eighth of an inch in size is

patently impossible without spending a tremendous amount of

money.

There are also some very good things in the synopsis, like the

invention of the use of the microphone and microscope to enable

our central characters to communicate with the normal size

people.

I implore you please keep the entire conception within the

realms of practical live television.

(Newman's comments about 'live television' here are presumably

figurative rather than literal, referring to the fact that the series is to be recorded largely continuously, as if live. Doctor Who has been planned from the outset as a recorded programme - a fact that

Newman recognises in earlier correspondence.)

Bunny Webber has by this time completed draft scripts for the first

two episodes of The Giants. On the basis of these, however,

Donald Wilson and Rex Tucker have decided to reject the story.

This is mainly because the necessary 'giant' effects will now be

impossible to achieve given that the production is to be restricted

to Studio D, where amongst other problems the cameras cannot

lake either wide-angle or zoom lenses.

Wilson has concluded that, in view of the shortage of time now

remaining before the planned recording dates, Anthony Coburn's

story should be moved forward from second place to first in the

running order. He has asked Cobum to adapt die first episode of

his story accordingly, drawing on Webber's draft for ideas. He has

also given him the task of writing in due course a replacement

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Production Diary

second story, again in four episodes.

Ayton Whitaker sends a memo to John Mair summarising the

planned production dates and budgets for these first two serials. He

ends with the following note headed 'Subsequent Serials': While

the first two serials of this 52 week series of serials can be

produced in Studio D, a change of studio will almost certainly be

required for some of the later ones. This change should be to (in

order of preference): (i) TC2 & TC5; (ii) TC3 or TC4; (iii) Riverside 2. We would be glad if this change could be made in

time for recording the third serial.

Tuesday 11: Donald Wilson goes on leave to take a holiday in

Norway.

Rex Tucker sends Ayton Whitaker a 'blocked-out schedule' for

production of the first serial, starting with pre-filming for the pilot episode in week commencing 6 July and ending with recording of

the fourth and final episode either in week commencing 10 August

or in week commencing 17 August depending on whether or not

the pilot episode has proved acceptable for transmission. In his

covering memo, Tucker notes that he has taken 19 July as the

optimum date for recording of the pilot episode but that if the

whole schedule is shifted 'a day or two earlier or (preferably) later'

it would not matter as there is a week in hand at the end before he

is due to go on leave. He adds:

The post-recording of the special music on the video tape after

the latter is made (a special and essential facility Donald Wilson

agreed with me) prevents the pilot (1) date coming much closer

to the second recording date than the fortnight which (for other

reasons) I know you consider necessary.

The playback immediately following recordings is for me to

brief the composer. It is essential for the pilot (1) recording and

very desirable after the others.

Wednesday 12: John Mair and Ian Atkins discuss the continuing

problem of Doctor Who's studio allocation. It is suggested that specialist inlay equipment could be transferred from TC2 to

Riverside 2 to enable the series to be made in the latter.

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Thursday 13: John Mair sends a memo to Ian Atkins. He reports

that Donald Baverstock is unwilling to have inlay equipment

transferred from TC2 to Riverside 2 as suggested, as this would

deprive the popular satirical show That Was The Week That Was of the facility. He also reports that the Drama Group have now agreed

that the first eight episodes of Doctor Who can be made in Lime Grove D and that Baverstock wishes to see how this works out

before deciding whether or not a move is necessary. Baverstock

does wish to know, however, what the cost and other implications

would be of installing specialist inlay equipment in Riverside 2; if

the answers are satisfactory, he might reconsider that studio being

used on a permanent basis.

Richard Levin, the Head of Television Design, sends a memo to

Joanna Spicer for the attention of John Mair, protesting at the

demands which the new series will place on his Department:

So far there are no accepted scripts for the series - at least if there are we have not seen any.

The designer allocated for the series - and I have no substitute

- does not return from leave until Monday of Week 26 and I am

not prepared to let him start designing until there are four

accepted scripts in his hands. The first filming cannot take place

within four weeks of this.

I also understand that the series requires extensive model-

making and other visual effects. This cannot be undertaken

under four weeks' notice and, unless other demands are with-

drawn, I estimate the need would be for an additional four

effects assistants and 400 sq. ft. of additional space.

To my mind, to embark on a series of this kind and length in

these circumstances will undoubtedly put this Department in an

untenable situation and, as a natural corollary, will throw Scenic

Servicing Department for a complete 'burton'. This is the kind of

crazy enterprise which both Departments can well do without.

Ayton Whitaker sends a memo to Sydney Newman's deputy,

Assistant Head of Drama Group Norman Rutherford – Newman

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himself having, like Donald Wilson, gone away on leave at this

point - recommending that if the series' previously-stated produc-

tion requirements cannot be met, as would appear to be the case

from Richard Levin's comments, then the Drama Group should

make no further compromise in its attempts to meet the planned

first transmission date of 24 August but should 'ask for postpone-

ment ... until such time as we are ready.'

By the end of the week, another major development has oc-

curred with the arrival at Television Centre of Doctor Who's

permanent producer, Verity Lambert. She has been appointed to

the post by Sydney Newman after his first choice, Don Taylor,

turned it down. As Newman will later recall, she Is exactly the

kind of young, go-ahead person he wants in charge of the series:

When Donald Wilson and I discussed who might take over the

responsibility for producing the show, I rejected the traditional

drama types, who did the children's serials, and said that I

wanted somebody, full of piss-and-vinegar, who'd be prepared to

break rules in doing the show. Somebody young with a sense of

'today' - the early 'Swinging London' days.

I phoned Verity Lambert, who had been on my Armchair

Theatre staff at ABC. She had never directed, produced, acted or written drama but, by God, she was a bright, highly intelligent,

outspoken production secretary who took no nonsense and never

gave any. I offered her the job and after Donald Wilson met her

she joined us. I have a vague recollection that Donald Wilson at

first sniffed at Verity Lambert's 'independent' ways. Knowing

both of them, I knew they would hit it off when they got to know

one another better. They did.

Lambert's office is in Room 5014 on Television Centre's fifth

floor, where she begins to acquaint herself with the work already

carried out on the series. She has been sent in advance by Newman

a copy of the format document and also a copy of a report

published by ABC describing the results of a study carried out by

two educationalists into children's reactions when viewing episode

seven of Pathfinders to Venus.

Staff director Waris Hussein is also assigned to Doctor Who

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Doctor Who – The Handbook – The First Doctor

around this time to handle the second story.

Monday 17: A meeting takes place between production and

servicing personnel with a view to reaching agreement over Doctor

Who's requirements. A two week postponement in production has now been decided upon, with initial pre-filming for the pilot

episode put back to week commencing 20 July. Anthony Coburn's

draft script for the first episode of serial one is now available, and

those for the other three are confidently expected to be completed

by 26 June. It is agreed that the series’ filming, costume and make-

up requirements can all be met without difficulty, both in the short

term and in the long term. Although Richard Levin has specified

that scenic design work for serial one cannot get underway until all

four scripts are available, this should cause no difficulties provided

that their completion is not delayed. To meet Levin's request for an

extra four effects assistants and 400 square feet of space, however,

would add approximately £40 to the cost of each episode. James

Bould, the Design Manager, points out that the design and

construction of the space/time machine will be particularly time

consuming.

Tuesday 18: John Mair sends Joanna Spicer a memo recording the

outcome of the previous day's meeting. He concludes:

1. It is clear... that provided the script dates are met we could

handle recording on a weekly basis from Week 33 of the first

two serials, carrying us up to Week 40, all in Studio D.

2. The question to be decided is whether to do this before the

long-term studio problem has been solved. It seems unlikely that

this can be done by June 26; and it seems therefore that we can

either:

(a) Ask Head of Drama Group to accept D on a continuing basis

for the present, with an assurance that we will try to provide

Riverside 2 as and when possible, but no certainty that in fact it

can be done. Transmission would then start in Week 37;

(b) Postpone the start of production for, say, another six weeks,

and decide the Riverside 2 issue before we launch out on a

continuing basis. If we did that, transmission would not start

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before Week 43. We should have to fill with further repeats -e.g.

Dark Island.

3. My own feeling is that the long-term studio basis should be

settled first, and that we should do all we can to do this before

June 26, or as soon thereafter as we possibly can.

Ian Atkins speaks to D.M.B. Grubb -designated Senior Assistant,

Planning, Television - who agrees to report by 26 June on the

implications of specialist inlay equipment being installed in River-

side 2.

Ayton Whitaker sends a memo to Terence Cook, the Acting

Drama Organiser for Television, requesting that arrangements be

made for an experimental session to take place in Lime Grove D

between 10.30 a.m. and 5.30 p.m. on Friday 19 July. The purpose

of this session is to test the viability of achieving the

dematerialisation of the Doctor's ship without recourse to inlay,

using the previously untried 'roll back and mix' technique of

rewinding the videotape between shots and performing a mix

between two separately recorded images:

In all aspects our requirements are minimal, i.e. design: a police

or 'phone box, plus a little additional stock; technical require-

ments: two cameramen, simple lighting. We shall also require

one vision mixer and one scene hand.

N.B. This experimental session is for technical purposes and

is quite distinct from the pilot recording two weeks later.

Thursday 20: Donald Baverstock, Joanna Spicer and John Mair

meet to discuss the problems regarding the servicing of the new

series.

James Mudie, the Head of Scenic Servicing for Television,

sends Mair the following memo:

The present late information/drawing/properties plot situation is

so bad that I feel you should think twice before proceeding with

a weekly series of this nature. If you decide to proceed and the

series falls in arrears with scripts, can I have an assurance that it

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will be withdrawn? If you cannot give this assurance and you

decide to proceed as planned, I consider you are likely to

endanger the rest of the planned output.

Friday 21: Mair sends Spicer a memo informing her that since the previous day's meeting he has heard from Assistant Head of Drama

Group Norman Rutherford that Baverstock has now given his

agreement for the new series to be started once four scripts are

available. As previously stated, this should be by 26 June. In the

event of a delay, further repeats can be scheduled as a stop-gap. He

also reports that he has now heard it will be a year before specialist

inlay equipment can be installed in Riverside 2, and that the cost

would be £5,000. He continues:

I am frankly not very happy about the idea of starting this series

without Drama knowing the continuing studio basis on which

they are to operate. I suspect that unless we tell them they will

instruct their script-writers - and they are struggling to get some

scripts written - to write on the assumption that they can use

extensive visual effects, tricks etc. For the same reason I feel we

have to let them know whether additional Effects Assistants are

likely to be available in the long run or not.

Monday 24: By the beginning of this week, the final member of

Doctor Who's production team has been appointed in the person of David Whitaker. He has spent the past six years on the staff of the

recently-abolished Script Department, most recently as the assist-

ant script editor responsible for Sunday plays, and is already fully

conversant with the background to Doctor Who. His office, which he shares with fellow BBC story editor Barry Thomas, is in a

caravan parked outside Television Centre.

Spicer sends Baverstock a memo, attaching the one of 20 June

from Mudie to Mair:

This had not arrived when we had our discussion last Thursday:

but it supports my statement to you that I feel we ought not to

embark on this series until there are an agreed number of scripts

completed and accepted for servicing requirements.

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A.H.D.G.(Tel) [Assistant Head of Drama Group Norman

Rutherford] informed S.P.A.(I) [Mair] after our meeting with

you that you had accepted the series subject to the availability of

four scripts. I hope you will agree that, before we give pre-

recording facilities, these scripts must have reached the servicing

departments and have been fully discussed with them and then

with us.

I think the real danger is that scripts will fall behind again after

this delivery of the first four. From our meeting, however, I

understood that you would be prepared to drop the series after

eight if things go badly.

A.C.P.S.(Tel) [Ian Atkins' assistant, Leonard Miall] has in-

formed S.P. A.(I) that it would cost £5,000 to buy specialist

inlay equipment for Riverside 2 and that the equipment would

have to be installed in a room adjacent to the gallery, not in the

gallery itself.

It seems definite therefore that we must inform H.S.D. (Tel)

[Donald Wilson] that all the episodes which they are now

planning must be written for Studio D.

Tuesday 25: Terence Cook replies to Ayton Whitaker's memo of

18 June, telling him that as 'the whole production is awaiting the

arrival of four scripts, and there is a stand-still on all facilities

pending this moment,' no progress can be made on arranging the

requested experimental session for 19 July.

Coburn has now completed a draft script for the second episode

of serial one, which he has decided to assign the working title The Tribe of Gum. He has given the male schoolteacher the new name Mr Chesterton and has amended the young girl's name to Susan

Forman. The script contains no dialogue for the Stone Age charac-

ters as the intention is that they will communicate merely by

grunts. He sends the script to David Whitaker with the following

letter:

I meant you to have this on Monday morning, but I have found

out one thing about the cave man that you might pass on to any

learned anthropologists you know - and I am sure you number

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Doctor Who – The Handbook – The First Doctor

many amongst your closest Mends - and it is this. They must

have been very much smaller than ourselves. This fact I deduce,

not from a close study of their implements, nor by using my

Scobonomometer in Hachendorff s Test of the Plutonium con-

tent of their left elbows ... but by knowing how bloody difficult

it is to get into their skins.

And lastly, I rather think that, wordwise, this one might be a

little too long. I'm a lousy timer. See what you think.

Son of the son of the son of the son of the son of the ad

infinitum, firemaker,

Tony

Verity Lambert has a meeting with Richard Levin and James

Bould. Levin backs down from his previous stand and agrees that

scenic design work can now go ahead on the basis of just the two

scripts currently available, given that no new sets are to be required

for the other two episodes of the story.

D.M.B. Grubb sends a memo to Ian Atkins explaining that the

reason no inlay equipment can be installed in Riverside 2 until the

following year is that all resources are currently tied up in provid-

ing the additional studios and facilities required for the forthcom-

ing launch of BBC2. He indicates that the cost of the new equip-

ment would be (contrary to the figure previously quoted) around

£3,500.

Rex Tucker holds auditions in Television Centre Room2 1 19for

the roles of Susan Foreman and Miss McGovem. The audition list

reads:

Susan: Maureen Crombie, Anna Palk, Waveney Lee, Anneke

Wills (not seen), Heather Fleming, Christa Bergman (to be

considered in her absence), Camilla Hasse, Ann Casteldini.

Miss McGovem: Phillida Law, Penelope Lee, Sally Holme.

Tucker will later recall that he decided to cast 'an Australian girl' as Susan.

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Wednesday 26: Coburn has now completed a draft script for the

third episode of The Tribe of Gum, but the fourth is not expected to be ready until Friday 28.

Verity Lambert and David Whitaker both dislike Coburn's story

and, despite the problems already caused by the unavailability of

scripts, seriously consider rejecting it. Coburn is asked to carry out

a substantial rewrite. Around the same time, Lambert approaches

Terence Dudley - the producer responsible for the earlier Saturday

serial The Big Pull - to see if he would be willing to write a replacement first story, but he declines.

Lambert sends a memo to Pauline Mansfield-dark, Head of

Artists' Bookings, to set out the basis on which the series' cast

should be engaged:

Will you please note that the four principals in the above series,

i.e. Dr. Who, Mr Chesterton, Miss McGovem, Susan Foreman,

should be booked on the following basis: for the pilot to be

recorded on Friday 2 August (rehearsals to start on 26 July) on a

two thirds payment to be made up to a full payment if it is

transmitted, with an option for 51 weekly episodes, the first to start

rehearsals on Monday 14 August, with a further option for one

extra week should the pilot not be transmitted. To confirm our

telephone conversation, there will be no recording or rehearsals

during Christmas week, which will mean adding a week on to the

total.

Will you please note that all the small parts for the first four

episodes should be booked for the pilot on a two thirds payment,

to be made up to a full payment on transmission, and for three

weekly episodes (rehearsals to start on Monday 14 August) at

full payment with an option for a further week at the end of this

period should the pilot not be transmitted.

Artists may be required from time to time to do pre-filming,

and bookings for this should be taken direct from the director

concerned.

It will subsequently be agreed that the 52 week contracts for the

regulars should be subdivided into four option periods of eight

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Doctor Who – The Handbook – The First Doctor

weeks, twelve weeks, sixteen weeks and sixteen weeks respec-

tively, rather than two periods of one week and 51 weeks as

Lambert has suggested. w I

Thursday 27: Sydney Newman, having now returned from leave,

learns of the behind-the-scenes wrangling which has gone on in his

and Donald Wilson's absence. He has a heated phone conversation

with Joanna Spicer in which Spicer alleges that the Serials Depart-

ment has failed to follow correct BBC procedures in setting up the

new series; that the production team has been carrying out audi-

tions and making other preparations without her authorisation; and

that the series' ambitious nature will place unreasonable demands

upon the servicing departments. Later in the day, Newman sends

Spicer a memo headed 'Dr. Who Hassle' which begins as follows: Your comments of today on the 'phone absolutely flabbergasted

me and I take exception to most of what you said. We are trying

to get a new children's serial out economically and quickly and

from what I can see the Serials Department of this Group has

acted in complete accordance with all the standard Corporation

procedures.

The memo then summarises some of the key steps in the develop-

ment of the series to date, before concluding:

In view of the above, and since the first recording date is only

five weeks away, do you wonder that we are anxious not to be

held up? We have got to cast four people who must wear well

over something like 52 episodes.

I cannot understand from the mass of correspondence that has

gone on about this project why permission is still required from

your office. At no time have I received from Ch.P.(l).

[Baverstock], or anybody else, the notion that the project was

ever even vaguely in doubt. Especially as we have in the main

held to the limitations stated on 26 April. While I may be

ignorant of some of the finer points of Corporation routine, it is

apparent that Ayton Whitaker and others in my Group are not. I

am, therefore, surprised at what seems to me a last minute hold

up. After all, it was only H.Tel.Des. [Levin] who dug his heels

in about the scripts and he changed his mind two days ago.

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You may assume only that I intend to get drama programmes

out on time and within budget. That my attitude to you and to

Corporation routine will never be less than correct.

Spicer subsequently has a meeting with her Head of Department

and Donald Baverstock in which a change is agreed to the early

Saturday evening schedule: instead of two 25 minute children's

programmes, broadcast between 5.00 p.m. and 5.50p.m., there will

in future be only one half hour one, broadcast between 5.20 p.m.

and 5.50 p.m. This change will take place on 28 September and the

new slot will be filled initially with the cartoon series Deputy

Dawg; Doctor Who will then take over from 9 November onwards.

Friday 28: John Mair's deputy Alan Shallcross sends Spicer a

memo reporting that Richard Levin and James Bould have now

studied the first three scripts for The Tribe of Gum and have confirmed that they can meet the servicing requirements based on

the previously agreed production dates. They are however unable

to accept the requested experimental session on Friday 19 July.

Spicer, meanwhile, sends Baverstock a memo noting the out-

come of their meeting the previous day. She also has a meeting

with Sydney Newman and Kenneth Adam, the Controller of Pro-

grammes for Television, and later sends Newman a memo record-

ing the decisions taken. In view of the change in the Saturday

evening schedule, production of Doctor Who is to be postponed for a further eight weeks and the episode length increased from 25

minutes to 30. The pilot episode is to be recorded on Friday 27

September and the subsequent episodes weekly from Friday 18

October, all in Lime Grove D. The budget per episode is set at

£2,300 and Newman is asked to make a formal request if the

producer still wishes to use extensive visual effects which will

entail the cost of extra staff, space and equipment. In addition,

Newman is asked to confirm that the 'space time machine which is

to be used throughout the series' cannot be financed on the

standard budget.

Later in the day, at a Programme Management Board meeting,

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Sydney Newman protests at the change of episode length, pointing

out that it has always been planned as 25 minutes. Ronald

Waldman, the General Manager of Television Enterprises, also

favours that length as it is better for overseas sales purposes. It is

agreed that the episode length should be the subject of farther

discussion.

JULY 1963

Monday 1: The production team are informed of the

postponement of the series. They quickly realise that Rex Tucker

will no longer be able to direct The Tribe of Gum as the new

production dates cut across the period when he is due to take a

holiday in Majorca. It is therefore agreed that Waris Hussein will

now direct the first story and Tucker the second.

Tucker subsequently phones composer Tristram Gary to tell him

that, as a result of this change of plan, he will no longer be required to provide the music for The Tribe of Gum.

Verity Lambert and Waris Hussein dislike Tucker's casting ideas

for the four regulars and, during the course of July, set about

making their own choices. Actors considered for the role of the

Doctor include Cyril Cusack (David Whitaker's suggestion) and

Leslie French (favoured by Mervyn Pinfield and by Lambert

herself). Lambert eventually decides to approach 55-year-old

character actor William Hartnell, having been impressed by his

performances in the Granada TV comedy series The Army Game

and in the film This Sporting Life. She contacts his agent -

Hartnell’s own son-in-law, Terry Carney, of the Eric 1'Epine Smith

agency - who, although a little reluctant to recommend a part in a

'children's programme', realises that this might be just the thing the

actor needs to break out of his typecasting as a tough-guy army

officer or crook. Carney visits Hartnell at his home in Mayfield,

Sussex and discusses the idea with him, taking along a copy of the

draft first script for his perusal. Hartnell's reaction is initially quite positive, and he agrees to a meeting with Lambert and Hussein.

His remaining reservations are then overcome, and he accepts the

role of the Doctor.

The role of Ian goes to Russell Enoch, who uses the stage name

William Russell. He is another actor whom Verity Lambert has

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admired for some time and is well known for his portrayal of Sir

Lancelot in the Sapphire Films series The Adventures of Sir

Lancelot.

Jacqueline Hill, whose husband, Alvin Rakoff, is an old friend

of Verity Lambert's, is cast as Barbara after Lambert sees her at a

party.

A number of actresses are considered for the role of Susan.

These include Jackie Lane (then working under the name Jackie

Lenya), whom Lambert and Hussein have seen appearing in recent

episodes of the soap opera Compact. Lane loses interest however when she learns that the series is to run for a year. being

disinclined to commit herself to one job for that length of time.

The role eventually goes to 23-year-old Carole Ann Ford after

Hussein spots her on a monitor at Television Centre and

recommends her to Lambert.

Tuesday 2: Ayton Whitaker sends a memo to John Mair setting

out proposed new dates for filming at Haling for the first three

stories. He adds that an additional £500 will still be needed for

building of the space/time machine and that a one day

experimental session is still desired for Friday 19 July.

Ayton Whitaker also phones James Bould and points out that the

production team are awaiting the allocation of a designer so that

they can explain their requirements for the space/time machine.

Wednesday 3: Ayton Whitaker sends a further memo to John Mair

explaining that as the Design Department are unable to service the

experimental session planned for 19 July, and as the technical

adviser for the session is due to go on leave on 20 July, it should be

postponed until Friday 13 September.

Anthony Coburn has left the staff of the BBC at the end of June

following the demise of the Script Department. David Whitaker

therefore briefs the Copyright Department to commission him to

continue working on his two stories on a freelance basis. It has

been agreed that the second story, with the working title The

Robots will now be a six-parter rather than a four-parter.

Friday 5: Head of Copyright R.G. Walford sends Coburn a

contract for his ten episodes. At David Whitaker's request, it is

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Doctor Who – The Handbook – The First Doctor

made clear in the contract that the initial idea of Doctor Who and its four basic characters are the property of the BBC. Coburn is to

receive the standard script fee of £225 for each of his episodes.

Walford's letter continues:

I understand that in this case you would like the payments for

the initial fees for the ten programmes to be paid in the form of

twelve monthly payments beginning on 1 August 1963 (so that

in effect they will replace payments which you would have had

in your staff contract as a scriptwriter/adapter which has recently

been terminated).

Donald Baverstock confirms that the episode length of Doctor

Who will, after all, be 25 minutes. Sydney Newman conveys this information in a memo to Donald Wilson.

During the course of this week, both Verity Lambert and

Mervyn Pinfield have made further calls to James Bould to enquire

if he is yet in a position to allocate a designer to Doctor Who. He has told them that he may be able to do so on the following

Monday.

Monday 8: Shortly after receiving and signing his contract on this day, Coburn delivers to David Whitaker a revised script for the

first episode of The Tribe of Cum. Concerned at the possible sexual connotations of a young schoolgirl travelling alone with an old

man, he has suggested making Susan an alien of royal blood from

the same planet as the Doctor and renaming her Suzanne.

David Whitaker passes the script on to Verity Lambert with the

following note:

Tony has improved episode one very much - particularly

regarding CHESTERTON.

He agrees to the change of any names we wish.

I have discussed the whole business with him and we have

agreed he shall push on and finish all four of the scripts before

we get down to going through each one with the minor changes.

He feels that the 'Gums' ought to talk.

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Production Diary

I have some reservations about this episode, this newly rewritten one, but all in all it flows much better. Tony has inserted some

details about Suzanne regarding her own existence which we

ought to consider, for they are important. Doctor Who, as you

will read, tells that (or hints that) Suzanne has some sort of royal

blood. This gives Dr. Who and Suzanne good reason to leave

their own environment, of course, but I think we must discuss

this carefully with Tony when we go through the scripts with

him.

Regarding Doctor Who, I feel that he should be more like the

old Professor that Frank Morgan played in The Wizard of Oz,

only a little more authentic. Then we can strike some of the

charm and humour as well as the mystery, the suspicion and

the cunning. Do you agree with this idea?

The insertion of Suzanne as a princess or whatever can be

carried off quite well but I think it ought to be done in a rather

lighter way. Also I think Chesterton is a couple of shades too

beefy in attacking Doctor Who.

Minor reservations then, but this is a better script. The cliff-

hanger isn't as good as Tony's earlier one.

In subsequent discussions with Cobum, the idea of Suzanne being

a princess is dropped. Instead, it is decided that she should be the

Doctor's granddaughter. Her name is finally fixed as Susan Fore-

man, and those of the two teachers as Ian Chesterton and Barbara

Wright. It is however agreed that the Stone Age tribe should have

dialogue. Whitaker will later describe this as 'the hardest decision

we had to make' with regard to the tribe.

Tuesday 9: David Whitaker briefs the Copyright Department to

commission Canadian writer John Lucarotti to provide the series'

third story, a seven-parter with the working title A Journey to

Cathay. Lucarotti has been suggested as a potential contributor to Doctor Who by Sydney Newman, who is an old friend of his. He

lives and works in Majorca and makes only occasional visits to

England, so most of his subsequent discussions with David

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Whitaker will be conducted over the phone. Waris Hussein has

been assigned to direct Lucarotti's story.

Wednesday 10: Verity Lambert again phones James Bould about

the allocation of a designer to the series, and is told that Peter

Brachacki has been detailed to handle the first four episodes and

the design of the space/time machine. At present, however,

Brachacki is largely tied up on other programmes.

In the afternoon, Lambert, Mervyn Pinfield and Waris Hussein

have a preliminary meeting with Brachacki. Brachacki can spare

only half an hour and informs the production team that he will be

completely unavailable for the next two weeks.

Friday 12: Verity Lambert asks the Music Copyright Department

to contact the New York agent of the avant-garde French electronic

music composers Jacques Lasry and Francois Baschet with a view

to commissioning them and their group, Les Structures Sonores, to

provide fifteen to twenty seconds of opening tide music for Doctor

Who. Les Structures Sonores create their music by such techniques as playing glass rods mounted in steel.

David Whitaker has by this time prepared a revised version of

the series' format document. This is based on the 16 May version

but has been updated to take account of more recent developments.

The following new paragraphs have been added to the section

headed 'Approach to the Stories':

It is emphasised that the 'ship' may transport the four characters

backwards or forwards, sideways into lesser or greater dimen-

sions or into non-gravitational existence or invisibility etcetera,

but once arrived into the different place and time the four

characters have only their intelligence and ingenuity upon which

to rely. They cannot produce a 'ray gun' to reduce a horde of

Picts and Scots, nor can they rely upon specialised drugs to cure

a Greek philosopher.

It is also emphasised that the four characters cannot make

history. Advice must not be proffered to Nelson on his battle

tactics when approaching the Nile, nor must bon mots be put

into the mouth of Oscar Wilde. They are four people plunged

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Production Diary

into alien surroundings armed with only their courage and

cleverness.

The character outline for Doctor Who now states that he is aged

'over 60' rather than 'about 650" and the one for Susan has been

amended to read as follows:

The Doctor's grand-daughter, aged fifteen. She is a sharp

intelligent girl, quick and perky. She makes mistakes, however,

because of inexperience. Addicted to 20th-century contemporary

slang and likes pop records - in fact, she admires the life

teenagers enjoy in 1963. At the beginning of the story, she has

persuaded her grandfather to stay in 1963 so that she can go to

school and create at least one complete section of experience.

Since she has been visiting all sorts of existences and places

with her grandfather, Susan has a wide general knowledge and

on some subjects can be brilliantly factual. On other matters, she

is lamentably ignorant. She has something of a crush on Ian

Chesterton.

The paragraph on the Doctor's ship has also undergone substantial

revision, and now reads:

Doctor Who has a 'ship' which can travel through space, through

time and through matter. It is a product of the year 5733 and

cannot travel forward from that date (otherwise the Doctor and

Sue could discover their own destinies), the authorities of the

50th-century deeming forward sight unlawful. This still enables

Ian and Barbara (and the audience) to see into environments and

existences far beyond the present day. The ship, when first seen,

has the outward appearance of a police box, but the inside

reveals an extensive electronic contrivance and comfortable

living quarters with occasional bric-a-brac acquired by the

Doctor in his travels. Primarily, the machine has a yearometer,

which allows the traveller to select his stopping place. In the first

story, however, the controls are damaged and the 'ship' becomes

uncertain in performance, which explains why Ian and Barbara,

once set upon their journey, are never able to return to their own

time and place in their natural forms.

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The revised document continues as follows:

The first story of four episodes, written by Anthony Cobum,

begins the journey and takes the four travellers back in time to

100,000 BC to mid-Palaeolithic man, and it is in this story that

the 'ship' is slightly damaged and forever afterwards is erratic in

certain sections of its controls.

The second story of six episodes, written by Anthony Coburn,

takes the travellers to some time approximately near the 30th-

century, forward to the world when it is inhabited only by

robots, where humanity has died away. The robots themselves,

used to a life of service, have invented a master robot capable of

original thought but, realising the dangers, have rendered their

invention inoperative, even though it means they must sink into

total inertia. The travellers, unaware of this situation, bring the

robots and then the new invention 'to life' and face the dangers

inherent in a pitiless computer.

Since this is primarily a series of stories concerning people

rather than studio effects, and the original characters and

backgrounds have been prepared already, the writer will be

asked to submit a storyline from which he will be commis-

sioned. This need not go into fractional detail - three or four

pages of quarto ought to be sufficient to express the idea.

Technical advice is available insofar as what may or may not be

achieved in the studio, but every endeavour will be made to meet

the requirements of your story. There is a certain film budget,

not extensive but sufficient to cover most contingencies, and the

episodes will be Ampexed so that a 'stop and start' may be

achieved if desired.

Writers may consult the story editor who will work out their

plots and situations with them and arrange meetings with the

associate producer who acts as the arbiter on technical and

factual detail.

David Whitaker has sent this revised document to a number of

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Production Diary

freelance writers and writers' agents.

Writers so far invited to submit storylines are: Malcolm Hulke,

Peter Yeldham, Robert Stewart (who will later write under the

name Robert Banks Stewart), Terry Nation, Alan Wakeman, John

Bowen and Jeremy Bullmore, and Barbara Harper.

Monday 15: Ayton Whitaker sends John Mair a memo listing the

working title, director and number of episodes for each of the first

three stories. He confirms that the second and third stories will

each require five days' filming at Baling, in weeks commencing 26

October (Week 44) and 7 December (Week 50) respectively, and

concludes:

In the event of the pilot recording in Week 39 being considered

suitable for transmission, we will record part two of The Tribe of

Gum in Week 42 and bring all subsequent recordings forward by

one week until the Friday of Week 51 when we should record

part one of A Journey to Cathay. We would then not record in

Christmas week (Week 52), but record part two of A Journey to

Cathay on the Friday of Week 1, as already planned. This

arrangement cannot be put into effect until after the pilot

recording has been assessed.

I understand that Studio D will probably be going out of

commission for conversion in December; I would be glad to

know as soon as possible which will be die replacement studio

for Dr. Who as it will clearly have a bearing on facilities

available for A Journey to Cathay.

Tuesday 16: C.E. Webber is paid a staff contribution fee of £187

10s Od for the two scripts he wrote for his rejected story The

Giants.

Wednesday 17: Verity Lambert sends Donald Wilson a memo

recording her concern that the limited availability of designer Peter

Brachacki has so far made it impossible to discuss with him in

detail the requirements for the design of the first story and of die

Doctor" s time/space machine. She concludes:

As we have been prepared to discuss in detail the design of the

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Doctor Who – The Handbook – The First Doctor

machine as from 2 July, I hope we will not be asked to make any

compromises owing to shortage of effort in the Design Depart-

ment.

Donald Wilson subsequently writes to Richard Levin conveying

the substance of Lambert's memo and continuing:

I should add that at the beginning of June, before I went away, I

saw James Bould and told him of the special problems involved

in Dr. Who. We discussed possible designers and he told me

there would be difficulty in obtaining the ideal man at that

moment There was no doubt in my mind when I heard of the

postponement of the programme that a designer would be made

available in time, particularly as everyone clearly understood the

necessity for your Department to design and execute the space

machine as early as possible.

If the circumstances are as reported in Miss Lambert's note, it

seems to me that this project, which is designed to run for 52

weeks, is not getting the necessary attention. We are constantly

being asked for earlier information to help in design problems;

the information is available, and has been available for some

time. I would like to ask you now that one designer for the

whole project of 52 weeks be agreed with Miss Lambert, with

whatever assistance may be required, because we shall wish to

maintain the same style of design throughout, however varied

the different stories may be.

Monday 22: Donald Wilson holds a meeting with Richard Bright,

the Television Publicity Organ! ser, to discuss promotion of

Doctor Who.

David Whitaker is continuing to liaise with Anthony Coburn on

his scripts for the first two stories. No one on the production team

is particularly enthusiastic about The Tribe of Gum, but it is too late for a replacement story to be found. Coburn's other story,

which he has given the title The Robots, has undergone a number of revisions, and is no w set on an alien planet rather than on a

future Earth.

Tuesday 23: Richard Bright circulates a memo to his publicity

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Production Diary

colleagues attaching a copy of the format document for Doctor

Who and reporting on the previous day's meeting with Donald

Wilson. Likening the format to that of Tim Frazer, an earlier BBC

drama which also consisted of a series of serials, he notes:

This is the first time we have undertaken a 52-part serial. It will

be rather on the Tim Frazer pattern - a series of stories of varying lengths, each one starting during the last episode of the

previous one. It will go on the air at 5.20-5.45 on Saturdays and

is planned for family viewing with special attention to the 11-14

group.

After briefly summarising the intended transmission and produc-

tion dates and the subject matter of the first three stories and giving the names of the four principal cast members, Bright continues:

Of the production team, the producer, Verity Lambert, is a

twenty-seven year old girl who has done a lot of commercial TV

over here and has worked in the USA for David Susskind. She

has been put on programme contract for a year to handle this

serial. The two directors, Waris Hussein and Rex Tucker, will be

in charge of alternate stories beginning with Hussein on No. 1.

Anthony Coburn is writing the first two stories and the third will

be written by John Lucarotti who has written a lot of television

in the USA, Canada and commercial over here.

This would obviously be an important part of C.P. Tel's

[Kenneth Adam] autumn plans announcement and A.H.P. [the

Assistant Head of Publicity] may decide to have a press launch-

ing when the first episode has been finally approved.

John Mair sends Sydney Newman and Donald Wilson a memo

explaining that, due to previously unanticipated coverage of an

athletics meeting in Moscow the previous Saturday, transmission

of both Deputy Dawg and Doctor Who has been put back a further week. The first episode of Doctor Who is now therefore due to go out on Saturday 16 November.

Ronald Waldman, the General Manager of Television Enter-

prises, sends R.G. Walford, the Head of Copyright, a memo

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Doctor Who – The Handbook – The First Doctor

informing him of a dispute which has arisen with a company called

Zenith Film Productions Ltd. Zenith has for some time been trying

to interest the Children's Department and latterly Television

Enterprises in commissioning a proposed new puppet series called

The Time Travellers, devised by Martin and Hugh Woodhouse, the principal writers of the first season of Gerry Andersen's Supercar

in 1959/60, but Waldman has turned the proposal down as being

'much too similar for comfort* to Doctor Who. Zenith are now

claiming that the idea for Doctor Who has been stolen from them.

Thursday 25: Walford writes to Kenneth Cleveland, the legal

adviser to Zenith, denying that the idea for Doctor Who has been taken either directly or indirectly from The Time Travellers:

The first important point which I must make is that this Dr. Who

series was devised jointly by Sydney Newman and Donald

Wilson and I have ascertained that at the time when they worked

it out they had no knowledge whatever of the suggested puppet

series The Time Travellers. The scriptwriter of the first ten episodes of Dr. Who is Anthony Cobum who likewise had no

knowledge whatever of The Time Travellers. He was commis-

sioned in the usual way as an outside writer to write scripts on

the basic format which Sydney Newman and Donald Wilson

devised and which of course the BBC owns.

Ronnie has already told you that he himself had no knowledge

of Dr. Who. Dr. Who was of course never thought of in terms of a puppet series, and as Ronnie said in his letter of 16 July 'this is

a large organisation and many things happen in the area of the

creation of programme ideas which take a long time to come to

the surface.'

The next important point to emphasise is that while, as Ronnie

stated, the idea of the two programmes is similar, i.e. the idea of crossing time barriers, the two series are themselves completely

different, one being for puppets and the other for live actors, and

there could be no possibility of there being plagiarism of any

sort.

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Walford goes on however to offer Zenith 'a special ex gratia

payment of 100 guineas, this being without prejudice and on the

understanding that while we admit no legal liability we make the

offer as a gesture of goodwill.'

Ian Atkins' assistant Leonard Miall sends him a memo to let him

know that John Mair has now indicated that Doctor Who will be

recorded in Lime Grove D on a permanent basis, and that the

scripts will be tailored accordingly.

Tuesday 30: Donald Wilson circulates his own note of the preliminary promotion meeting held on 22 July. This summarises in more

detail the points recorded by Richard Bright in his memo of 23

July and includes the revised first transmission date of 1 6

November.

Wednesday 31: The four regular cast members are issued with

their contracts for the series.

David Whitaker briefs the Copyright Department to commission

from writer Terry Nation a six-part story entitled The Mutants.

This is on the strength of a detailed storyline that he has submitted

under the earlier working title The Survivors. Nation's agents, Associated London Scripts, have negotiated a higher-than-usual

fee of £262 per episode. His story is intended as the fourth in the

series' running order, to be directed by Rex Tucker.

Whitaker also circulates a note giving a brief summary of the

plot of each of the first four stories:

Sufficient information is given of the flavour of each story to

avoid possible future duplication of periods of history or envi-

ronments by Saturday evening films, US or foreign television

shows and so on, securing for Doctor Who an additional strength in its constantly varying locales, costumes and motivations.

Around this time, writer Alan Wakeman is also commissioned to

write one episode as a pilot for a story entitled The Living World, the production team having been unable to decide on the basis of

his storyline whether or not it might be suitable for the series. In

the event, nothing comes of this. Wakeman is paid a fee of £75 for

the work he has carried out.

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By the end of the month, the idea of commissioning Les

Structures Sonores to provide the series' opening music has been

abandoned. At the suggestion of Lionel Salrer, Head of TV Music,

Verity Lambert has since had a meeting with Desmond Briscoe,

Head of the Radiophonic Workshop, and explained that what she is

seeking is something radiophonic, with a strong beat, which will

sound 'familiar but different'. She has also expressed a desire for

the theme to be written by Ron Grainer - a top TV composer who

has provided memorable signature tunes for series such as Maigret

and Steptoe and Son. Briscoe has been able to arrange this without difficulty as Grainer has only recently finished collaborating with

the Workshop on Giants of Steam, a programme about railways.

AUGUST 1963

Thursday 1: Kenneth Cleveland of Zenith Films replies to R.G.

Walford's letter of 25 July. He argues that plagiarism is not ruled

out simply by the fact that The Time Travellers is intended for puppets and Doctor Who for live action, and requests a round table meeting between his clients and Sydney Newman, Donald Wilson

and Ronald Waldman. i

Friday 2: Mervyn Pinfield goes on leave.

Verity Lambert sends E. Caffery, the BBC's Assistant Head of

Copyright, a memo confirming that Ron Grainer is to provide the

I opening and closing music for Doctor Who in conjunction with the Radiophonic Workshop:

Perhaps you could arrange a contract for him to compose

approximately one minute of music at the opening and one

minute of music at the closing, making a total of two minutes in

all. I understand from Mr. Grainer that because he will be

working in conjunction with the Radiophonic Workshop, the

BBC will automatically have some rights in any music pro-

duced.

Wednesday 7: William Hartnell visits Television Centre to have a make-up test and be measured for his costume.

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Thursday 8: R.G. Walford replies to Kenneth Cleveland's letter of 1 August, reiterating that Doctor Who has been developed completely independently of Zenith's The Time Travellers:

I am not saying that because one series related to puppets and

the other to actors there could be no plagiarism, but simply that

in this particular case the facts were such that neither series

could possibly have been derived directly or indirectly from the

other, so that any similarities that there may be could only be the

result of coincidence, and such coincidences would not of course

amount to plagiarism.

Walford goes on to reject Cleveland's request for a meeting.

David Whitaker sends the following memo to Ayton Whitaker

arguing that the recording of Doctor Who in Lime Grove D on a

permanent basis will 'badly restrict the variation of stories so

necessary for the maintenance of the entertainment level':

We badly need a serial about our four running characters being

reduced in size. This requires inlay and could make effective use

of overlay. I know the difficulties of black and white separation

are not lost upon you nor the fact that these can be overcome in

the right studio. I have had great experience of these techniques,

having worked with Graeme Muir on over forty different

productions employing inlay for which I wrote the scripts. I am

very loathe to abandon the idea of a 'miniscule' adventure for

Doctor Who without asking you what chances there are of

eventual transfer from D to a studio capable of handling the

visual effects which are, after all, an integral part of this project.

David Whitaker also sends E. Caffery a memo stating that Terry

Nation's story The Mutants is to be extended from six episodes to seven:

Group producer Miss Lambert and I agree that Mr. Nation's

story is better expressed with the additional episode.

Around this time, Terry Nation delivers his first draft scripts to

David Whitaker. The working title of the story has at this point

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been changed to Beyond the Sun, although it subsequently reverts to The Mutants. The production team consider the scripts and

Whitaker discusses them with Nation, making a number of

suggestions for rewrites. Consideration is given to dropping this

story back to fifth in the running order, subject to obtaining the

necessary facilities to mount a 'miniscules' story in the fourth slot.

Verity Lambert sends a memo to Jack Kine, one of the Heads of

the Visual Effects Department (a separate unit within the Design

Department), requesting that he provide a model of a 'Frank Lloyd

Wright type of building' for filming on 28 October. This is to

appear at the close of the final episode of The Tribe of Gum, in the scene leading into The Robots, to depict the travellers' new arrival point.

Monday 12: Waris Hussein contacts the BBC Radiophonic Work-

shop to brief them on the series' special sounds requirements. The

man assigned to meet these requirements is Brian Hodgson. His

biggest challenge on this first story is the sound effect to accom-

pany the dematerialisation of the Doctor's ship, which Anthony

Coburn has now named TARDIS - standing for Time And Relative

Dimension In Space. He is inspired with an idea while out visiting

a local cinema and later creates the effect by recording and then

manipulating the sound of him scraping his front door key along

the strings of an old upright piano at the Workshop.

Donald Wilson sends Sydney Newman a memo conveying his

continuing dissatisfaction with Doctor Who's studio allocation.

Although it has previously been accepted that the series should be

made in Lime Grove D, and the first four stories have been tailored

accordingly, Wilson argues that a better result could be achieved

with more advanced facilities:

These four stories cover a wide variation in time (100,000 BC to

30,000 AD) and space, but for so long as we are operating from

D we shall not be able to introduce the third variant, that of size.

I am particularly anxious that we should mount the 'miniature'

adventure of Dr. Who. Ideally this should be No. 4 in the series (starting recording on Friday 14 February 1964). Would you

support an application for TC3, TC4 or Riverside 1 to be made

available to us for Friday 14 February 1964 and the five

successive Fridays? Of course if we could have one of these

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studios for story No. 3 (20 December 1963) and continue on a

permanent basis, so much the better.

I feel most strongly that Dr. Who must from time to time explore the full range of technical resources, otherwise we shall lay

ourselves open to criticism for lacking in imagination and

boldness.

Tuesday 13: Newman replies to Wilson's memo of the previous

day:

You've got me wrong man! When I agreed to Studio D, I was

led to believe that this studio contained all the technical facilities

Dr. Who required. It was only after the realisation that Studio D

was inefficient for our purposes that I suggested we tried to 'live

with it' for a while.

I'll do the best I can about getting the proper 'inlay, overlay'

studio for the 'diminutive' size Doctor Who.

Thursday 15: Carole Ann Ford has a make-up test and costume

fitting at Television Centre.

Monday 19: Mervyn Pinfield returns from leave.

Tuesday 20: The first filming for Doctor Who - the creation of the series' opening title sequence - takes place on Stage 3A at the

BBC's Television Film Studios in Haling. The sequence has been

designed by Bernard Lodge of the BBC Graphics Unit and makes

use of a technique known as howl-around, which involves pointing

a TV camera at a screen displaying the camera's own output and

then filming the resultant feedback patterns. As Lodge recalls in a

later interview, he has been inspired to use this technique by the

pioneering work of a man named Ben Palmer

'Quite a lot of howl-around footage already existed as a technical

guy called Ben Palmer had been experimenting and had

produced these patterns for a drama called Amahl and the Night

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Visitors. Although the pattern generation was a purely electronic process it had been recorded on film. They had yards and yards

of this experimental footage and I was asked to go down to

Baling and watch through it all with Verity Lambert.'

Lambert's initial idea was that Lodge should create some animated

lettering of the words 'Doctor Who' to be superimposed over the

existing footage, but Lodge convinced her that the studio should be

set up again so that the words could be fed into the picture

electronically:

'What I didn't realise was that the simple shape of the words, the

two lines of fairly symmetrical type, would actually generate its

own feedback pattern. We shot a whole lot of new cloudy

abstract stuff as well, but in the end I think we used one piece

from the old Amahl footage - the very nice opening line which comes up the screen then breaks away. I can't take credit for

that.'

The generation of the howl-around effect for this studio session

has been supervised by a technician named Norman Taylor. Lodge

subsequently takes the completed footage away and has it edited

together into the finished sequence.

Having agreed with Lodge a rough timing for the sequence, Ron

Grainer has meanwhile been working on his theme music. He has

written a fairly simple score while on holiday in Portugal and has

since discussed it with Delia Derbyshire, the Radiophonic Work-

shop composer assigned the task of committing it to tape. Keen

that the music should be in keeping with the visuals, he has used

expressions like 'windbubble and clouds' when describing the sort

of sounds he envisages. Derbyshire and her assistant, Dick Mills,

have created these sounds using sine and square wave generators, a

white noise generator and a special beat frequency generator. The

tune has been put together virtually note by note -each 'swoop' in

the music being a carefully-timed hand adjustment of the oscilla-

tors - and the sounds have been cut, shaped, filtered and manipu-

lated in various ways to prepare the tracks for mixing and synchro-

nisation.

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Wednesday 21: Jacqueline Hill has a make-up test and costume

fitting at Television Centre.

Verity Lambert discusses the first story's design requirements in

detail with Peter Brachacki, who is now free of his other

commitments.

Thursday 22: Verity Lambert sends a memo to James Bould

noting that Doctor Who's fourth story will be either a futuristic one or an adventure concerning 'people who are greatly reduced in

size', and that 'extensive use of electronic and scenic effects' will

be required. She continues:

I understand that George Djurkovic has made a detailed study of

the Swedish entry for the Montreux Festival, which concerned new

techniques in this field. In the circumstances, I think George

Djurkovic would be particularly useful to us on either of these two

stories, and, if he is available, I would like to request that he be

allocated to us.

Lambert now has a new office in Room 5017 of Television

Centre, just two doors along from her old one. She has also been

assigned a secretary, who is in Room 5016.

Friday 30: Rex Tucker goes on leave to take his holiday in

Majorca. It has however been decided by this stage that when he

returns on 23 September he will no longer be involved with Doctor

Who. He has never been entirely happy working on the series and has now been reassigned to direct a prestigious Giles Cooper

adaptation of Flaubert's Madame Bovary for transmission in March 1964.

SEPTEMBER 1963

Monday 2: David Whitaker receives from writer Malcolm Hulke

proposed outlines for two six-part stories: one set in Roman-

occupied Britain around 400 AD and the other, entitled The

Hidden Planet, set on a planet in the same orbit as the Earth but out of view on the opposite side of the sun.

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Monday 9: By the beginning of this week, the first transmission of Doctor Who has been postponed again, to Saturday 23 November.

Tuesday 10: Revised versions of the scripts for episodes one and three of The Tribe of Gum are sent out to the cast, who previously received drafts of all four episodes.

Tuesday 12: Verity Lambert sends a memo to R.W Bayliff, the

Head of Technical Operations for Television Studios, requesting

permission for Norman Taylor to be given a credit on the pilot

episode for his electronic howl-around effects.

Friday 13: The experimental session originally scheduled for 19

July finally takes place in Lime Grove D, the purpose being to try

out the effect of the dematerialisation of the Doctor's ship. A

problem immediately arises when it is discovered that the police

box prop is too tall to fit into the service lift by which scenery is

transported up to the studio.

Monday 16 : David Whitaker circulates a note containing synopses of the stories now planned to fill the first six slots in the series'

running order. The first three are, as before, The Tribe of Gum, The Robots and A Journey to Cathay. The fourth, however, is now a four-part 'miniscules' story by writer Robert Gould, and is described by Whitaker as follows:

Tardis' transports Doctor Who and his party back to 1963 but

reduced down to one sixteenth of an inch in size. One room

becomes a world of frightening proportions, one carpet an

impenetrable jungle, where 'dust storms' are minor concerns.

The immense difficulties of finding food and water, the death

that can result from the sudden falling cigarette ash, the terrify-

ing creatures that inhabit the new world in which they find

themselves make up an unusual and thrilling adventure.

The fifth slot is now occupied by Terry Nation's The Mutants,

while the sixth has been set aside for one of the Malcolm Hulke

stories, summarised by Whitaker in the following terms:

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The travellers are set down in a Britain of 400 AD, when the

Romans are just about to retire from the island. The Romans

leave behind them an authority which intends to carry on their

civilisation but this is opposed by a group of people who see

profit in destruction and disorder. This latter group are excellent

allies for invading Saxons, completely opposed to anything

Roman. Doctor Who and his friends are involved in a struggle at

a time when the blank pages of history occur, in an adventure

full of excitement and action.

Waris Hussein is still expected to direct the first, third and fifth

stories, while Christopher Barry - an experienced staff director

who joined the BBC in 1955 after starting his career in the film

industry - has been pencilled in for the second and sixth and

Richard Martin for the fourth. Whitaker concludes:

These six stories, covering thirty-four episodes, are, as has

already been stated, not finalised - however they do provide a

statement of flavour and intention. The first, second, third and

fifth serials have been commissioned and are in various stages of

development - the first being complete, the second being half

written in draft, the third in preparation and the fifth delivered in

draft. Serials four and six are in discussion stages.

Waris Hussein is definite for the first and third serials but the

actual deployment of Christopher Barry and Richard Martin has

yet to be finalised.

Wednesday 18: R.W. Bayliff replies to Verity Lambert's memo of

12 September declining permission for Norman Taylor to receive

an on-screen credit. This is on the grounds that his electronic

effects fall short of meeting the established policy requirement of

being 'both artistic and substantial, or of significant interest to

viewers.' Composer Norman Kay, conducting a group of seven

musicians, records the incidental music for The Tribe of Gum

between 6.00 p.m. and 10.00 p.m. in the Camden Theatre.

Thursday 19: A day of filming is carried out on Stage 3 A at

Haling for the first story.

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Friday 20: The series' regular cast take part in a photocall at Television Centre. It begins at 3.00 and is due to last an hour.

Saturday 21: Waris Hussein and the cast begin rehearsals for the pilot episode, The Tribe of Gum: An Unearthly Child. The venue is a Drill Hall at 117 Walmer Road, London W2 - one of a number of

West London halls used regularly by the BBC for rehearsal

purposes.

Monday 23: A further four days' preliminary rehearsal begins for the pilot episode.

By the beginning of this week, Verity Lambert and David

Whitaker have decided that Anthony Coburn's The Robots and

Terry Nation's The Mutants should swap places in the planned

running order. This is mainly because design work now needs to

get underway on the second story and Nation's scripts are the only

ones ready. The production team are dissatisfied with the work so

far carried out by Coburn on The Robots and have asked for further rewrites.

The current intention is that, after the six-part Malcolm Hulke

story pencilled in as the sixth in the running order, the remainder

of the 52-week season should be broken down into two seven-

parters and one four-parter. Terry Nation is to be asked to contrib-

ute the second of the seven-parters - a historical story entitled The Red Fort - but the other two slots remain to be filled.

During the course of this week, it is decided that only the

individual episode titles will appear on screen and not the overall

story titles, which will now be used for production purposes only.

Tuesday 24: Terry Nation is commissioned to write The Red Fort.

This is to be a seven-part historical story set during the Indian

Mutiny and will see the four time travellers becoming involved in

events which took place on 11 May 1857 at the so-called Red Fort

in Delhi. The target delivery date for the scripts is 16 December.

Friday 27: The pilot episode is camera rehearsed and recorded in Lime Grove D. The total cost of the episode (estimated at 18

November 1963) is £2,143 3s 3d.

It has yet to be decided how Doctor Who's visual effects

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requirements will be serviced on a long-term basis, so the interior

of the Doctor's ship has been constructed from Peter Brachacki's

designs by a firm of freelance contractors, Shawcraft Models

(Uxbridge) Ltd. The set has a number of unusual aspects, including

its size -it takes up almost half the studio - and a large hexagonal

unit suspended from the ceiling. The central control console is the

dominant feature, with its six instrument panels and transparent

central column. Brachacki's reason for having a console of this sort

is that the ship is supposed to be capable of operation by a single

pilot. He initially hoped to create special controls, moulded to the

pilot's hands, but this proved too expensive so standard switches

and dials have been used instead. Budgetary restrictions have also

ruled out some of the designer's other ideas, such as having

translucent wall panels which would pulsate during flight. One

feature which has been afforded, however, is a distinctive pattern

of indented circles on the walls. Brachacki's intention in using a

geometric shape is to create a timeless feel, and he has chosen

circles due to the fact that the plastic from which he made his

original design model of the set happened to have circles on it. The

central column of the control console is designed to rise, fall and

rotate, but it frequently jams in the studio, causing hold-ups during

camera rehearsals. The doors of the set also prove very difficult to

open and close.

The costume supervisor assigned to the first story is Maureen

Heneghan and the make-up supervisor Elizabeth Blattner.

Monday 30: By the beginning of this week, Sydney Newman has

arranged to view a recording of the pilot episode. He jots down a

number of comments on the back of two pages of the script. These

range from technical instructions (such as 'Music to be very loud'

at the start of the episode, 'Tremble camera' with reference to the

scene of the dematerialisation of the Doctor's ship and end credits

too big and roll credits faster' at the close), through relatively

minor observations on the direction and scripting ('Bad profile of

girl -can she be more cheeky? - too dour', 'Lay off her profiles' and

'What does she draw?') to more substantive criticisms ('Old man -

not funny enough', "They don't act as if he's locked her in box' and, again, 'Old man ain't cute enough').

Newman subsequently takes Verity Lambert and Waris Hussein

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out to lunch and tells them that the pilot is unacceptable for

transmission. The episode will therefore have to be remounted, as

already planned on a contingency basis.

A meeting is held in Lambert's office to discuss special effects

requirements for The Mutants. Present are Lambert, Mervyn

Pinfield, David Whitaker, Christopher Barry (who has now been

assigned to direct this story), designer Barry Newbery, lighting

supervisor Geoff Shaw and secretary Susan Pugh.

Although Doctor Who has always been planned as a 52 week

series, Donald Baverstock has yet to give his formal approval for it

to continue beyond the first four episodes.

OCTOBER 1963

Tuesday 8: Production assistant Douglas Cornfield learns that

scenery due to be delivered the previous day to the Television Film

Studios at Baling has yet to arrive. On making enquiries, he

discovers that this is due to a lack of transport and a lack of staff at Television Centre to load it onto a van. The scenery eventually

arrives at 3.40 p.m. and Camfield authorises the scene crew to

work overtime to get it ready for the start of filming the following

day.

Wednesday 9: Three days' filming begins at Baling to complete

all the film inserts required for the second, third and fourth

episodes of The Tribe of Gum. Camfield directs some of these

scenes himself, on Waris Hussein's behalf.

Thursday 10: Donald Wilson sends a lengthy memo to Donald

Baverstock. Joanna Spicer, Sydney Newman and Richard Levin

about the 'special effects effort' required on Doctor Who. After summarising discussions and correspondence to date on this issue,

he protests that no extra visual effects staff have yet been provided

for the series and that Programme Services are working on the

basis that it is 'to be tailored to normal Saturday afternoon series

level.' He continues:

I do not know what 'normal Saturday afternoon series level' may

mean, but if it means that the effort required to build the space

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ship for Dr. Who is abnormal, then it seems to me that I should have been told so and I would then have informed everybody

that the serials could not be done on these terms and we should

therefore have to withdraw the project.

What happened in fact was that a certain amount of effort was

bought outside to make it possible for the pilot to be recorded on

27 September. The work was defective and this was one of the

reasons why we determined that the pilot episode could be very

much improved if it was done again. It was not until the

deficiencies appeared that I myself realised that the effort we

had asked for was not being provided and could not be provided

in the future without a large weekly sum of money over and

above the agreed budget.

Wilson goes on to argue for an immediate decision to be taken on

the continuation of the series beyond the first four episodes:

As a result of the pilot, we have engaged the artists for the four

running characters according to the option terms set out in their

contracts, and have two further serials in writing.

If we begin recording weekly on 18 October without a decision

being made about the continuation we will be able, given the

£800 promised by A.C.(Planning), to complete the first four

episodes and the filming of the special effects for the second

serial, but if we do not make a decision until after the third

recording there will not be time enough to have the design effort

and building ready for continuous production after number four.

In other words, we would have to cease production for a period

of three weeks after the decision is made, during which time we

would have to continue paying the four running artists at the rate

of £550 a week. We would also be unable to cast the second

serial.

To sum up, I think we should commit ourselves to at least eleven

episodes on the basis of the existing pilot. (Eighteen episodes

would be more satisfactory from the budgeting point of view.)

We know that subsequent episodes will be better than this pilot

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if the effort is available and in view of the changes we have now

made in script and characterisation. But in my professional

opinion what we have here is something very much better both

in content and in production value than we could normally

expect for this kind of money and effort.

Friday 11: Christopher Barry sends David Whitaker a note of his

initial thoughts on the scripts for The Mutants.

Monday 14: Four days' preliminary rehearsal begins for the

remount of The Tribe of Gum: An Unearthly Child. The venue for the series' rehearsals has now been changed to a Drill Hall at 239

Uxbridge Road, just a few minutes' walk from Lime Grove

Studios. This begins a regular pattern whereby each camera re-

hearsal and recording day is preceded by a four day rehearsal

period in an outside rehearsal room.

Wednesday 16: Donald Baverstock decides on the basis of the

pilot episode that he is willing to give the go ahead to thirteen

episodes of Doctor Who. John Mair, whose official designation has now changed from Senior Planning Assistant (I) to Planning

Manager (Forward), is asked to 'state what extra programme

allowance will be required to finance the special effects require-

ments and the operating effort needed to work them in the studio'

so that Baverstock can decide by the end of the week whether or

not he can agree to the consequent increase in the series' budget.

Friday 18: The remount of The Tribe of Gum: An Unearthly Child is camera rehearsed and recorded in Lime Grove D. Its total cost is

£2,746.

It has by this point been decided that Peter Brachacki is unsuited

to working on Doctor Who, and Verity Lambert has asked for a

different designer to be allocated to the series. (Brachacki is in any

case unwell and is soon to be admitted to hospital for an

operation.) Two designers, Barry Newbery and Raymond P.

Cusick, have been asked to take over from Brachacki, handling

stories on an alternate basis. Newbery's first task on The Tribe of Gum has been to have all the sets for the first episode rebuilt from Brachacki’s plans as -despite Lambert's instructions to the contrary

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- only the set of the interior of the Doctor's ship has been retained

from the pilot recording.

Director Christopher Barry sends David Whitaker a memo of

further, more considered comment on the scripts for the first two

episodes of The Mutants.

A major crisis arises for Doctor Who when Donald Baverstock

sends Donald Wilson the following memo just before going on

leave for three weeks:

I am told that a first examination of your expenditure on the pilot

and of your likely design and special effects requirements of

later episodes, particularly two, three and four, shows that you

are likely to overspend your budget allocation by as much as

£1,600 and your allocation of man-hours by as much as 1,200

per episode. These figures are arrived at by averaging the

expenditure of £4,000 on the spaceship over thirteen episodes. It

also allows for only £3,000 to be spent on the expensive space

creatures and other special effects. It does not take account of all

the extra costs involved in the operation of special effects in the

studio.

Last week I agreed an additional £200 to your budget of £2,300

for the first four episodes. This figure is now revealed to be

totally unrealistic. The costs of these four will be more than

£4,000 each - and it will be even higher if the cost of the

spaceship has to be averaged over four rather than thirteen

episodes.

Such a costly serial is not one that I can afford for this space in

this financial year. You should not therefore proceed any further

with the production of more than four episodes.

I am asking A.C.(P) Tel. [Joanna Spicer] and P.M.F. [John Mair]

to examine with everyone concerned the exact realistic costs of

this serial so far and the costs we should have to face if it were

to continue.

In the meanwhile, that is for the next three weeks while I am

away, you should marshal ideas and prepare suggestions for a

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new children's drama serial at a reliably economic price. There is

a possibility that it will be wanted for transmission from soon

after Week 1 of 1964.

Sydney Newman receives a copy of this memo and immediately

notes that the cost of the Doctor's ship was supposed to be £3,000

spread over 52 weeks, not £4,000 spread over thirteen.

Tuesday 22: The implications of Donald Baverstock's memo of

the previous Friday are now being considered. At Joanna Spicer's

request, John Mair sends her a memo detailing some of the

background to Doctor Who's production, focusing in particular on its budget and costs. With regard to the interior of the Doctor's

ship, he notes that 'this was originally to cost £500; the producer

was told it would cost £3,000; in the event it appears to have cost

nearly £4,000' but that Donald Wilson had always planned its cost

to be spread over the full 52 episodes and kept within the original

£2,300 budget.

Spicer subsequently holds a meeting with Mair, Donald Wilson,

Verity Lambert, James Bould, Jack Kine and others to discuss the

situation. She explains that Baverstock would be prepared to

accept a run of thirteen episodes of Doctor Who, but only if he can afford it. She asks Wilson and Lambert to examine the possibility

of making thirteen episodes within a budget of £2,500 each

(£32,500 in total), from which £75 per episode (£975 in total)

would go towards the cost of the interior of the Doctor's ship, £200

per episode (£2,600 in total) would be used to employ an outside

contract scenic effects firm and £500 per episode (£6,500 in total)

would be the Design Department's budget allocation (D.D.B. A. in

BBC terminology). The man-hours allocation would be 500 per

episode (6,500 in total) and Lambert would have to gain clearance

from James Mudie if an unusually large proportion of the total was

to be used up on any one episode. A special allocation would be

made to pay off the remainder of the cost of the set of the Doctor's

ship.

Wilson and Lambert are confident that the series can be pro-

duced within these limits. They agree to consider the matter in

more detail and respond shortly. This marks the beginning of a

week of intensive meetings and discussions between Wilson,

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Lambert and other members of the production team.

During the course of the week, David Whitaker prepares a new

story listing which indicates that the plans for the year-long run are

now as follows: The Tribe of Gum (four episodes) by Anthony

Coburn; The Mutants/Beyond the Sun (seven episodes) by Terry

Nation; Marco Polo/A Journey to Cathay (seven episodes) by John Lucarotti; an untitled 'miniscules' story (four episodes) by Robert

Gould ;TheRobots/The Masters of Luxor(six. episodes) by Anthony Cobum; an untitled historical story (seven episodes) by Whitaker

himself; The Hidden Planet (six episodes) by Malcolm Hulke (this having been substituted for Hulke's historical story set in Britain

around 408 AD); The Red Fan (seven episodes) by Terry Nation;

and a futuristic story (four episodes) still to be decided.

It is subsequently concluded that, given Donald Baverstock's

decision to accept only thirteen episodes for the time being, a two-

part story will have to be slotted in after The Mutants. This will have to be written by Whitaker himself as it is now too late for a

suitable story to be found and commissioned from a freelance

writer. It will also have to be confined to the interior of the

Doctor's ship as there is no money available for additional scenery

to be designed and constructed.

Also around this time, a less significant development occurs

when the title of the first story is changed from The Tribe of Cum

to 100,000 BC (the likely reason being that the Palaeolithic tribe is no longer given a name in the final version of Anthony Coburn's

scripts). As it has previously been decided that only the individual

episode titles are to appear on screen and not the overall story

titles, this creates no difficulty with regard to the recording already carried out.

It has now been agreed that Christopher Barry and Richard

Martin should share responsibility for directing The Mutants.

Directors for the later stories have yet to be assigned at this point.

Richard Martin sends the following memo to Verity Lambert,

Mervyn Pinfield, David Whitaker and Christopher Barry:

At the back of my mind there is a worry. This is the vagueness

of the ship itself, whose qualities and possibilities must, I think, be understood and accepted by the audience before the adventures of its occupants are given credence. Therefore here is some

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phoney science for your agreement/disagreement.

The ship is out of time but in space. The entrance is in both time

and space. This entrance (the phone box) can best be described

as a time/space ship gangplank. Or compression-decompression

(comparison-decomparison) chamber.

The only way to pass down the gangplank is by an effort of will.

Therefore if you are afraid or doubtful all you would find is the

inside of a phone box, and if you stayed inside you would have a

bad headache from the intercellular electronic pulses forming the

mental link. Therefore it is not easy to get in and out of the ship.

For those unused to it traumatic.

The unit producing the band waves which form the time/space

penetrator beams and the electronic computer to control this

force are the two main pieces of machinery, the third being a

service unit to take humans with it in their environment -oxygen,

food etc. This is of strictly limited dimensions as every square

foot supported out of time and space needs great energy!

The outside appearance of the machine is a police box because

when the machine is made and before it goes critical it is given

an anchor in a definite age and space, without which there can

be neither past nor future, and the time/space traveller would go

mad - or meet God. Therefore its occupant must tie the machine

to some definite anchor. This is the most complete of all its

functions and one which Dr. Who has only dared to do once

when he originally escaped. When he does this again it could

well be the end of the series - or at least a good reason to alter

the external shape if desired.

Agreement on these basic rules I feel is necessary to the right

use of the ship - the internal limit of it and the handling and

mending of the controls and their appearance.

None of these ideas is taken up by the production team.

Wednesday 23: John Mair sends Donald Wilson a memo

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recording the main points of the previous day's meeting chaired by

Joanna Spicer.

Friday 25: 100,000 BC: The Cave of Skulls is camera rehearsed and recorded in Lime Grove D. Its total cost is £4,307.

Spicer sends Wilson a memo setting out in detail the financial

basis on which she has asked him and Lambert to consider making

Doctor Who.

Monday 28: Five days' shooting of film inserts for The Mutants begins at Baling.

Tuesday 29: Mair sends Spicer the following memo:

As a result of further intensive discussions the costs of Dr. Who

appear to come out as follows:

Part I (four episodes)

Actual costs are not yet available for all four episodes, but on

present reckoning it seems that:

(a) The spaceship cost £4,328 in all. The programme budget can

contribute 14 x £75 = £1,050. Net sum to be met from special

funds is therefore £3,278.

(b) The pilot, and episodes one and two together, cost a total,

above the budget and above a sum equivalent to the original

allocation of 350 man-hours, of £782. It is thought however that

when the costs of the remaining two episodes come in, they will

be well below the man-hour allocation, and much of this £782

can be paid for from D.D.B.A.

Pan II (seven episodes')

There is every hope that this can now be managed within a

budget of £2,500 and 500 man-hours per episode.

Wilson and Lambert have a meeting with Spicer in which they

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agree to Doctor Who being taken forward on the basis proposed on 22 October.

Wednesday 30: James Mudie writes to Joanna Spicer drawing her

attention to the memo he sent John Mair on 20 June protesting at

the demands placed on his department by Doctor Who's scenic

servicing requirements. He adds that the design drawings for the

second story, which were due on 24 October, have yet to be

received, and concludes:

In these circumstances, you may wish to call a halt to the series

before the output of the service as a whole is jeopardised by this

production.

Spicer, meanwhile, sends the following memo to Kenneth Adam

and (to be seen on his return) Donald Baverstock:

I held a detailed discussion of the problems of, and future plans

for, Dr. Who on 22 October on the basis of Ch.P.BBC 1 's

[Baverstock] wish to schedule thirteen programmes in this serial,

as an initial stage, subject to a proper method of servicing being

found and subject to acceptable cost

H.Serials.D.Tel. [Donald Wilson] and Miss Lambert followed

up this meeting by further detailed discussions and came to see

me yesterday with the position as it now appears.

The details are as follows; and I recommend that these episodes

are acceptable on this basis:

1. The pilot programme was made on an allocation of £2,300

which has already been covered in the BBC 1 Pilot Fund for this

financial year.

2. Thirteen episodes of Dr. Who are offered to us in three parts of four episodes, seven episodes and two episodes respectively.

The allocation for each programme would be £2,500; and in

addition a special grant of £3,278 would be made for the

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provision of the special model space machine.

Out of her £2,500 allocation per episode the producer will

contribute £75 for this model. She will also set aside £200 per

episode within which her requirement for scenic effects will be

met by employment of the outside contract firm.

The producer also intends to set aside £500 a week for the cost

of sets etc., in the studio and for the filming sessions.

3. Each episode will be allocated seven days' designer effort and

five hundred man-hours. The producer is fully informed about

the use of man-hours and states that the programme can be

successfully planned on this basis.

She will expect the designer to inform her if on any occasion the

script, as first presented to him, requires more effort than this. It

is then open to the producer to ask for an increase from within

her programme allocation, subject always to H.S.S.Tel. [James

Mudie] being able to handle this.

I hope it can now be agreed that H.Serials.D.Tel. can plan the

serial on this basis. These thirteen episodes would thus run

weeks 48-7 inclusive; and discussions could be held in good

time about a continuation of the serial.

Approval is subsequently given for production to proceed on this

basis, resolving the crisis which has threatened Doctor Who with cancellation before the first episode has even been transmitted.

One consequence of the agreement reached is that the BBC's

Visual Effects Department will have only minimal involvement in

Doctor Who during the first Doctor's era. Instead, all the series'

special props and effects will be designed by the scenic designer

and realised by specialist freelance contractors such as Shawcraft.

Thursday 31: Richard Martin sends David Whitaker a three-page

memo of comment on the script for the fifth episode of The

Mutants.

A short video insert is recorded for 100,000 EC: The Forest of

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Fear in Lime Grove D. This is for the scene where the caveman Za is attacked by a tiger (unseen).

NOVEMBER 1963

Friday 1: 100,OOOBC: The Forest of Fear is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,181.

A meeting is held between Ian Atkins, James Mudie, Assistant

Head of Scenic Servicing Tony Reeves, Assistant Head of Design

Beynon Lewis and designer Raymond Cusick to discuss the sets

for The Mutants. Atkins decides that the interior of the Doctor's ship should be redesigned as it is currently too heavy and too

difficult to put up and take down in the studio. Reeves later

conveys this decision to Verity Lambert, who replies that although

she has no objection, the costs should be borne by the Design

Department rather than by the series itself as the fault lies with the

original designer, Peter Brachacki.

The same day, Lambert produces an amended version of Donald

Wilson's promotional note of 30 July, taking account of the

changes agreed over the previous fortnight. The note no longer

refers to the series running for 52 weeks but lists the first three

stories, 100,000 BC, The Mutants and Inside the Spaceship, the latter of which it describes with the single sentence: 'Dr. Who and

his companions find themselves facing a terrifying situation within

the ship itself.' The note goes on to name the writers and directors

for the three stories, indicating that Paddy Russell has been

assigned to direct Inside the Spaceship.

Tuesday 5: Donald Wilson is informed that plans to publicise the first episode of Doctor Who with a photograph on the front cover of the BBC's listings magazine Radio Times have been dropped,

partly due to a lack of confidence in the series on the part of

Controller of Programmes Kenneth Adam (C.P.Tel.). Wilson sends

the following memo to the editor of Radio Times:

I am unhappy to hear today that the proposal to give Dr. Who the front page of Radio Times has now been abandoned. It was

particularly distressing to hear that one reason given was lack of

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confidence in the programme at Controller level. I assure you

that this does not exist and if you have a word with C.P.Tel. I

know he will express enthusiasm. I myself believe that we have

an absolute knock-out in this show and that there will be no

question but that it will run and run.

I would be most grateful, if it is not too late, for the decision

against it to be reversed, and that will help me to get this show

off to a good start.

The Radio Times cover photo for the week 23-29 November will in the event be of Kenneth Home from the radio comedy series

Beyond our Ken, although Doctor Who will be prominently mentioned in the cover text and will be featured within the magazine in

the form of two photographs and a short article. The series will

also be promoted in the previous week's edition as a forthcoming

attraction.

Wednesday 6: James Mudie sends Beynon Lewis a memo remind-

ing him of Ian Atkins' decision that the interior of the Doctor's ship

should be redesigned and asking him to take this forward as a

matter of urgency 'as in its present form it is obstructing the night

setting operations for the whole of the Television Service.'

Thursday 7: Joanna Spicer responds to Mudie's memo of 30

October. She notes the developments which have occurred since

the meeting she chaired on 29 October and expresses the hope that

'the situation in which your memo of 30 October was written no

longer obtains.'

Raymond Cusick queries with Verity Lambert the instructions

he has been given to redesign the interior of the Doctor's ship and

shows her a copy of the previous day's memo from Mudie to

Lewis. Lambert speaks to James Bould and asks where the money

and man-hours are to be found for this, reiterating her strong view

that they should not come out of Doctor Who's own allocation. She also sends a memo to Donald Wilson informing him of these

developments and concluding:

I would like to mention that I only found out about the redesign

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of the spaceship having been put into operation because the

designer called me to check. No copy of Mr. Mudie' s memo

was sent to me and instructions were issued to the designer

without reference to me in spite of the fact that no provision of

man-hours or money has been made for this by anybody up to

the present time.

Friday 8: 100,000 BC: The Firemaker is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,316.

Friday 15: The Mutants: The Dead Planet is camera rehearsed and recorded in Lime Grove D.

This episode is the first to feature costumes designed by Daphne

Dare, who has now been assigned as Doctor Who's regular cos-

tume supervisor. The make-up is designed, as for 100,000BC, by Elizabeth Blattner. Subsequent make-up designers for the first year

of stories will be Ann Ferriggi, Jill Summers and Sonia Markham,

the latter of whom will go on to handle the make-up for the great

majority of the first Doctor's stories.

Sydney Newman sends the following memo, marked 'Strictly

Confidential', to Donald Wilson:

I talked to Donald Baverstock this morning about Dr. Who and

am happy to tell you he is very keen about what he has heard

about the serial.

He is worried about money and was unable to commit himself at

this time to the continuation of the serial beyond thirteen. I

would suggest that some time next week you give him a ring and

... go and see him for a decision. If you handle him right I am

sure everything will be O.K.

Saturday 16: A trailer for 100,000 BC: An Unearthly Child is transmitted at 5.40 p.m. on BBC TV.

Monday 18: Verity Lambert sends Donald Wilson a memo giving

estimated total cost figures, and actual design cost figures, for all

four episodes of 100,000 BC. These indicate that the series is operating well within budget and should certainly be able to pay

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off its outstanding commitment to the cost of the Doctor's ship by

the end of the initial thirteen episodes.

The Doctor Who production office has now been moved to

Room 512 of Threshold House, a BBC-owned building overlook-

ing Shepherd's Bush Green in west London.

Tuesday 19: A serious problem has by this point been discovered

with the previous Friday's recording of The Mutants: The Dead

Planer, talk-back from the production assistant's headphones (i.e.

the sound of messages relayed to him from the director in the

control gallery) has been picked up by the studio microphones and

is clearly audible on the soundtrack of the episode. Having viewed

the episode, Donald Wilson has decided that this 'induction' is 'so

bad as to made the recording unsuitable for transmission.' It is

agreed that the episode will have to be completely re-recorded on 6

December, in the slot originally intended for recording of the

fourth instalment of The Mutants. All subsequent episodes will therefore be put back one week. This change of plan will also

allow for model filming of the Dalek city to be redone, as the

production team were unhappy with the model which Shawcraft

built for the original recording of the episode.

Thursday 21: David Whitaker sends Donald Wilson a memo,

headed 'Confidential', to convey some information he feels he is

unable to give to Verity Lambert 'because of a personal friendship

between her and Jacqueline Hill':

Jackie told me in confidence that she has been offered a film

which will begin immediately after her current engagement on

Doctor Who is terminated, with the proviso that the BBC have

an option on her services. Apparently the problem is that with

the re-recording of episode one of Serial B, because the talk-

back interfered, this will add another week on to the current

contract, but from what I gather, no additional week's contract

has been arranged by the Corporation with her.

She told me that she was informed that there would be an extra

week added on to the current commitment and felt that Verity

would only ask her to do this because of their personal friend-

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ship, and she told me that she was not prepared to sacrifice her

film simply for one extra week. It is not for me to decide

whether or not this is reasonable, and neither do I wish to raise

any mountains where mole hills exist, but it is surely right to let

you know so that you can anticipate the situation. I hope I can be

kept out of it.

It may be symptomatic of a gradual lessening of confidence that

the four contracted actors and actresses have in the serial itself. I

think they are afraid that it is going to be taken off, and what

worries me is that it will eventually affect their performances.

Already I sense a certain laissez-fair attitude, and I would dearly

love to stop this at birth. The only solution I can see is, of

course, to tell them that the serial will continue after thirteen

weeks, or not, as the case may be. Perhaps it is the indecision

which is really making them feel insecure.

I hope I am right in writing to you on this subject, which I hope

you will treat in confidence.

After receiving this memo, Wilson recommends to Donald

Baverstock that a further thirteen episodes of Doctor Who be given the go-ahead.

A press conference to launch the series is held at 5.00 p.m. in

Room 222 at the Langham, a BBC-owned building opposite

Broadcasting House in London's West End. Present are Wilson,

Whitaker, Lambert and the four regular cast members.

Friday 22: Baverstock accepts Wilson's recommendation and

sends him a memo authorising him to take up options for a further

thirteen episodes, with a budget of £2,300 each. He adds:

It is likely that I should be able to make a decision on the option

to take up another thirteen, making thirty-nine in all, sometime

early in the New Year.

The Mutants: The Survivors is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,796.

The set of the interior of the Doctor's ship has now been

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redesigned and is somewhat simpler than before, omitting alto-

gether the large hexagonal unit which previously hung from the

ceiling between the central console and the main doors.

Saturday 23: 100,000 BC: An Unearthly Child is transmitted on

BBC TV marking the start of the series' first season.

Tuesday 26: An additional day's shooting of film inserts for The Mutants takes place on Stage 2 at Baling.

Wednesday 27: Donald Wilson sends the following telegram to

Sydney Newman, who is currently staying at the Warwick Hotel in

New York, USA:

DOCTOR WHO OFF TO A GREAT START EVERYBODY

HERE DELIGHTED REGARDS DONALD

Friday 29: The Mutants: The Escape is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,232.

DECEMBER 1963

Monday 2: One day's shooting of film inserts for The Mutants takes place at Haling.

David Whitaker briefs the Copyright Department to commission

the scripts for the six part story The Hidden Planet from writer Malcolm Hulke.

Tuesday 3: Verity Lambert sends a memo to Head of Artists'

Bookings Pauline Mansfield-Clark enquiring if there is any possi-

bility of changing the option terms of the regular cast's contracts:

At present we have taken up the first option for eight and the

second option for twelve weeks; our next two options are for

sixteen weeks each. Ideally if we could issue a third option to

run six weeks, bringing us to a total of twenty-six, and two

further options to run thirteen weeks each, this would bring us

into line with the Planning Department. I do not see any reason

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why the money should be altered, but this is something that

probably you will have to go into in detail with the agents.

Lambert goes on to ask if separate contracts could be issued to

extend the second option period from twelve weeks to thirteen in

order to allow for the re-recording of The Mutants: The Dead

Planet.

Thursday 5: Lambert sends Ian Atkins a memo reminding him of

the difficulties presented for Doctor Who by the antiquated facilities and lack of space in Lime Grove D and requesting that the

studio be allocated four ring pedestal cameras rather than, as at

present, two ring pedestals and two of the more cumbersome

ordinary pedestals which 'are heavy to move and... cannot easily

move up and down in vision, thereby imposing further restrictions

on both director and cameraman and end product'

Friday 6: The Mutants: The Dead Planet is re-recorded in Lime Grove D. This re-recording was not budgeted for; however, the

cost - £2,817 - is largely confined to the artists' fees as all scenery etc. can be reused from the original recording.

Friday 13: The Mutants: The Ambush is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,641.

Friday 20: The Mutants: The Expedition is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,223.

Monday 23: A photo shoot with the Daleks is carried out around

Shepherd's Bush in London.

Tuesday 31: Donald B overstock sends Donald Wilson a memo

committing himself to accepting a further ten episodes of Doctor

Who after the 26 already accepted. The budget per episode will remain at £2,300. Baverstock continues:

I mentioned that I need from you now an outline of the future

storylines with their locations in space and time. I hope that in

these you will brighten up the logic and inventiveness of the

scripts. In the episodes already recorded we have seen Dr. Who

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and his daughter, though ageless and miraculously clever,

reduced to helpless unscientific ordinariness once they left their

spaceship, whereas even the two lay characters should have

appeared incredibly knowledgeable to such people as the Cave

Dwellers and the Country Dwellers outside the blasted city. Any

ordinary man of the mid-20th-century returning to, say, the

Marco Polo age could hardly help making assertions all the time

which would sound to the 14th-century Chinese or Venetians

like mad ludicrous prophesies. Likewise, the characters of the

past and the future should also have appeared more strikingly

and differently ingenious - the one more often reminding us of

lost simple knowledge; the other of credible skills and capacities

that can be conceived likely in the future.

I suggest that you should make efforts in future episodes to

reduce the amount of slow prosaic dialogue and to centre the

dramatic movements much more on historical and scientific

hokum.

JANUARY 1964

Friday 3: The Mutants: The Ordeal is camera rehearsed and recorded in Lime Grove D. Its total cost is £1,919.

Tuesday 7: Donald Wilson sends Donald Baverstock a memo

containing synopses of the next three stories due into production,

which at this point are Inside the Spaceship (now to be directed by Richard Martin rather than by Paddy Russell or by Mervyn

Pinfield who had been suggested as her replacement), Marco Polo

(to be directed by Waris Hussein) and The Hidden Planet (to

which a director has still to be assigned). The concluding scenes of Marco Polo, leading into The Hidden Planet, are described as follows:

... the travellers repossess their ship and land in a country

which, at first sight, could well be England. The cycling

policeman they see on their scanner screen however, once out of

sight, behaves in a most extraordinary fashion, a way which

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leaves no doubt that wherever the TARDIS has landed, it is

certainly not 20th-century England.

The Hidden Planet itself is then summarised as follows:

Without knowing it, the space and time travellers have landed on

a planet identical to Earth; the Tenth Planet on the other side of

Earth's sun. The glass of fashion has a different reflection, the

mould of form an altered pattern, yet both have sprung from the

same roots as their counterparts on Earth. Thus, Doctor Who and

his friends find themselves in a world where every parallel is in

fact a paradox that comforts whilst it mocks. Primarily, the male

sex is insisting on equality and the vote. The leader of the ruling

(and female) class is, to all intents and purposes, Barbara's

double. When Barbara is kidnapped by the male rebels, she is

forced to assume her double's identity, while Doctor Who, Susan

and Ian find themselves caught up not only in the violent

struggle for male suffrage but in a web of intrigue and suspicion.

Thursday 9: J.J. Stringer, an administrator in Programme Plan-

ning, sends Donald Wilson a memo informing him that while it is

acceptable within any given financial year for savings on one

episode to be carried forward to help finance others, 'it is not

possible to carry forward savings from one year to the next.' This

means that the first eighteen episodes of Doctor Who - i.e. those currently due to be transmitted before week commencing 4 April

1964 (Week 14) - must be 'financially self-balancing, as no savings

on these can be carried forward, neither can overspending be offset

by savings in the following year.' He goes on to note that as the

series' allocated budget up to the end of 1963 was fully spent,

'expensive programmes in January/March must be financed by

savings within the same quarter.'

It has now been decided that Waris Hussein should direct all

seven episodes of Marco Polo. Previously, Richard Martin has

been due to direct episodes four and six.

Friday 10: The Mutants: The Rescue is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,634.

This episode is the first to utilise the 'roll back and mix'

technique experimented with on 13 September 1963 for the effect

of the police box dematerialising. The effect proves very difficult

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to achieve and will be used less than half a dozen times on Doctor

Who during the sixties.

Monday 13: Five days' shooting of film inserts for Marco Polo begins on Stage 3B at Baling.

A permanent production office has by this time been set up for

Doctor Who in Rooms 505, 506 and 507 of Union House - the

building directly adjoining its previous location, Threshold House.

Wednesday 15: At Verity Lambert's request, David Whitaker

sends Donald Wilson a memo setting out audience size and

audience reaction figures for 100,000 BC and for each of the first three episodes of The Mutants.

Friday 17: Inside the Spaceship: The Edge of Destruction is camera rehearsed and recorded in Lime Grove D. Its total cost is

£1,480.

Tuesday 21: The production team have by this point decided to

abandon Terry Nation's historical story The Red Fort. They ask him instead to write a six-part replacement story with a futuristic

theme. Nation agrees that, in view of the shortage of time remain-

ing before the planned production dates, he will complete and

deliver his scripts within the space of four weeks. Whitaker

arranges to help him with weekly or bi-weekly discussions.

Friday 24: Inside the Spaceship: The Brink of Disaster is camera rehearsed and recorded in Lime Grove D. Its total cost is £1,506.

Friday 31 :Marco Polo: The Roof of the World is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,687.

FEBRUARY 1964

Monday 3: William Hartnell is ill and unable to take part in this week's rehearsals for Marco Polo: The Singing Sands.

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David Whitaker visits Terry Nation's home for a script conference

on the writer's new six-part story, which he has decided to call The Keys of Marinus. They discuss the first four episodes in depth and work out the set, filming and casting requirements as far as

possible.

Tuesday 4: Whitaker has a meeting with writer Robert Could in

which they discuss at length the difficulties of the 'miniscules' idea.

Whitaker asks Gould to submit another story proposal instead.

Gould says that he has had an idea about a planet where plants

treat people the way that people normally treat plants, and that he

will let Whitaker know if this works out.

Two of the four Dalek props made by Shawcraft for The

Mutants have now been put into storage, along with the control panels from their city, in the BBC's special effects store at Baling.

Jack Kine of the Visual Effects Department has decided that there

is no room for the other two to be stored so, rather than let them be

broken up, the production team decide to donate them to Dr

Barnardo' s children's homes.

Thursday 6: David Whitaker collects from Terry Nation's home

the draft script for the first episode of The Keys of Marinus.

Friday 7: Marco Polo: The Singing Sands is camera rehearsed and recorded in Lime Grove D. Its total cost is £1,618.

Sunday 9: Robert Gould sends Whitaker a card to let him know

that he has decided against proceeding with his idea for a story

about a planet where the roles of people and plants are reversed.

Tuesday 11: Whitaker collects from Nation's home the draft script for the second episode of The Keys of Marinus.

Wednesday 12: David Whitaker sends Assistant Head of Copy-

right E. Caffery a memo seeking advice about a request which has

been made to the production office by A.R. Mills, Deputy Editor of

publishers Frederick Muller Ltd, for permission to produce

novelisations of 'several of the Doctor Who stories'. Mills had previously contacted writer Terry Nation about this 'but now

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thought it better to come to the fountain head, so to speak.'

Whitaker has explained to Mills that Doctor Who is the property of the BBC and that he is unable to release any copies of scripts at

this stage. 'I closed the meeting,' Whitaker notes, 'by saying that I

would endeavour to find out, in the next few days, if the BBC was

willing to grant permission for publication.'

Frederick Muller Ltd will later publish three novelisations:

Doctor Who in an exciting adventure with the Daleks by David

Whitaker (1964), Doctor Who and the Zarbi by Bill Strutton

(1965) and Doctor Who and the Crusaders by David Whitaker

(1966).

Thursday 13: Donald Baverstock, at a meeting with Donald

Wilson to discuss the Serials Department's offers for the July/

September quarter, agrees in principle that Doctor Who's four

regular cast members can now be firmly engaged right up to the

end of their 52 week contracts. Production is to continue

uninterrupted and Baverstock will consider at a later date a

proposal made by Wilson for a six week break in transmission at

some point during the run. Baverstock agrees a budget for the last

sixteen episodes of £2,380 per episode if outside stock film hire is

involved or £2,300 per episode as before if film requirements can

be serviced from within the BBC. He also agrees to consider

separately a bid by Wilson for extra money to make a four part

'miniscules' story.

Friday 14: Marco Polo: Five Hundred Eyes is camera rehearsed and recorded in Lime Grove D. Its total cost is £1,958.

Monday 17: Terry Nation delivers to David Whitaker his draft

scripts for the third and fourth episodes of The Keys of Marinus.

Tuesday 18: Donald Baverstock sends Donald Wilson a memo

recording the points agreed at their meeting on 13 February.

Thursday 20: Sydney Newman is sent a memo by the Head of

Business for Television Enterprises, who asks how long Doctor

Who is due to continue and whether or not there are any plans to resurrect the phenomenally popular Daleks.

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Friday 21: Marco Polo: The Wall of Lies is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,317.

Saturday 22: Marco Polo: The Roof of the World is transmitted on BBC TV. It is promoted with a photograph on the front cover of

this week's edition of Radio Times - the first time Doctor Who has been accorded this privilege. The photograph shows the Doctor

(William Hartnell) with Marco Polo (Mark Eden) and the Mongol

warlord Tegana (Den-en Nesbitt).

Sunday 23: William Russell writes to his agent, T. Plunkett Green, raising a number of grievances about his role in the series.

Monday 24: Donald Wilson replies on Sydney Newman's behalf

to the memo of 20 February from the Head of Business for

Television Enterprises. He informs him that there is now a firm

commitment to 52 weeks of Doctor Who and continues:

We have in mind, of course, to try and resurrect the Daleks, but

with the writing we at present have in hand it is hardly likely to

happen until well on in the summer.

I am asking Verity Lambert to keep you informed both of the

continuation dates for the programme and of any possible

exploitation ideas, including the return of the Daleks.

T. Plunkett Green writes to Wilson conveying the grievances that

his client William Russell has raised with him. First, Russell is

irritated that two of the guest cast rather than the regulars were

pictured with William Hartnell on the previous week's Radio Times

front cover, secondly, he feels that recent scripts have given him,

and his fellow regulars, an insufficiently substantial role in the

action; thirdly, he is concerned that a six-minute scene, largely

involving him, was added to The Wall of Lies only the day before the episode was recorded, leaving him very little time to learn and

rehearse it

Tuesday 25: Terry Nation has now completed his draft scripts for all six episodes of The Keys of Marinus, and these have been

formally accepted by the production team.

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At David Whitaker's request, Assistant Head of Copyright E.

Caffery writes to Malcolm Hulke's agent, Harvey Unna, to inform

him that the scripts for The Hidden Planet are unacceptable in their present form and will have to be abandoned unless Hulke is

prepared to rewrite them completely.

Whitaker also briefs the Copyright Department to commission

from writer John Lucarotti a four-part historical story entitled The Aztecs.

Wednesday 26: John Crockett, a BBC staff director who has been

brought in to handle episode four of Marco Polo before taking full responsibility for The Aztecs, sends David Whitaker a list of ideas for subsequent historical stories. The list reads as follows:

Jack Cade/Peasants' Revolt/Pilgrimage of Grace

Viking Raids on Britain

The '45 and Bonnie Prince Charlie

Drake/Armada

Raleigh/Colonisation

Globe Theatre/Burbage/Alleyne/Plague/Puritans

Australian Convict Settlement

Roman Invasion of Britain

or

c.f. Alfred Duggan

Defeat of Romans in Britain

Crusades/Richard I

Akhnaton/and his downfall

Guelphs & Ghibellines Medici

(Leonardo, Michelangelo,

Florence

Savanarola etc.) or Borgias

Benvenuto Cellini

Covered Wagons

18th to early 19th-century Cornish smugglers and wreckers

Boadicea

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Friday 28: Marco Polo: Rider from Shang-Tu is camera rehearsed and recorded in Lime Grove D. Its total cost is £2,821.

Donald Wilson replies in apologetic terms to T. Plunkett Green's

letter of 24 February. He explains that many shots of the four

regulars were taken at the Radio Times photocall for Marco Polo and that the production side had 'confidently expected* one of

these to be used on the cover. The magazine makes its own

decisions, however, and Wilson can only complain after the event -

which he is now doing. On the question of the series' scripts, he

continues:

I know that Verity Lambert has discussed all this very thor-

oughly in the last two days with all four principals and I believe

that now they are feeling much happier about what she has been

able to tell them of our future plans. As you will now know, it is

agreed that we should continue Dr. Who for at least 52 weeks.

This gives us a chance to work much further ahead on scripts

and make sure that we do not again have to plunge into an

unprepared job.

I assure you that I will, myself, be watching very carefully to

make sure that neither William Russell's or our own interests

suffer from scripts which do not use his talents to the maximum.

Lambert sends Wilson a memo informing him that up to the end of

the financial year the production team will have had to write off

one script by Alan Wakeman (the trial episode of The Living

World) and six by Malcolm Hulke (The Hidden Planet). If Doctor Who were to be discontinued after its initial 52 week run they would also have to write off 4a six-part serial by Anthony Coburn

which has been accepted but which needs further work on it* (The

Masters of Luxor). She adds that they are currently considering commissioning a four-part serial from writer Margot Bennett to act

'as a cover' in case TC1 proves unavailable or 'the "miniscule"

story falls through,' and that this might also have to be written off

if the series were to be discontinued.

David Whitaker has by this point commissioned a six-part

future-based story entitled The Sensorites from writer Peter R.

Newman and has himself undertaken to write a six-part historical

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story set in sixteenth-century Spain after the Armada. Terry Nation

has also agreed to write a six-part story concerning a future Dalek

invasion of Earth, thus meeting the ever-growing demand for a

return appearance by the series' most popular monsters. Moris

Farhi is another writer currently in discussion with the production

team.

The planned running order for the stories after Marco Polo is

now: The Keys of Marinus (six episodes) by Terry Nation, to be directed by John Gome; The Aztecs (four episodes) by John

Lucarotti, to be directed by John Crockett; The Sensorites (six episodes) by Peter R. Newman, to be directed by Mervyn Pinfield;

David Whitaker's historical story (six episodes), to be directed by

Gerald Blake; a 'miniscules' story (four episodes), yet to be

commissioned, to be directed by Richard Martin; and Terry Na-

tion's Dalek story (six episodes), director yet to be assigned.

MARCH 1964

Monday 2: Harvey Unna writes to E. Caffery to convey his client

Malcolm Hulke's concern at being asked to make substantial

revisions to his scripts for The Hidden Planet. He points out that the scripts adhere closely to the storyline, which was agreed with

the production team in advance, and that the requested revisions

constitute an unreasonable departure from this.

Friday 6: Marco Polo: Mighty Kublai Khan is camera rehearsed and recorded in Lime Grove D.

Tuesday 10: Caffery replies to Unna's letter of 2 March, refuting the assertions made by Hulke about the requested revisions to his

scripts for The Hidden Planet'.

In our opinion, and subject to the suggestions already made

about it, there is nothing basically wrong with the storyline. It is

the scripts - and their treatment of the storyline - which proved

unacceptable and which need completely rewriting to bring them

up to acceptance standards. Given Mr. Hulke's contention that

we are not adhering to the storyline and that he has already done

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what he was asked to do - a contention with which we cannot

agree - is there really any point in continuing? In view of this

impasse, is not the only sensible and practical solution to pay

Mr. Hulke for the work he has done and call the whole project

off? Whilst Mr. Hulke is free to rewrite the scripts on the basis

proposed in my letter of 25 February, there can surely be no

useful point in continuing in the face of such fundamental

disagreement between the production unit and the writer.

Hulke subsequently agrees to continue working on his scripts and

rewrite them as suggested by the production team. Episode two of

the story subsequently acquires the working title Year of the Lame

Dog.

Friday 13: Marco Polo: Assassin at Peking is camera rehearsed and recorded in Lime Grove D. The start of the day's work is

delayed when the lift required to transport a camera dolly to the

studio breaks down and has to be hastily repaired. A further

fifteen-minute hold up occurs when the studio fireman refuses to

let camera rehearsals get underway due to his concern over a

clutter of electrical equipment left in the fire gangways. A

compromise is eventually reached on this.

Monday 16: Writer John Lucarotti is making good progress on his

scripts for The Aztecs, but illness prevents him from bringing them in to the production office as he had planned. He agrees to come in

the following day instead.

David Whitaker makes an appointment to see writer Dennis

Spooner at 11.00 a.m. on 18 March to discuss the possibility of

him contributing a story about the French Revolution. This would

act as a replacement for Whitaker's own Spanish Armada story.

Whitaker also visits rehearsals. He later reports to Verity

Lambert, who is absent from the office this week, that they are

going well and that the cast like director John Gorrie.

In addition, Whitaker sends some stills from Doctor Who to

A.R. Mills of Frederick Muller Ltd, who are taking forward their

plans to publish novelisations based on the series. Mills promises

to return them by the end of the week.

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Tuesday 17: David Whitaker briefs the Copyright Department to

commission Terry Nation's new Dalek story, which at this point is

referred to as The Daleks. It will shortly afterwards be given the new working title The Return of the Daleks. The target delivery date for the scripts is 19 June 1964.

John Lucarotti spends the day at the production office. His

scripts for The Aztecs are two-thirds finished, and he works all day on the remainder.

Whitaker, meanwhile, completes some rewrites on episode four

of The Keys of Marinus to remove the Doctor from the plot and thereby allow William Hartnell a week's holiday (Hartnell is also

to be on holiday for episode three of the story).

The BBC are currently considering a proposal from the Daily

Express newspaper to run a regular cartoon strip based on Doctor Who. Jacqueline Hill, however, has considerable reservations about her likeness being used for this.

Wednesday 18: Whitaker meets Dennis Spooner to discuss the

French Revolution idea. Spooner agrees to submit a storyline in

two weeks' time.

Whitaker also sends copies of the completed scripts for The

Aztecs to James Bould.

Donald Wilson attends rehearsals to see a run-through of the

episode due to be recorded in two day's time. He has only three

minor comments on the dialogue, and Whitaker agrees to take

these on board. Subsequently Wilson talks to Jacqueline Hill and

the rest of the regular cast about the Daily Express proposal for a Doctor Who cartoon strip.

Whitaker speaks to William Russell about giving him a holiday

from the series and suggests that this could fall during the French

Revolution story, due to be made in July and August. Russell

agrees to leave it to him.

Whitaker also makes arrangements with John Gorrie for Carole

Ann Ford to be released from rehearsals on 13 April as she will be

needed at Baling for the shooting of some film inserts for The

Aztecs. These are designed to cover for Ford's planned absence on holiday during the period when episodes two and three of that

story are in production.

Mervyn Pinfield sends Wilson a memo explaining the reasons

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for the late start of recording the previous Friday. He notes that the

problem of electrical equipment is an old and continuing one, as 'a

certain quantity of equipment is permanently allocated to Studio D

and it has to be kept in the studio, there being absolutely no other

area to accommodate it.' He adds that this problem is particularly

acute 'when the studio is chock full of sets' and concludes:

Of course, the only real remedy is not to fill the studio area with

sets and to leave a reasonable amount of room for this lighting

equipment, but last Friday's production was, perhaps, the most

complicated set-wise that we have yet had in the Doctor Who

series.

With the aim of reducing the possibility of a future delay of this

description, perhaps the designers could be made more aware of

this aspect of the problem.

Friday 20: The Keys of Marinus: The Sea of Death is camera rehearsed and recorded in Lime Grove D.

Monday 23: David Whitaker briefs the Copyright Department to

commission from writer Louis Marks a storyline for a possible

'miniscules' story to replace Robert Gould's.

Thursday 26 : Whitaker sends Donald Wilson a memo refuting a charge made by Gould that Terry Nation's script for The Screaming Jungle, the third episode of The Keys of Marinus, plagiarises his idea for a story about a planet where plants treat people the way

that people normally treat plants. Whitaker sets out the key stages

in the development and writing of Nation's story and continues:

I spoke to Terry Nation this morning on the telephone and a

summary of his words is as follows:

That the conception of an episodic serial (three or four different

adventures in one serial) arose from combined discussions.

That episode one was entirely his creation, with only minor

suggestions.

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That episode two arose out of combined discussion - the

'throwing' of ideas back and forwards.

That episode three began with a suggestion from me that he

wrote a 'House that Jack Built' story - some house or place that

was full of booby-traps. Since episodes one and two had been

basically interior sets, he wished to tell a story more 'out in the

open' to give the designer a chance for different settings. It was

his own idea to speed up Nature's process and have some of our

principal artists battling with vegetation rather than with alien

people.

Episode four started with an idea from me to change the climate

(from the hot jungle of episode three to a snow region). The rest

came out of general discussion.

Episodes five and six arose out of general discussion, although

episode six was totally the author's.

Terry Nation is prepared to write to you himself with the

relevant dates in confirmation of this, if necessary.

In conclusion, I can only say that Robert Gould at no time

discussed his idea in any detail with me. My reaction after our

meeting on 4 February was to repeat his 'plants treating people

as people treat plants' comment to Miss Lambert, who agreed

with me that it might be too near The Day of the Triffids by John Wyndham but that we would wait to see the storyline.

Friday 27: The Keys of Marinus: The Velvet Web is camera rehearsed and recorded in Lime Grove D.

APRIL 1964

Thursday 2: David Whitaker briefs the Copyright Department to

commission from Dennis Spooner the six scripts for his French

Revolution story, now entitled The Reign of Terror.

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Friday 3: The Keys of Marinus: The Screaming Jungle is camera rehearsed and recorded in Lime Grove D. Severe problems are

encountered with the scenery during the recording of this episode.

James Mudie later puts this down to lateness of the design draw-

ings, which was due in turn to lateness of the scripts.

Tuesday 7: Verity Lambert sends Donald Wilson the following

memo:

As we discussed, I would like to put forward the following

suggestion for a break in transmission of Doctor Who for the six weeks of 1 August to 5 September inclusive.

We would, of course, continue recording Doctor Who during

this period and, therefore, when transmissions commenced again

on 12 September, we would be ten weeks in hand. This would

mean that, if the series should continue for the following year,

we would be able to have a break in recording of five weeks

after 23 October (Week 43), and we would commence recording

again in Week 48 with five weeks in hand.

For the six weeks that we are not transmitting Doctor Who, we

will provide a six part serial at approximately the same budget as

Doctor Who to be recorded from Weeks 27 to 32 inclusive.

David Whitaker and I are, at present, discussing ideas for this

and we hope to let you have something definite by the end of

next week.

Monday 13: Two days' shooting of film inserts for The Aztecs begins at Baling.

Tuesday 14: David Whitaker sends Verity Lambert a memo

setting out his ideas for the second season of Doctor Who, on the assumption that the series 'will be renewed for a full 52 week

period':

The first thing of importance to say is that the fewer writers we

employ the better. It is quite obvious that Terry Nation, for

example, has improved his approach to the serial and to the four

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running characters, although he had to write his second serial

very speedily. I think a nucleus of writers would ensure that the

characters did have growth and added dimension.

This is the way I suggest the future 52 weeks to be set up:

Serial A

Past

Spanish Armada

6 parts

Serial B

Future

(Possibly Malcolm Hulke)

6 parts

Serial C

Past

Egyptian

4 parts

Serial D

Future

6 parts

Serial E

Sideways

4 parts

Serial F

Future

(Possibly Tony Coburn)

6 parts

Serial G

Past

American Civil War

6 parts

Serial H

Future

4 parts

Serial I

Past

Roman

4 parts

Serial J

Future

6 parts

What I suggest is this. That at some time in the summer when

the plans are clear, we ask two or three writers to attend a

planning conference. That we discuss which characters are going

to continue in Doctor Who\ the way they are to develop; and the subjects we would like treated. (Obviously the above list is

merely a suggestion.) Then I think we should put authors' names

beside certain serials and in this way we can have a grand plan

of operations. Writers will be able to see a year's work ahead of

them and will know in plenty of time what their delivery date

situation is, and their subject, and finally it will be very much

easier to devise the ending and the beginning of new serials

when the writers are able to co-operate with each other. At the

moment I am entirely responsible for the linking of one serial

into another, and while this may work well enough T feel that

the more original ideas we have the better. If we are

guaranteeing a year's work in the shape of, say, a promise of two

serials to a writer, then he is going to be prepared to contribute

ideas to the project as a whole.

I recommend that we make Terry Nation the senior writer,

insofar as future subjects are concerned. He has worked very

well for us and his writing is obviously improving. His figures

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are certainly the highest so far of all the writers and my

suggestion is that he be offered three serials in the new 52

weeks. Secondly, I suggest that there be a senior 'past' writer

who is offered two serials. This will then leave five serials only,

and I suggest that they are split up between no more than four

writers.

As you can see from my list above, I have suggested places

where we can use scripts we have bought, like the Malcolm

Hulke future serial, and Tony Coburn's robot serial.

Wednesday 15: Evelyn M. Thomas, designated Editorial Assistant

Publicity, sends the BBC's Publications Executive a memo

confirming that, 'subject to the usual agreement being reached

concerning the BBC's right to approve content and format,' there is

no objection in principle to a proposal from Souvenir Press Ltd to

publish a Daleks Annual, based on contributions from Terry Nation and BBC illustrations, or to the proposal from Frederick Muller

Ltd to produce Dr. Who and the Daleks, written by David

Whitaker based on Terry Nation's scripts. The Head of Films

Television has agreed that reasonable facilities may be granted to

Souvenir Press to view telerecordings of episodes and arrange for

stills to be taken from them.

These are just the first of many product proposals which will

soon see a whole host of Doctor Who-related and, in particular, Dalek-related merchandise appearing in the nation's toyshops.

Thursday 16: Donald Baverstock sends Donald Wilson the fol-

lowing memo regarding the continuation of Doctor Who beyond its initial 52 week production run:

Present commitments, as I understand them, commit us to

transmission of Doctor Who until the end of October this year.

Provided you can assure me that, after a full examination of the

problems ahead, you will find it possible to obtain a sufficient

variety of good new storylines, I am willing to agree in principle

that Doctor Who should continue for three months beyond the

end of October. In contracting the four artists for this period I

suggest you should also obtain options at the same fees for a

further three months.

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Friday 17: The Keys of Marinus: Sentence of Death is camera rehearsed and recorded in Lime Grove D.

Monday 20: BBC2 begins transmission.

Friday 24: The Keys of Marinus: The Keys of Marinus is camera rehearsed and recorded in Lime Grove D.

Tuesday 28: Kenneth Adam, now promoted to the Director of

Television, sends a memo to Stuart Hood, the new Controller of

Programmes for Television, conveying the concerns of fellow

members of the BBC's Board of Management about the direction

Doctor Who is taking:

The 'creepiness' is laid on rather thick and there are so many

refugees from Attica or, if you prefer, the Eisteddfod wandering

about. If it is to survive, it needs a touch of discipline -

especially in the writing; they couldn't really be so stupid by

now as always to split up the way they do when danger

threatens. Even my 3½ year old grand-daughter remarked on it

on Saturday.

Hood subsequently passes a copy of this memo on to Sydney

Newman, and Newman raises the matter with Donald Wilson.

Thursday 30: John Mair responds to a request from Joanna Spicer

for recommendations regarding 'the Studio D situation with

particular reference to Dr Who.' He explains that there are two problems currently faced by the production: first, the studio is to be

taken out of service from 1 to 16 August inclusive to allow for

work to be carried out on the sound equipment and to meet

requests from the electricians' trade union for improved ventilation

at studio gallery level; secondly, the lack of storage facilities for

technical equipment means that space has to be allowed for this on

the floor of the studio itself, leading to setting and rigging

difficulties and potential union demarcation disputes.

Mair goes on to note that Doctor Who's claim to one of the big Television Centre studios has previously been thought unjustified,

but that he undertook some time ago to try to transfer it to the

Centre during the summer months due to the excessive heat in

Studio D.

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Consequently the series is due to be in TC4 for the six Fridays

from 7 August to 11 September inclusive. Donald Wilson has also

agreed that it can be moved into Lime Grove G for the four weeks

prior to that, and Mair is hopeful that Verity Lambert will be

prepared to accept this studio on a longer-term basis. The series

could be moved to a larger studio if an exchange could be arranged

with another show which similarly recorded just one day a week,

but the only shows which follow that pattern are situation

comedies and BBC2's Thriller serial, which are unsuited to being made in Studio D. He concludes:

Given all these complexities, my recommendations would be:

a) that we make TC3/4 available to Dr. Who in the immediate

future as and when possible, and subject to a guarantee that no

last minute move will be made later than four weeks before

production;

b) that we put Dr. Who into G and then TC3/4 as already agreed up to Week 37; and

c) that we review the whole position in the light of autumn needs

(which will by then be more clearly known) about two months

before Dr. Who is due to move out of the Centre in Week 38,

unless we can do so earlier.

MAY 1964

Friday 1: The Aztecs: The Temple of Evil is camera rehearsed and recorded in Lime Grove D.

Wednesday 6: Donald Wilson sends Sydney Newman the follow-

ing response to Kenneth Adam's memo of 28 April:

I myself have been concerned about D.Tel.'s [Adam] points,

particularly his last one, and some three weeks ago I urged on

Verity the necessity for making sure a) that our leading charac-

ters don't appear to be simply stupid and b) that the thrills should

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genuine and lead directly out of a strong situation and not be

added for kicks. When I last spoke about this serial to you if you

remember I made the point that the kind of writers with the

necessary invention are not always necessarily the best in terms

of characterisation and dialogue, but we must keep trying.

I made a copy of D.Tel.'s note and will make sure that both

Verity and David Whitaker see it.

Friday 8: The Aztecs: The Warriors of Death is camera rehearsed and recorded in TC3.

Sydney Newman sends Stuart Hood the following memo about

;he points raised by Kenneth Adam:

Donald and I were on to this three or four weeks ago and rather

forcefully brought these to Verity's attention. The scripts are what

is difficult!

Wednesday 13: Verity Lambert sends Donald Wilson a memo

commenting on John Mair's suggestion that Lime Grove G could

become Doctor Who' s regular studio. She informs him that neither The Aztecs nor The Sensorites could be made there as they will require large composite sets and cannot be radically rewritten at

this late stage. Although Studio G is larger in area than Studio D, it

is long and narrow in shape and therefore accommodates only

simple box sets. This makes it unsuitable for a drama series like

Doctor Who, which depends greatly on having solid and sizeable sets - particularly for the historical stories. She concludes:

If we were to move into Studio G, which certainly is inadequate

for our design requirements, we would have to impose even

more severe restrictions on our writers than we are doing at the

moment. I can only say that this will obviously be detrimental to

the series as a whole.

As you already know, I am certainly not in favour of staying in

Studio D, even if we are allowed to do so. The restrictions in D

involve technical facilities and working conditions. We have

struggled along for six months in this studio and have made

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compromises of all kinds. The sound equipment is inadequate,

old-fashioned and worn out. The cameras do not take any wide

angle lenses or any zooms. The lighting equipment makes life

almost impossible for the lighting supervisor and, because of the

heat, unbearable for everybody else in the studio.

Friday 15: The Aztecs: The Bride of Sacrifice is camera rehearsed and recorded in TC3.

Tuesday 19: Three days' preliminary rehearsal begins for The Aztecs: The Day of Darkness. (The rehearsal room has been closed on Monday 18 as it is Whit Monday.)

Wednesday 20: Sydney Newman sends Donald Baverstock a

memo in which he outlines the problems currently facing Doctor

Who and proposes a six week break in transmission after the

conclusion of The Sensorites on Saturday 25 July:

(1) The contracts of the main lead characters expire on 24

October. It is urgent that we renew on the basis of run-of-

programme. In short, they should be contracted for as long as the

programme continues, subject to our giving them between six

and twelve weeks' notice. May I urgently request that you agree

with this on the understanding that we will continue Dr. Who

until such time as you give us warning that it should stop - such

warning to be as short a period of cancellation time as we can

negotiate with the four stars.

(2) On the assumption that you agree generally with the above it

is proposed that we stop producing Dr. Who for six weeks at the expiry of the present contracts. Since this comes at very much of

a peak time of the year, I would like to recommend that we take

Dr. Who off the air from Weeks 32 to 37 inclusive, but continue the recordings to enable programmes to continue from the

resumption in Week 38 during the winter months.

Relating to an earlier conversation on this problem, we have

found it impossible to plan the production of another serial to fill

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Production Diary

in the six-week summer gap, due largely to the shortage of

studio facilities and production staff.

(3) The most vexing problem of all is studio facilities. Studio D

has worked against the best interest’s of Dr. Who, has tired the cast, has not allowed for sufficient camera rehearsal, the heat is

unbearable, it has no proper technical gimmicks, and so on. At

any rate, I understand the deficiencies of the studio have been

recognised and it is being withdrawn for use as a drama studio.

Studio G, because of its somewhat ridiculous proportions, is

unacceptable. Riverside 1 or the Television Centre studios are

what remain as being suitable. I have gone into the question of

seeing what single play series or weekly series can be switched

about to make room for Dr. Who and have come to the

irrevocable conclusion that none can. Unless the proper studio

can be allocated for Dr. Who from Week 38 (the start of The Return of the Daleks) I think it would be better that I

recommended its cancellation. I can't bear to see this potentially

marvellous programme go down the drain through inadequate

support.

In general, Donald, I am proposing going off the air for six

weeks in the summer in order to achieve a six-week break in the

autumn. This will enable us to lick our wounds, consider the

future with possible changes in cast, script, etc. so that we can

go on with the series with more promise than any idea we have

yet thought of.

Baverstock subsequently approves a break in transmission, but

stipulates that this must last for only four weeks and start from

week commencing 12 September (Week 38) rather than from week

commencing 1 August (Week 32). Dennis Spooner's French

Revolution contribution, The Reign of Terror, will therefore form the closing story of the first season rather than the opening story of

the second. Baverstock is furthermore unwilling to renew the series

on an indefinite basis, agreeing only that it can continue transmis-

sion up to the end of January 1965.

Over the next few weeks, the production team discuss this

situation and convey their thoughts to Donald Wilson. They have

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been considering making changes to the series' format and cast

fen-its second year- in particular, they have been thinking of

dropping the character of Barbara, thus reducing the number of

regulars from four to three, and replacing Susan with another,

younger girl - but Baverstock's indecision over the series' long-

term future raises doubts as to whether or not this is worthwhile.

Wilson summarises these considerations in the following

discussion document:

We intend to continue recording until Week 43, then break

recording for four weeks. This arrangement puts back our final

transmission date of the current programme to Week 51 so only

one more six-part serial will be required to take us up to the end

of January. It is quite clearly not worth rethinking in terms of

cast or format for one more six-part serial. I doubt even if the

break in recording is necessary after Week 43. Moreover, there

is no point in obtaining new scripts beyond the present limit

unless and until we have decided on any changes in format and

cast. One of our troubles has always been (from a design point

of view) in getting scripts early enough. If we are to make

changes starting with the first recording date of the new series,

which date is in Week 48, i.e. week commencing 21 November,

we must have the scripts for the first new serial completed by 1

October. I estimate, therefore, that the latest commissioning date

for this serial... must be not later than 7 July. At this date we

shall have the artists engaged only up to the end of the present

recording period, namely 23 October.

If we are to lose any members of the cast - and our present

thinking is that we may well drop the Jackie Hill character

altogether and replace Carole Ann Ford with another younger

girl - this must be decided upon in time so that we can write into

The Return of the Daleks serial (the last in the first year's

programme) the scenes which will make these changes work

from then on. This serial is at present being written by Terry

Nation and he is naturally anxious for an early decision.

In short, if we are to continue only to the end of January we will

not make any changes in format or cast because it won't be

worthwhile. If we are to change the format and cast we must

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decide to do so not later than 7 July.

Wilson is in one respect mistaken in this memo: the number of

episodes required to take transmission up to the end of January

1965 would be seven, not six.

Thursday 21: John Mair sends Joanna Spicer a further memo

about Doctor Who's studio allocation. He begins:

As spoken, in discussion with H.Serials.D.Tel. [Wilson] yester-

day he explained that Serial G of Dr. Who (production Weeks

22-27) is really too close to be rewritten for Studio G.

He is having difficulty in any case with one or two of the

storylines and he would prefer to accept D in certain weeks,

even given the problems there, than to risk further disruption by

trying to get the whole rewritten in terms of sets.

On the other hand, I am sure we must not because of union

problems leave it in D any more than is essential. I have

therefore said that I would recommend:

Weeks 22, 23

TC3

Week 24

D

Week 25

TC4

Week 26

D

Week 27

D unless, as seems possible, the producer

can manage G for this particular

production. This she will confirm.

You accepted that in the circumstances we should work on this

basis.

Mair goes on to note the previously-agreed arrangement that the

first four episodes of Serial H - The Reign of Terror- will be made in Studio G and the other two in TC4, and that all four episodes of

Serial J - the 'miniscules' story - will be made in the latter.

The scripts for the four-part 'miniscules' story have now been

commissioned from writer Louis Marks. It is known for a time

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simply as The Miniscules, but is later given the title Planet of Giants.

Friday 22: The Aztecs: The Day of Darkness is camera rehearsed and recorded in Lime Grove D.

Friday 29: The Sensorites: Strangers in Space is camera rehearsed and recorded in TC3.

JUNE 1964

Thursday 4: Discussions have been continuing over the past

fortnight with regard to Doctor Who's long-term studio allocation.

Sydney Newman has asked Donald Wilson and Verity Lambert to

consider the possibility of using the small Television Centre studio

TC2 and compensating for the reduction in space by recording

each episode over two days rather than one (an idea first proposed

as early as the end of May 1963). Lambert sends Wilson a memo

pointing out that this would mean spending one day shooting on a

large composite set and the other on all the more minor sets,

therefore doubling the number of occasions on which scenery had

to be put up and taken down in the studio. She adds that under the

terms of the BBC's agreement with the actors' union Equity it

would mean paying some £250 extra in fees to the cast for each

episode. It would also necessitate an increase in camera rehearsal

and recording time. She ends:

The above-the-line costs of a two-day operation are, in fact, not

great, but I think that the below-the-line costs will be quite

considerable.

My own feelings are that this would be a very unsatisfactory

way of doing Doctor Who from both a monetary and an artistic

point of view.

It is subsequently agreed that Doctor Who will continue to be

recorded one day per week and that Studio 1 at Riverside will be

made available for it from the start of The Return of the Daleks.

Friday 5: The Sensorites: The Unwilling Warriors is camera 260

Production Diary

rehearsed and recorded in TC3.

Friday 12: The Sensorites: Hidden Danger is camera rehearsed and recorded in Lime Grove D.

Monday 15: Doctor Who's first ever location filming takes place.

The filming consists of some silent inserts for The Reign of Terror of the Doctor walking towards Paris. The Doctor, seen only from a

distance, is played by Brian Proudfoot, who has spent most of the

previous Friday learning to imitate William Hartnell's walk.

Tuesday 16: Three days' shooting of film inserts for The Reign of Terror begins on Stage 3A/B at Baling. The first two days are devoted to live action work and the third, Thursday 18 June, to

model shots of a farmhouse burning down for the end of the first

episode.

Friday 19: The Sensorites: A Race Against Death is camera rehearsed and recorded in TC4.

Friday 26: The Sensorites: Kidnap is camera rehearsed and recorded in Lime Grove D.

JULY 1964

Friday 3: The Sensorites: A Desperate Venture is camera rehearsed and recorded in Lime Grove D.

Saturday 4: No episode of Doctor Who is scheduled for this evening as the sports programme Grandstand is extended to cover the cricket Test Match between England and Australia and the

finals of the Wimbledon tennis tournament. The gap between

recording and transmission is therefore restored to the position

before The Mutants: The Dead Planet had to be remounted.

Friday 10: The Reign of Terror: A Land of Fear is camera rehearsed and recorded in Lime Grove G.

This is the first episode since the pilot to feature sets designed by

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someone other than Barry Newbery or Raymond Cusick. Roderick

Laing has been brought in to handle The Reign of Tenor in order to ease the workload on the two regulars.

Friday 17: The Reign of Terror: Guests of Madame Guillotine is camera rehearsed and recorded in Lime Grove G.

Friday 24: The Reign of Terror: A Change of Identity is camera rehearsed and recorded in Lime Grove G. Director Henric Hirsch

collapses outside the studio control room shortly before recording

is due to begin, and John Gorrie is hastily brought in to take over

from him for the rest of the evening.

Thursday 30: One day's shooting of film inserts for Planet of Giants takes place at Baling.

It has now been over two months since Sydney Newman first

raised with Donald Baverstock the question of Doctor Who's long-term future, and still no decision has been taken. The start of the

series' second season has meanwhile been put back to 31 October,

three weeks later than originally planned. The production team

have concluded that, if there remains a real possibility of the series

being discontinued at the end of January 1965, a four part story

will be required for transmission after Planet of Giants and The Return of the Daleks. This presents them with a number of

difficulties, not least of which is that there is no four-part story

currently commissioned; they have been thinking of using

Malcolm Hulke's The Hidden Planet, now rewritten as a five-

parter, to launch the new production block.

The production team have now abandoned the idea of writing

Barbara out of the series but still intend to replace Susan with

another, younger girl. To this end they have prepared a document

headed 'Proposed Elimination of Susan from Doctor Who Series'

which describes a possible plot scenario.

Friday 31: The Reign of Terror: The Tyrant of France is camera rehearsed and recorded in Lime Grove G.

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Production Diary

AUGUST 1964

Monday 3: The regular venue for the series' rehearsals changes to the London Transport Assembly Rooms, a training establishment

opposite Television Centre, as the Drill Hall at 239 Uxbridge Road

has been criticised by cast and production team alike for its poor

facilities.

Thursday 6: Verity Lambert sends the Serials Department Organ-

iser a memo with the heading 'Renewal of Artists' Contracts for

Doctor Who' in which she points out that the need for a decision on Doctor Who's long-term future is becoming increasingly pressing: If we could get an OK for a further thirteen weeks from 2

January, I would at least be able to take out contracts for thirteen

weeks with an option for a further thirteen. I have a feeling that, if

we wait for much longer, we will find ourselves in the position of

losing our artists, which can only lead to a certain amount of chaos

at the end of our next serial.

We will not be renewing Carole Ann Ford's contract, but I

would like to retain the other three principals. I therefore would be

most grateful if we could have a decision on the continuance of

Doctor Who as soon as possible.

Friday 7: The Reign of Terror: A Bargain of Necessity is camera rehearsed and recorded in TC4.

The recording of this episode is covered by a film crew working

on a documentary called Short Circuit - The Park.

Tuesday 11: Verity Lambert follows up her memo of the previous

Thursday by preparing the following discussion document:

NOTES

On the effect of not having a decision as to whether we continue

after the end of January.

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Doctor Who – The Handbook – The First Doctor

1. If we continue to the end of January, we have to provide a

four week serial, since the last transmission of the Daleks is on 2

January.

a) I really do not see what kind of an approach I can make to

artists' agents at this point on the basis of a four week extension.

b) William Hartnell has already had an offer. William Russell's

agent is going ahead on the understanding that his client's

contract finishes on 23 October. The best offer I can make at this

point is a four week extension with no guarantee of the serial

continuing thereafter.

CONCLUSIONS:

If a four week extension is the best that Baverstock can offer us,

I feel that we should terminate Doctor Who at the end of this

present series.

2. We had intended to write the character of Susan out, and this

has been done in the Dalek serial, the first recording of which is

on 18 September. Filming for this serial takes place on 23

August to 28 August. If we are only continuing for four weeks,

or if we finish at the end of this series, there does not seem to be

any point in writing Susan out.

a) We, therefore, have to rewrite the serial which goes into

production in five weeks' time.

b) If the series is to continue, we have to develop a character in

this serial which we intend to take Susan's place. This means

that, in the next week to ten days, we have to look for and cast

somebody who, to all intents and purposes, may continue at least

for six months next year. We cannot approach any artist on the

basis of a six weeks' engagement if, in fact, we are intending a

six months' engagement. We, therefore, have to take out options.

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Production Diary

CONCLUSIONS:

If we do not have a decision within the next two weeks as to at

least a thirteen week extension, we will not be able to write

Susan out and we will be stuck with the prospect of renewing

her contract for next year when we have no desire to do so. The

best we can do under the circumstances is to write the part of the

new girl out of the present serial. This will involve considerable

rewriting and it will also present us with the problem of

introducing the new girl.

3. We also have the problem of commissioning a four pan serial

when we do not want to. We have a five part serial which we

would have put in. It means that we have now the prospect of

commissioning a serial in which we may have to introduce the

new girl or we may not have to introduce the new girl: we may

have to write in the part of Susan or we may not have to write in

the part of Susan.

The information for this serial will be required eight weeks

before our first recording date, which is scheduled for Week 50,

i.e. 4 December 1964. This means that the information for the

serial will be required at the latest by 12 September. This, of

course, means commissioning it now.

I think this is an absolutely insoluble problem unless we can get

a decision one way or another.

Wednesday 12: Verity Lambert sends John Mair a memo summa-

rising the problems set out in her discussion document. She ends:

I am really not trying to force a decision on this, but I think it

would be a pity to jeopardise scripts if, in fact, there is any

intention at all to carry on Doctor Who after the end of January.

John Mair subsequently sends Donald Baverstock a memo describ-

ing the problems put to him by Verity Lambert and concluding:

There appear to be three possible lines you could take.

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a) You could stop transmission after Serial K, in Week 1. This

would save possible contractual trouble with the artists, but

would mean rewriting Serial K at short notice to make it suitable

for a 'farewell' one. Replacement would be difficult at such short

notice.

b) You could stop at end January. This would involve the

problems described above.

c) You could continue to end March.

My own feeling is that an equivalent audience-puller will be

difficult to find and a new series in any case unwise to launch in

the middle of a winter when audience figures are particularly

important, and that Dr. Who should now go on till end March.

(Sample audience figures are attached. The series is doing less

well than it did during last winter, but the drop may be at least

partly seasonal.)

The search for a replacement should begin now, so that you are

able to make a choice by say November/December on what to

put in after March 1965.

Mair also sends Sydney Newman a memo briefly outlining the

problems. He explains that Baverstock would like the cast's

existing contracts to be extended by four weeks but that 'Verity

Lambert is afraid that the agents will either ask exorbitant sums or

refuse.' He adds that he has asked Lambert to get the agents'

reactions, after which he will report back to Baverstock.

Thursday 13: A further day's shooting of film inserts for Planet of Giants takes place at Baling.

Friday 14: The Reign of Terror: Prisoners of Conciergerie is camera rehearsed and recorded in TC4.

Donald Baverstock has a meeting with Verity Lambert in which

he finally agrees to renew Doctor Who for thirteen weeks, with the possibility of a further thirteen after that. Later the same day, he

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sends her a memo recording the outcome of the meeting. With

regard to the regular cast, he notes:

I agreed that you should renew contracts for three of the

principals (and negotiate a new one for the artist who will now

play the fourth) for a further thirteen weeks, with an option on

thirteen more beyond that. This will take transmissions to 21

March. It is important that you should not assume the necessity

for an automatic increase in fees. Negotiations should aim

initially at no increase. If increases are demanded, I would like

to be informed so that I can decide whether or not to agree

them...

No plans should be made, please, which might involve commit-

ment to productions beyond these thirteen (other than options for

us to decide) without prior discussion with me.

Music for episodes one and two of Planet of Giants is recorded.

Monday 17: Following Donald Baverstock's agreement to renew

Doctor Who for at least thirteen weeks, Verity Lambert chooses actress Pamela Franklin to replace Carole Ann Ford as the series'

fourth regular cast member. Franklin is to be introduced in Terry

Nation's Dalek story, now retitled The Dalek Invasion of Earth,

playing a human resistance fighter named Jenny (originally called

Saida), who will be befriended by the Doctor's party and stow

away on board the TARDIS at the end of the story.

Lambert sends Head of Artists' Bookings Pauline Mansfield-

Clark a memo asking her to offer William Hartnell, William

Russell and Jacqueline Hill new contracts on the basis agreed by

Baverstock, and to offer Pamela Franklin a contract on the same

basis but also covering the six episodes of The Dalek Invasion of

Earth. She requests that Mansfield-Clark let her know if the

established regulars' respective agents demand an increased fee, or

if Franklin's agent asks for a higher fee than Carole Ann Ford's.

Wednesday 19: Lambert sends Baverstock a memo reporting the

outcome of the approaches made to the regulars' agents:

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Doctor Who – The Handbook – The First Doctor

WILLIAM HARTNELL has turned down the offer completely.

He would like a six months' contract with no options at 250

guineas per episode. This is 25 guineas more than he is getting at

the present time.

WILLIAM RUSSELL'S agent is away on holiday. In his

absence, the contract for thirteen with an option of a further

thirteen would be acceptable on the following terms: William

Russell feels that his fee should be brought into line with

William Hartnell's. He is, at the present time, getting 150

guineas a week and this would mean a raise in salary of

approximately 75 guineas.

JACQUELINE HILL would accept the offer of thirteen pro-

grammes with an option of a further thirteen at a salary of 200

guineas per episode. Her present salary is 105 guineas per

episode and this would mean a raise of 95 guineas (I think there

would be some room for negotiation in this particular case).

We have not tried to negotiate on any of the above. As you can

see, it would mean a considerable increase in money.

Baverstock calls a meeting with Lambert to discuss the situation

and then sends her the following memo recording his reactions:

1) That as a first step you should talk with the three principals

and mention that if they were to hold to their demands for such

very large increases, you might have difficulty in recommending

a continuation of the series beyond January, with the same cast.

Of the three, Hartnell and Russell would be more valuable to

you than Jacqueline Hill. But you thought it possible that none

of them might prove indispensable. If the two men were to show

willingness to sign again for their present fees (or with only a

nominal increase), I mentioned to you that I would be willing to

consider a commitment for six months, rather than for three with

an option for three.

2) That I would agree to face the replacement of Dr. Who for a period of six weeks, from 2 January, with another short serial

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(preferably science-fiction) if you would need this time to

restore Dr. Who with a totally new or partly new group of

principals after the end of the run which finishes in January.

3) That it would be unwise to attempt to establish the new girl as

a permanent member of the cast in the last episode of the present

series already booked.

Baverstock goes on to inform Lambert that he has decided, on

reflection, that it would be wrong of him to act as her adviser 'on

matters of negotiations and of such professional details', and that

she should consult instead with Elwyn Jones, the BBC's Head of

Series. Jones is currently deputising for Sydney Newman as both

Newman and Donald Wilson are away from the office on holiday.

Later in the day, Lambert has a discussion with Jones and then

sends him the following memo:

After careful consideration, I have decided, based on the premise

that we can get permission to continue Doctor Who for six

months, that it would be best to meet William Hartnell's demand

for six months' contract at 250 guineas per episode.

As far as William Russell and Jacqueline Hill are concerned, we

will try and negotiate contracts with them on the basis of a

nominal rise of between £ 10 and £20 per episode. If this is not

acceptable, we will write these two artists out at the end of the

present series.

Bearing in mind that negotiations with the latter two artists may

take a little time, I think, if we could keep the six weeks' break

which Chief of Programmes BBC 1 agreed with me this

morning, this would alleviate the situation as to commissioning

future scripts.

Thursday 20: Verity Lambert, director Richard Martin and a

group of Daleks spend the morning visiting well-known London

landmarks - including the Planetarium and Westminster Bridge

with the Houses of Parliament in the background - for a press

photocell.

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Lambert later has a further discussion with Elwyn Jones about the

situation regarding the regular artists* contracts. Jones supports

most of the proposals she has made, but is unwilling to recommend

a six-week break in transmission after The Dalek Invasion of

Earth. Instead, he suggests that if William Russell and Jacqueline Hill have to be written out, William Hartnell should carry the main

burden of the action on his own for three or four episodes. Lambert

confirms that this would be possible and Jones then conveys their

conclusions in a memo to Donald Baverstock, recommending that

he now 'concede the existence of this programme for six months

rather than for three with an option for three.'

In the light of the decisions already taken, Lambert has by this

time requested that The Dalek Invasion of Earth be rewritten so that Jenny is no longer established as a regular character but

relegated to a more minor, one-off role (which will eventually be

played by actress Ann Davies). The new regular will now be

introduced in the first story of the new production block, but

Pamela Franklin is no longer in the running for the role.

Friday 21: Planet of Giants: Planet of Giants is camera rehearsed and recorded in TC4.

Elwyn Jones sends Verity Lambert a memo informing her that

Donald Baverstock, in accordance with the recommendation put to

him the previous day, has now agreed to renew Doctor Who for six months, rather than for three with an option for three as before.

Sunday 23: Six days pre-filming begins for The Dalek Invasion of Earth.

Monday 24: Four days' preliminary rehearsal begins for Planet of Giants: Dangerous Journey.

Verity Lambert sends Head of Artists' Bookings Pauline

Mansfield-dark a memo informing her of the decision taken by

Donald Baverstock the previous Friday and asking her to negotiate

contracts with Jacqueline Hill and William Russell on the basis

that they can be offered a raise of between ten and 25 guineas per

episode each, but no more. She adds:

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As far as the options are concerned, we will leave it to you to do

the best deal you can with their agents, but I am not averse to

tying them both up for 26 weeks with no option.

Lambert also writes to Donald Wilson at his holiday home in

Southwold, Suffolk, to inform him of the conclusions reached

'after the dramas of the last ten days'. She apologises for having

disturbed him in the middle of his leave, but notes that 'things were

a bit fraught here'.

Tuesday 25: Music for episodes three and four of Planet of Giants is recorded between 6.30p.m. and 10.30p.m. in studio 2 at Maida

Vale.

Friday 28: Planet of Giants: Dangerous Journey is camera rehearsed and recorded in TC4.

Monday 31: David Whitaker, now starting to look for stories to

use in the series' second production block, briefs the Copyright De-

partment to commission from writer Dennis Spooner the scripts for

a four-part historical adventure entitled The Romans.

SEPTEMBER 1964

Friday 4: Planet of Giants: Crisis is camera rehearsed and recorded in TC4.

Friday 11: Planet of Giants: The Urge to Live is camera rehearsed and recorded in TC4.

Monday 14: Camera tests are held at 11.15 a.m. for the role of the new companion to replace Susan. The two actresses under consideration are Maureen O'Brien -one of whose former teachers at the

Central School of Speech and Drama, now working at the BBC,

has brought her to Verity Lambert's attention - and Denise Upson.

The part eventually goes to the former. O'Brien has most recently

been working as one of the founder members of the Everyman

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Theatre in her native Liverpool. She is initially reluctant to accept

the Doctor Who role, but does so partly to be with her London-based boyfriend (later her husband).

Friday 18: The Dalek Invasion of Earth: World's End is camera rehearsed and recorded. This is the first episode to be recorded in

Doctor Who's new regular studio, Riverside 1.

Thursday 24: David Whitaker has by this time got down to work

in earnest on finding and commissioning stories for Doctor Who's

second production block. It has been agreed that he himself should

write the first of these, a two-parter which will introduce the

Doctor's new companion. An early name considered for the

character is Tanni, and Whitaker's draft scripts will bear the title

Doctor Who and Tanni before the story is subsequently renamed

The Rescue.

This story will mark Whitaker's own departure from the series'

production team, as he has now decided to move on to other work.

His successor is to be Dennis Spooner, whose The Romans is to be the second story of the new production block and who on 6 August

began a period of trailing Whitaker to 'learn the ropes' of the story

editor's job. Spooner has been working as a freelance writer since

the early fifties, when he abandoned an unsuccessful career as a

stand-up comic. His earliest TV scripts were for half-hour sitcoms,

but he has since gone on to work prolifically on a wide variety of

different shows including Hancock, The Avengers, No Hiding

Place and Gerry Anderson's puppet series Fireball XL5 and Stingray.

It has now been decided that Malcolm Hulke's The Hidden

Planet should be finally written off as unsuitable. Whitaker sends Hulke's agent, Harvey Unna, a letter in which he explains the

reasons as follows:

Considerable re-writing would be necessary because Carole Ann

Ford is leaving the cast, and I think also that the science-fiction

series that have been most successful in the past year have been

those with mechanical or alien monsters in them. Mac's idea is

based upon similarities of Earth and his invented planet. In the

future we would rather give the audience more monsters and

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more truly science-fiction creations.

I am sorry about this after all the hard work Mac has put into it

and, of course, it is not his fault that climates of opinion and

styles of approach change as a serial like Doctor Who

progresses.

Another story rejected by Whitaker on this date is The Slide by a young writer named Victor Pemberton.

Friday 25: The Dalek Invasion of Earth: The Daleks is camera rehearsed and recorded in Riverside 1.

Monday 28: David Whitaker briefs the Copyright Department to

commission from writer Bill Strutton a six-pan story entitled The

Web Planet. The target delivery date is 13 November 1964.

OCTOBER 1964

Friday 2: The Dalek Invasion of Earth: Day of Reckoning is camera rehearsed and recorded in Riverside 1. William Hartnell is

injured during camera rehearsals when the supports of the Dalek

spaceship's entry ramp, down which he is being carried on a

stretcher, suddenly collapse. He falls awkwardly on his spine and

for a while is paralysed, but x-rays show no permanent damage and

he recovers sufficiently to take part in the evening's recording. It is however agreed that he should be given the following week off to

recover fully.

Monday 5: Rehearsals begin for The Dalek Invasion of Earth: The End of Tomorrow, with William Hartnell absent. The episode is

rewritten so that the Doctor - to be played by stand-in Edmund

Warwick with his face out of vision - falls unconscious at the

beginning and plays no further part in the action.

Tuesday 6: Dennis Spooner briefs the Copyright Department to

commission from Terry Nation the scripts for a new six-part story

with which it is intended to conclude the second production block.

The target delivery date is 30 January 1965.

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Thursday 8: Verity Lambert is sent a memo by Christopher Barry,

who has been assigned to direct both The Rescue and The Romans.

Barry requests a planning meeting with the production team before

rehearsals begin; expresses the view that there has been

insufficient rehearsal in the past, and that he would like therefore

to rehearse from 10.00 a.m. to 5.00 p.m. each day during the

rehearsal period; and requests that the cast be asked to attend a

script conference before work starts in earnest on The Rescue.

Friday 9: The Dalek Invasion of Earth: The End of Tomorrow is camera rehearsed and recorded in Riverside 1.

Verity Lambert replies as follows to the previous day's memo

from Christopher Barry:

As far as I am concerned I am quite happy to have planning

meetings for the episodes you have prepared before you go into

rehearsal.

I think it is up to you to discuss with the actors a possible 10.00

a.m. to 5.00 p.m. rehearsal period. I do not think that they are

particularly against this. The only day that we have regularly had

an 11 o'clock start is Monday, as Bill Hartnell travels up from

the country on that day and cannot get to rehearsal before

11.00a.m.

I am afraid it is not possible to get the cast together for a script

conference before we go into rehearsal. They have been working

regularly for 52 weeks and I feel, from their point of view, they

must have a complete break away from the show.

I agree with you it is quite possible that we are, perhaps,

rehearsing too little. Most directors during the past few weeks

and months have not rehearsed on Thursday afternoons. The cast

have now got to feel that Thursday afternoon is an afternoon

free. However, this is not so and, if fact, should you wish to

rehearse Thursday afternoons, with them, they are being paid for

it.

As you know, we can, in fact, rehearse for six hours. If you are

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not with the actors till 11.30 a.m. or 12.00 a.m. on a Wednesday,

you have an extension till 7.00 p.m. There is no reason, in fact,

not to rehearse after the script conference (or to have a late run-

through, as discussed this morning).

Barry subsequently agrees that rehearsals can continue to begin at

11.00 a.m. on Mondays.

Friday 16: The Dalek Invasion of Earth: The Waking Ally is camera rehearsed and recorded in Riverside 1.

Tuesday 20: Verity Lambert sends Donald Wilson a memo in-

forming him that the total fees paid out to Malcolm Hulke for his

ultimately unused story The Hidden Planet amounted to £1,612

10s Od.

Donald Wilson sends Sydney Newman the following memo:

As spoken yesterday, I am arranging to reduce the four-part

serial entitled Planet of Giants to three parts. This is the

'miniscule' story with which we must begin our new season and I

am not satisfied that it will get us off to the great start that we

must have if it runs to its full length. Much of it is fascinating

and exciting but by its nature and the resources needed we could

not do everything we wanted to do to make it wholly

satisfactory. I would, of course, have preferred to start with the

Dalek serial but at the end of this one Carole Ann Ford is written

out and we cannot, therefore, have her appearing afterwards in

Planet of Giants.

Wilson goes on to say that, to makeup for the lost episode, the

Terry Nation serial with which it is planned to end the new twenty-

six week production block will be extended from six episodes to

seven. This idea will later be abandoned, however.

The reduction of Planet of Giants from four episodes to three is subsequently accomplished by the editing together of the final two

episodes, with around half the recorded material from each being

discarded.

A party is held in the Bridge Lounge at Television Centre to

celebrate the impending completion of the first 52 episodes.

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Friday 23: The Dalek Invasion of Earth: Flashpoint is camera rehearsed and recorded in Riverside 1. The recording overruns its

allotted time by some fifteen minutes, finishing at around 10.30

p.m. This is due partly to the fact that around twenty minutes has

to be spent resetting scenery during the course of the evening, and

partly to a number of problems which arise during recording of the

last few minutes of the episode: a brief camera failure; a longer

sound failure; a retake necessitated by William Hartnell fluffing

his lines in the final scene; and a further retake required to rectify

an unsatisfactory inlay shot.

This is Carole Ann Ford's last regular episode as Susan, and she

subsequently writes to Sydney Newman to express her gratitude

for having been given the opportunity to appear in the series.

Wednesday 28: Sydney Newman replies to Carole Ann Ford's

letter as follows:

Are you kidding - expressing your appreciation for appearing in

Doctor Who! Fact is, we are greatly indebted to you. You have done a fine job for us in the BBC and we are deeply appreciative

of your work.

May I wish you the very best of luck in your future career, and

hope to see you time and time again on the BBC screen in roles

other than that of the 'waif from Outer Space' (what a title!).

Saturday 31: David Whitaker's engagement as story editor for-

mally ends at this point as he completes his hand-over to Dennis

Spooner. Writers currently under consideration to work on the

series are: William Emms, who is due to meet Verity Lambert to

discuss his ideas; John Lucarotti, who may contribute another

historical story; Brian Hayles, who has had one submission re-

jected but been asked to submit another; Alex Miller, who has

likewise had two ideas rejected but been asked to try again; Hugh

Whitemore, a writer on the soap opera Compact, who is to visit the production office to discuss the possibility of submitting some

storylines; and Keith Dewhurst, a Manchester-based writer who

has been approached through his agent but has yet to respond.

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Also on the point of leaving the series' production team at this time

is Mervyn Pinfield. Verity Lambert is by now well able to cope

with the demands of the producer's job, and there is now no need

for an associate producer. Pinfield will however continue to be

credited on screen for the first two stories of the new production

block.

NOVEMBER 1964

Thursday 12: Verity Lambert sends Dennis Spooner, Mervyn

Pinfield and Christopher Barry a memo stating that the name now

decided upon for the new companion is Lukki (pronounced

Lucky). Aside from Tanni, other names previously considered for

the character have included Millie (which has been discounted be-

cause of possible associations with the That Was The Week That

Was comedienne Millicent Martin) and Valeric.

Friday 13: Christopher Barry returns to composer Tristram Gary three tapes of incidental music from The Mutants, two of which Gary has lent him and the other of which he has found in the

recording studio. Barry intends to re-use a number of pieces of this

music for The Rescue.

Monday 16: Two days' filming of model sequences for The

Rescue begins at Baling.

Tuesday 17: Two days' shooting of film inserts for The Romans begins on Stage 3 A/B at Baling. On the second day, Wednesday

18, the Doctor is played by stand-in Albert Ward, wearing a

Roman toga and with his face kept out of shot.

Friday 20: By this time the name of Maureen O'Brien's character

has been fixed as Vie lei.

Tuesday 24: Dennis Spooner has been carrying out extensive

rewrites on David Whitaker's scripts for The Rescue, and revised versions are now sent out to principal cast members.

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Wednesday 25: Raymond Jones's incidental music for The Ro-

mans is recorded at Broadcasting House. It is played by five

musicians, supplied by Alec Firman.

Friday 27: Verity Lambert's secretary, Valentine Spencer, sends her the following note reporting some grievances on the part of

two of the series' designers, Raymond Cusick and Spencer

Chapman (the designer of The Dalek Invasion of Earth):

Raymond Cusick would be most grateful if you would ring him.

He wants to talk about the exploitation of the Daleks. He is

'rather sore' about it, as he is not getting anything out of it.

He also told me that during rehearsal of Serial K, some people

came into the studio and tried to start measuring up the

Robomen's head pieces. Spencer Chapman found out they hadn't

got permission to do this and asked them to leave. Ray thinks

they may have been something to do with Press Department.

Design Department is worried about both the above and have

been having a Departmental meeting about these two things.

Cusick is later paid a bonus of £100 for having designed the

Daleks. He regards this sum as derisory.

DECEMBER 1964

Tuesday 1: A photocall is held to introduce Maureen O'Brien as

Vicki to the press.

Friday 4: The Rescue: The Powerful Enemy is camera rehearsed and recorded in Riverside 1. Sound recordings of Jacqueline Hill

screaming and of Ray Barren (as the character Bennett) delivering

the line, 'You can't come in!' are made at 3.00 p.m., as these are

required to be played in on tape during the episode.

Earlier in the year, David Whitaker approached John Wyndham

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to see if he would be interested in writing for the series, and today

his agent replies that he is too busy working on a book.

Friday 11: The Rescue: Desperate Measures is camera rehearsed and recorded in Riverside 1.

Wednesday 16: The six-part story commissioned from Terry

Nation on 6 October 1964 has been abandoned. However, Dennis

Spooner now briefs the Copyright Department to commission from

Nation a replacement story, again a six-pane r, featuring the

Daleks. The target deli very date remains 30 January 1965. The

story has the working title The Pursuers.

Friday 18: The Romans: The Slave Traders is camera rehearsed and recorded in Riverside 1.

Monday 21: Dennis Scuse, Ronald Waldman's successor as

General Manager of Television Enterprises, sends Sydney

Newman a memo informing him that the recent sale of Doctor

Who's first 52 episodes to CBC in Canada was placed in jeopardy by the substandard telerecordings made from the 405-line

videotapes:

As you may or may not know, we have recently concluded a

fairly substantial deal in Canada for the Dr. Who series. The

correspondence which I attach is largely self-explanatory and the

problems which are mentioned arise from a considerable amount

of low-key lighting used in the production. This is extenuated by

the inevitable degradation of tape transfer and 16mm

telerecording.

There may not be very much that can be done but I would be

grateful if these problems could be brought to the attention of

the producer and the situation borne in mind for the future.

I need hardly add that a success with Dr. Who in Canada could

be extremely lucrative not only directly but also indirectly

through merchandising activities.

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Wilson subsequently brings this memo to Verity Lambert's atten-

tion.

Tuesday 22: Lambert sends Wilson a memo about future plans for

Doctor Who. She notes that the last scheduled recording in the series' second, 26 week production block is due to take place on 4

June 1965, and the last scheduled transmission on 26 June 1965.

She goes on:

Should Doctor Who be continued after this date, I would like to suggest that we break transmission throughout July and August

This would involve nine weeks (Weeks 27 to 35 inclusive). We

could then start transmission again on 4 September 1965 (Week

36).

We could start recording on 30 July (Week 30), which would

give us five weeks in hand and a break of eight weeks in

recording.

I know that nine weeks seems a long break in transmission, but I

think that July and August are bad months from our point of

view.

JANUARY 1965

Friday 1: The Romans: All Roads Lead to Rome is camera rehearsed and recorded in Riverside 1.

Monday 4: Pre-filming begins for The Web Planet on Stage 2 at the BBC's Television Film Studios in Baling. It is scheduled to be

completed by Friday evening but overruns so that a number of

scenes have to be held over to the following Monday. The only

member of the regular cast required for the filming is Jacqueline

Hill. Most of her scenes are shot on Wednesday 6 January and the

remainder on the following day, and she is released from

rehearsals for The Romans: Conspiracy to enable this to be done.

Friday 8: The Romans: Conspiracy is camera rehearsed and 280

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recorded hi Riverside 1. The total cost of the episode is £2,383.

Monday 11: During the course of this week, Dennis Spooner

draws up a revised schedule for the series' second production

block, which indicates that the planned running order for the

stories after The Romans is now: The Web Planet (six episodes) by Bill Strutton; a historical story (four episodes) by David Whitaker;

The Space Museum (four episodes) by Glyn Jones; and Terry

Nation's new Dalek story (six episodes). No recordings are planned

for 25 December (Week 52) or for 2 April (Week 13), as these are

public holidays.

Shortly after this, the proposals in Verity Lambert's memo of 22

December 1964 to Donald Wilson are rejected. It is agreed instead

that the closing episode of Doctor Who's second season should be transmitted on 24 July 1965 and the opening episode of the third

on 11 September 1965, leaving a six-week break in between. The

series' second production block is to be extended from 26 episodes

to 35, with the last recording taking place on 6 August 1965, so

that there will still be five episodes in hand when the break occurs.

There will however be only a five-week break in recording, with

the first studio session of the third production block taking place

on 17 September 1965.

Friday 15: The Romans: Inferno is camera rehearsed and recorded in Riverside 1. The total cost is £2,221.

Thursday 21: Christopher Barry sends the following memo to

Raymond Cusick, who after The Romans is ending his regular

assignment as a Doctor Who designer:

Thank you for such lovely sets on Dr. Who. I hope you enjoy

your other work that you have now gone on to.

Don't breathe a word but there's a vague chance that I may do

another Dalek serial later in the year and if so I hope you would

not mind working on it if it can be arranged.

Cusick will later work on three further Doctor Who stories, all featuring the Daleks, but from this point onwards it will generally

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be the case that scenic designers are asked to handle stories on a

one-off basis rather than as part of a longer-term attachment to the

series.

Friday 22: The Web Planet: The Web Planet is camera rehearsed and recorded in Riverside 1. The total cost is £3,033.

Friday 29: The Web Planet: The Zarbi is camera rehearsed and recorded in Riverside 1. The total cost is £2,428. The recording

overruns its allotted time by sixteen minutes.

FEBRUARY 1965

Tuesday 2: Verity Lambert sends Serials Department Organiser

Terence Cook a memo explaining the reasons for the overrun on

the previous Friday's recording. After describing the seven retakes

required, she concludes:

This was an extremely difficult episode to do technically, in that

there had to be a tremendous amount of scenery in the studio,

and apart from the breaks necessary because of scene changes,

there was the added problem that we had not used the Zarbi,

except briefly in episode one, and it was impossible to tell until

we got into the studio the kind of difficulties we would run into

with dressing them and moving them from one scene to another.

As it turned out we had to put in sufficient recording pauses to

allow them to reposition from scene to scene.

Finally, I would say that this was probably the most difficult

episode of any we have attempted so far, and it certainly was the

most complicated one of this particular six.

Friday 5: The Web Planet: Escape to Danger is camera rehearsed and recorded in Riverside 1. The total cost is £2,196. This studio

day proves to be one of the most problematic since the series

began, and the recording overruns its allotted time by 37 minutes.

The start of camera rehearsals is delayed until 11.10 a.m. as two

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sets – the TARDIS laboratory area and the landscape of the planet

Vortis -have yet to arrive in the studio, and a third - the Zarbi's

Carsenome base - has yet to have its floor painted. This leads to

further problems as the lighting supervisor has been unable to light

the sets in advance and has to continue repositioning lights right up

to and even during the evening recording period. Further delays

occur during recording owing to a number of technical faults - one

camera breaks down altogether and has to be dispensed with - and

to the resultant nervousness of the cast.

Saturday 6: The Romans: Inferno is transmitted on BBC 1. This is the last episode on which Mervyn Pinfield receives a credit as

associate producer. The episode is followed by a short trailer for

The Web Planet, consisting of a compilation of shots from the

early episodes of the story and an accompanying voice-over.

Monday 8: Director Richard Martin sends Verity Lambert a memo

about the trailer transmitted the previous Saturday for The Web

Planet. He protests that, particularly in its use of long shots, it gave away too much, leaving him feeling 'like a conjurer about to do an

elaborate two and a half hour trick when all the audience know the

secrets already.' Lambert responds that she was responsible for the

way in which the story was promoted, and that it was 'done with

the specific purpose of taking the curse out of the Zarbi'; i.e.

making them seem less horrific.

Tuesday 9: Lambert sends Martin the following memo headed

'Rewrites':

I am very concerned about the amount of line changing that is

going on during rehearsal of Dr. Who scripts. I am not against rewrites, particularly if they improve the finished product. If,

however, artists are continually changing lines purely because

they can't remember what they are supposed to be saying this

does not end up as an improvement. I feel that it is your

responsibility as a director to exercise control over this.

We have a reading on Wednesday, at which major points should

come up. Odd line changes should take place on the Monday

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when you are blocking the show. By the Monday evening, save

in exceptional circumstances, the script should be set and no

changes should be made after that time. In this way the artists

have a chance of learning their lines and going into the studio in

control of the situation. If you allow them to keep on changing

lines they will do so, and we have nobody but ourselves to

blame if they don't know the script. As you know, Dennis is

always available to come down to rehearsal for rewrites, and if

you do have major problems of course he can come after the

Monday, but in general all script changes should be made by

Monday evening.

This note is for you to act on as you think fit, but I would

strongly advise against making any kind of general

announcement of its contents to the cast; as you know already,

this only causes unpleasantness. I suggest possibly trying to have

a chat with Bill on his own if you find it difficult to stop the

constant changing in rehearsal.

If you would like to discuss this with me, or if you would like

me to put the point to Bill, I would be delighted to do so!

Friday 12: The Web Planet: Crater of Needles is camera rehearsed and recorded in Riverside 1. The total cost is £2,850.

Tuesday 16: Three days' shooting of film inserts for The Crusade begins at Eating.

Friday 19: The Web Planet: Invasion is camera rehearsed and recorded in Riverside 1. The total cost is £2,676.

Thursday 25: Verity Lambert sends the draft scripts for Terry

Nation's new Dalek story, The Chase, to Richard Martin, who has been assigned to direct it. She notes that she is 'really very happy

with it as far as the movement and action in the story are con-

cerned,' and that "it is slightly tongue-in-cheek and obviously is purely an adventure story, but... there are lots of opportunities for

imagination and for excitement.' She does however have a number

of reservations. She is concerned about how two new monsters –

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the Mire Beast and the Fungoid - will be realised, particularly in

view of problems experienced with the design of the Slyther

creature in The Dalek Invasion of Earth, and considers that another alien race, the Aridians, are too 'unpleasant looking* as described

by Nation. She feels that an episode involving Frankenstein's

monster is out of keeping with Doctor Who's usual style and could suggest a lack of imagination, and is considering asking Nation to

replace it with something else - a suggestion to which he is quite

amenable.

It has by this point been established that William Russell will be

leaving Doctor Who when his contract expires at the end of The Chase. Terry Nation has therefore introduced in the final episode of his story a new character, an astronaut called Brack, who will

become the Doctor's new male companion.

Nation has meanwhile been discussing with Verity Lambert and

Dennis Spooner ideas for a further six-pan Dalek story to be made

during the series* third production block. They agree that this new

story should be preceded by a single episode 'trailer* in which

none of the regular characters appear, allowing the cast a week's

holiday. Spooner briefs the Copyright Department to commission

from Nation the script for this trailer, referred to as Dalek

Cutaway.

Friday 26: The Web Planet: The Centre is camera rehearsed and recorded in Riverside 1. The total cost is £3,342.

Dennis Spooner briefs the Copyright Department to commission

from writer Brian Hayles a storyline for a story entitled The Dark

Planet. This will ultimately be rejected.

MARCH 1965

Wednesday 3: Richard Martin has gone on holiday abroad follow-

ing completion of The Web Planet. Verity Lambert sends him a

memo to see on his return, listing the scenes from The Chase

which she has agreed with the Design Department should be done

as film inserts. She ends:

Your filming schedule will be heavy, although it will not involve

location shooting, but your model making etc. will be most

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expensive. I do implore you to keep your studio settings down in

cost. I shall be away on your return, but you will no doubt find

out that you have exceeded your budget on the Zarbi story by

something in the region of £1 ,000. 1 do not want this to happen

again.

Will you please work to a budget of £2,750 per episode. If you

should require more on this serial, will you please notify my

office.

The budget allocated to The Chase is higher than usual as it is regarded as one of the more prestigious stories of this production

block; savings will have to be made on some of the other stories to

compensate.

It will later be decided that the story should in fact have one day

of location filming for some scenes set on the planet Aridius in the

first two episodes.

Friday 5: The Crusade: The Lion is camera rehearsed and recorded in Riverside 1. The total cost is £3,515.

Thursday 11; One day's shooting of film inserts for The Space Museum takes places at Baling.

Verity Lambert has by this time decided to leave Doctor Who at the end of the second production block and move on to other work,

but her successor has yet to be chosen. She sends Donald Wilson

the following memo, headed 'Doctor Who: Serial S', requesting

permission to take the unusual step of commissioning story editor

Dennis Spooner to write the story which will follow The Chase in the season's running order:

As you know, I agreed with you last week that we should

contract Dennis Spooner to write this serial. This is because we

will not have, at this point, finalised negotiations with Jacqueline

Hill and Maureen O'Brien. This will make it impossible to

commission an outside writer.

This serial has to be ready for design information by the last

week in April and, as I mentioned to you, we will not know

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about Jacqueline Hill until the new producer has been decided

upon.

I think it would be a great risk to try an outside writer on this

serial for the following reasons:

1) He will not be able to start writing it until he knows the

characters.

2) None of the writers we have used so far are available and this

would mean trying a completely new writer.

3) Of necessity, this serial has to be written fairly economically

and I would not have the same control over an outside writer.

4) I also have had to agree with Bill Hartnell's agent to let him

have one week out of this serial. Obviously this complicates

matters still further.

5) Using an outside writer, it could quite well be that the serial

will necessitate some considerable rewriting. This will put us in

a very awkward position as far as design information is con-

cerned.

Because of these points, I will be most grateful if you can

confirm to me that I can commission Dennis Spooner to write

this serial.

Friday 12: The Crusade: The Knight of Jaffa is camera rehearsed and recorded in Riverside 1. From this episode, Doctor Who's

budget per episode is increased from £2,330 to £2,500. The total

cost of The Knight of Jaffa is £2,300.

Monday 15: Verity Lambert begins two weeks holiday.

Donald Wilson agrees that Dennis Spooner can be commis-

sioned to write Serial S.

Friday 19: The Crusade: The Wheel of Fortune is camera rehearsed and recorded in Riverside 1. The total cost is £2,150.

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Friday 26: The Crusade: The Warlords is camera rehearsed and recorded in Riverside 1. The total cost is £2,065.

APRIL 1965

By the beginning of this month, Dennis Spooner has - like Verity

Lambert - decided to move on from Doctor Who when his contract expires later in the year. Spooner's replacement is to be Donald

Tosh, a BBC staffer who has just completed an eighteen-month

assignment as story editor on Compact. Although he will be

present during production of The Chase, his first on-screen credit will be for the following story, Dennis Spooner's four-parter, now

entitled The Time Meddler. Lambert's successor has also been

chosen now and is to be John Wiles, who has been on the staff of

the BBC since the early fifties as a writer/adapter and story editor

and who has recently been promoted to producer by Head of

Serials Donald Wilson.

To help acquaint the newcomers with the background to the

series, Lambert and Spooner provide them with a note headed 'The

History of Doctor Who', which gives a brief story-by-story

summary up to the end of the second production block.

It has by this point been tentatively decided that the new

companion character introduced in The Chase should be called

Michael rather than Bruck.

Friday 2: The Space Museum: The Space Museum is camera

rehearsed and recorded in TC4. The total cost is £2,643.

Dennis Spooner rejects Malcolm Hulke's The Hidden Planet and

Britain 408 AD, which Hulke has re-submitted to the production office following David Whitaker's departure.

Friday 9: The Space Museum: The Dimensions of Time is camera rehearsed and recorded in TC4. The total cost is £2,394.

Monday 12: Four days' shooting of film inserts for The Chase begins on Stage 3A/B at Baling.

Friday 16: The Space Museum: The Search is camera rehearsed 288

Production Diary

and recorded in TC4. The total cost is £2,028.

Tuesday 20: The first of two sessions is held between 2.00 p.m.

and 6.00 p.m. at the Olympic Sound Studios to record Dudley

Simpson' s incidental music for The Chase. Simpson conducts an ensemble of five musicians, and the instruments used are: an

electronic organ; a celeste; three tymps (one pedal); a xylophone; a

marimba; and a vibraphone.

Thursday 22: The second of the two music recording sessions for

The Chase is held between 1.30 p.m. and 5.30 p.m. at the Olympic Sound Studios. The personnel and instruments used are the same

as on Tuesday.

Friday 23: The Space Museum: The Final Phase is camera

rehearsed and recorded in TC4. The total cost is £1,636.

Writer Robert Holmes meets Donald Tosh to discuss possible

story ideas for Doctor Who. Tosh explains that he and John Wiles are intending to bring a new, more sophisticated style to the series.

Sunday 25: Following their meeting the previous Friday, Robert

Holmes sends Donald Tosh a letter containing a storyline for a

proposed four-part story. (Nothing comes of this idea now, but

Holmes will resubmit it five years later under the title The Space

Trap and it will eventually be made as The Krotons in Doctor Who's sixth season.)

Monday 26: Four days' preliminary rehearsal begins for The

Chase: The Executioners. Rehearsals this week and next take place in a Drill Hall at 58 Bulwer Street, London W12.

Friday 30: The Chase: The Executioners is camera rehearsed and recorded in Riverside 1. The total cost is £6,083. Recording

overruns its allotted time by ten minutes. This is a knock-on effect

from delays caused earlier in the day by the fact that a special

effect commissioned from Shawcraft was unavailable; the

Shawcraft effects man had been asked to make a short trip back to

their workshop on Doctor Who business but failed to return,

having been sent out for the rest of the afternoon on another job.

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Verity Lambert later asks designer Raymond Cusick to register a

protest with Shawcraft, as they are paid to have a man working on

Doctor Who for the whole of the studio day.

MAY 1965

Wednesday 5: Graphics and Effects Manager Tony Foster sends

Verity Lambert a memo informing her that he has taken up with

Shawcraft 'in the strongest possible terms' their failure to provide a

proper service for the previous Friday's studio work, and that he

has received an assurance that it will not happen again. Shawcraft's

labour charge for the episode is to be reduced accordingly.

Thursday 6: Director Douglas Camfield and a BBC photographer

meet Jacqueline Hill and William Russell at 2.00 p.m. in the main

reception area at Television Centre. They then visit a number of

London locations, including Trafalgar Square and Hyde Park, to

take stills for inclusion in a montage sequence showing Barbara

and Ian back on Earth after parting company with the Doctor at the

end of The Chase - Hill having by this point decided, like Russell, to leave the series when her current contract expires.

Friday 7: The Chase: The Death of Time is camera rehearsed and recorded in Riverside 1. The total cost is £2,441. The recording

overruns its allotted time, almost entirely due to problems cutting

from telecine film to live action and the time needed to rewind the

telecine for retakes. .

Monday 10: Four days' preliminary rehearsal begins for The

Chase: Flight Through Eternity. This week and next, rehearsals take place in the Territorial Army Centre at Artillery House, Horn

Lane, London W3.

Two further film inserts for the final episode of The Chase are completed at Haling. The first, shot on Stage 3A/B in front of a

back-projection screen, shows Ian and Barbara on a double decker

bus following their return to Earth at the end of the story. The

second, shot between 2.00 p.m. and 3.30 p.m. just outside a

maintenance garage behind Stage 3A/B, is a slightly earlier scene

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of the two companions running away from the building where the

Daleks' time machine has deposited them, with an explosion (in

truth a simple lighting effect) then occurring beyond the garage

doors. These scenes are directed by Douglas Camfield and de-

signed by Barry Newbery, effectively being made as part of the

following production, Dennis Spooner' s The Time Meddler.

Baling film inserts for the latter story, showing the TARDIS on a

beach beside a rugged cliff-face, are also shot on this date.

Friday 14: The Chase: Flight Through Eternity is camera rehearsed and recorded in Riverside 1. The total cost is £2,614. The

recording again overruns its allotted time, for the same reasons as

did the previous week's. During the course of the day, Verity

Lambert and Dennis Spooner ask Peter Purves, who has been cast

as the American hillbilly character Morton Dill, if he would like to

play the Doctor's new companion, Michael Taylor, who is to be

introduced in the final episode of the story. Purves readily agrees.

Terry Nation has by this point delivered his script for the Dalek

Cutaway episode and started work on the new six-part Dalek story it foreshadows.

Friday 21: The Chase: Journey into Terror is camera rehearsed and recorded in Riverside 1. The total cost is £2,658. The

recording overruns its allotted time owing to its exceptionally

complicated nature and to the fact that the start of camera

rehearsals was delayed by the need to wait for paint to dry on a

piece of scenery.

Monday 24: Four days' preliminary rehearsal begins for The

Chase: The Death of Doctor Who. Rehearsals this week take place in the Drill Hall at 239 Uxbridge Road.

Wednesday 26: Verity Lambert sends a memo to Barry Learoyd,

Chief Designer (Drama), complaining about the poor quality of the

walls for the Empire State Building set featured in Flight Through

Eternity episode.

Thursday 27: The Copyright Department is briefed to commission

from writer Paul Erickson the scripts for a four-part story entitled

The Ark.

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Friday 28: The Chase: The Death of Doctor Who is camera rehearsed and recorded in Riverside 1. The total cost is £2,529. A

fight scene between the Doctor and his robot double (played in

some shots by Edmund Warwick) is pre-recorded between 3.00

and 3.30 in the afternoon as William Hartnell finds such scenes

tiring and needs time to recover before the main recording in the

evening.

Gerald Savory, Donald Wilson's successor as Head of Serials,

has now asked Verity Lambert to make the next season's Dalek

story a twelve-parter rather than a six-parter. Lambert sends

Savory the following memo in response:

Re. your request to make Serial V (Dalek serial) a twelve-part

serial instead of a six. I have put into motion the following,

subject to negotiations with Terry Nation's agent and Dennis

Spooner's agent. It will be possible to have a twelve part Dalek

serial written jointly by Terry Nation and Dennis Spooner. The

first recording for this will be on 15 October 1965 (Week 41)

and it would continue up to and including 7 January 1966 (Week

1). At the moment we have one week's filming allocated to us in

Week 39. We shall now require two weeks' filming and this

ideally should be in Weeks 38 and 39.

I am not able at this point to say if these serials can be done for

less than £3,000 an episode, which as you know is what we have

spent on the last two Dalek serials. I have asked Terry and

Dennis to try to keep the overall cost as low as possible.

However until they have been able to get together and work out

a storyline it is not possible for me to commit myself.

The start of the third production block will subsequently be put

back by one week. Recording of the twelve-part story will

therefore begin on 22 October, and pre-filming at Baling will take

place over Weeks 39 and 40.

John Wiles later confirms that it will be impossible to mount the

story on the usual budget of £2,500 per episode. An additional,

one-off allocation of £3,500 is then made to the programme, which

he elects to split equally between the first two episodes of the

story.

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JUNE 1965

Friday 4: The Chase: The Planet of Decision is camera rehearsed and recorded in Riverside 1. The total cost is £2,285.

Monday 7: Four days' preliminary rehearsal begins for The Time Meddler: The Watcher. This story's rehearsals take place in the Drill Hall at 239 Uxbridge Road.

Wednesday 9: Director Richard Martin sends a memo of apprecia-

tion to designers Raymond Cusick and John Wood for their work

on The Chase and, in Wood's case, also The Web Planet.

Barry Learoyd replies to Verity Lambert's memo of 26 May,

saying that the Empire State Building set looked satisfactory to

him on transmission and pointing out that continual late

information from the production office and consequent late design

drawings mean that construction work is often rushed, leaving

additional tidying up for the designers and studio staff to do on the

recording day.

Incidental music for The Time Meddler is recorded in Lime

Grove Studio R, featuring drums played by Charles Botterill.

(Other music for this serial is to come from stock.)

Friday 11: The Time Meddler: The Watcher is camera rehearsed and recorded in TC4. The total cost is £1,949. The recording

overruns its allotted time by seven minutes. This is due partly to

the fact that a technical fault causes it to start four minutes late and partly to the fact that an entire sequence has to be reshot as it has

used more stock music than can be cleared for copyright purposes -

a fact not discovered until the end of the day.

Wednesday 16: Verity Lambert replies to Barry Learoyd's memo

of the previous Wednesday, asserting that the only reason that the

Empire State Building set looked satisfactory was that the director

changed some of his shots to disguise its deficiencies, and that

scripts and design discussions for The Chase were on time.

Friday 18: The Time Meddler: The Meddling Monk is camera rehearsed and recorded in TC3. The total cost is £1,803. A fight

scene featuring stuntmen Fred Haggerty and Tim Condren is

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recorded out of sequence before the main recording of the episode.

Thursday 24: A photocall featuring the Drahvins and Chumblies

takes place at Haling, where pre-filming for Galaxy 4 is being carried out this week.

Friday 25: The Time Meddler: A Battle of Wits is camera rehearsed and recorded in TC4. The total cost is £1,677. During

camera rehearsals, actor Michael Miller, playing Wulnoth, is asked

to make a sound recording of one line of dialogue to facilitate

cueing in the main recording that evening.

Saturday 26: The Chase: The Planet of Decision is transmitted on BBC 1. This is the last episode on which Dennis Spooner is

credited as story editor.

JULY 1965

Friday 2: The Time Meddler: Checkmate is camera rehearsed and recorded in TC4. The total cost is £1,728. -.

Monday 5: John Wiles has by now taken over the day-to-day

production of Doctor Who from Verity Lambert.

Donald Tosh briefs the Copyright Department to commission

from Dennis Spooner his six scripts for the new twelve-part Dalek

story, now entitled The Daleks' Master Plan. (Spooner has still not fully relinquished the story editor's post but is unable to commission himself as this would breach BBC restrictions on story editors

writing for their own shows.)

Friday 9: Galaxy 4: Four Hundred Dawns is camera rehearsed and recorded in TC4. The total cost is £3,100.

Donald Tosh briefs the Copyright Department to commission

from John Lucarotti a new four-part historical story about the

massacre of the Huguenots in Paris, 1572. This subject matter is

the production team's suggestion; Lucarotti originally proposed to

write a story about Eric the Red discovering Newfoundland.

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Friday 16: Galaxy 4: Trap of Steel is camera rehearsed and recorded in TC4. The total cost is £2,094.

Dennis Spooner briefs the Copyright Department to commission

from Terry Nation his six scripts for The Daleks' Master Plan.

Tuesday 20: Douglas Camfield, who has been assigned to direct

the forthcoming twelve-part Dalek story now entitled The Daleks'

Master Plan, writes to composer Tristram Gary to ask if he would be willing to provide the incidental music for it.

Friday 23: Galaxy 4: Air Lock is camera rehearsed and recorded in TC4. The total cost is £2,293.

Friday 30: Galaxy 4: The Exploding Planet is camera rehearsed and recorded in TC3. The total cost is £2,463.

AUGUST 1965

Friday 6: Dalek Cutaway: Mission to the Unknown is camera rehearsed and recorded in TC3. The total cost is £2,440.

SEPTEMBER 1965

Tuesday 7: John Wiles sends Terry Nation the following letter

conveying comments by director Douglas Camfield and others on

the draft scripts for the early episodes of The Daleks' Master Plan: Douglas has come up with some very exciting ideas for the

serial which I do hope you will consider. One of his fears is that

as far as he himself is concerned he would like to try to get more

into the production indicative of the year 4,000 AD.

We have had a lot of talks about this and some of the things we

feel for example concern names of people. We both feel that,

just as our names have changed a great deal since the time of

Christ, so too in another 2,000 years a lot of names, now in use

(and, in fact, used in your script) will have been corrupted into

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something else. This might happen by the dropping of conso-

nants or the changing of vowels, e.g. ROALD instead of

RONALD, WON instead of WALTON. He also feels - and I

think this is an interesting idea - that we may return to a kind of

heraldry whereby the basic names in English reappear, e.g.

BORS for one of the convicts on Desperus.

In this connection also, it seems possible that words will emerge

meaning 'SPACE VESSEL'. Donald has suggested a vehicle

called a FJJPT (Faster than light inter-planetary transporter) and a SPAR (Space car): terms like this can easily be explained in

the scripts and will add to the possible vernacular of the period.

We are a little worried also about Vitaranium. Bill Hartnell will

certainly have great difficulty in saying it May we for certain

occasions change it to VX 2?

Some of the people who have read the scripts have also been a

little worried by the reference to New Washington. They feel

that in the year 4,000 the world will possibly be a single country

owing allegiance to nothing that we know today. One suggestion

is that we refer to it as Communication Centre Earth, which

gives us the feeling that the whole world may be one giant built-

up area where nationalities have ceased to exist.

How do you feel about these ideas?

This possibly sounds as if my only reaction to the scripts is to

suggest amendments - far from it! I think there are some most

exciting things in the story. But if we can help Douglas realise

his ambitions for it we will get an even more exciting result.

Terry Nation replies later in the week indicating that he has no

objection to most of the changes suggested by Wiles. He dislikes

the substitution of 'VX 2" for 'Vitaranium', however, and suggests

'Vita' as a possible alternative. He also asks that the names of two

of his characters, Mavic Chen and Sara Kingdom, be left un-

changed.

Monday 13: John Wiles writes again to Terry Nation, thanking

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him for his co-operation over the changes suggested the previous

week and assuring him that there is no intention to change the

names Mavic Chen and Sara Kingdom. He continues:

'Vita' and its derivatives worries us slightly because of its

association with vitamins. Would you wear TARANIUM as a

contraction of your original word? I am sure the Daleks would

make it sound most sinister.

Four days' preliminary rehearsal begins for The Myth Makers:

Temple of Secrets. This story's rehearsals take place at North Kensington Community Centre.

Maureen O'Brien, returning from holiday for the start of the new

production block, learns that she is to be dropped from the series at

the end of The Myth Makers. John Wiles' intention has been to

replace Vicki with a new character, Katarina, whom he has had

written into the final episode of the story as a late addition. He and

Donald Tosh have quickly realised however that this character, a

handmaiden to the prophetess Cassandra, would pose enormous

difficulties for the series' writers owing to her lack of modern

knowledge. They have therefore decide to kill her off in the

following story, The Daleks' Master Plan, and to use as another short-term companion Terry Nation's character Sara Kingdom,

who will also be killed off at the end of that story. Adrienne Hill is

subsequently cast as Katarina, and Jean Marsh as Sara.

Friday 17: The Myth Makers: Temple of Secrets is camera rehearsed and recorded in Riverside 1. The total cost is £3,327.

Friday 24: The Myth Makers: Small Prophet, Quick Return is camera rehearsed and recorded in Riverside 1. The total cost is

£2,566.

Monday 27: Five days' shooting of film inserts for The Daleks'

Master Plan begins on Stage 3A/B at Baling. The first scene to be shot is the death of Katarina for episode four - ironically, actress

Adrienne Hill's first work on the series. As the story's scripts are

still undergoing revision, director Douglas Camfield has to impro-

vise some of the action based upon the agreed storyline. Problems

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occur all week due to the late delivery, and in some cases non-

delivery, of props and scenery. A number of model shots due to be

done on Friday are held over for completion the following

Monday.

OCTOBER 1965

Friday 1: The Myth Makers: Death of a Spy is camera rehearsed and recorded in Riverside 1. The total cost is £2,230.

Monday 4: A further five days' shooting of film inserts for The Daleks' Master Plan begins on Stage 3 A/B at Baling. The

morning of the first day is spent completing the model shots held

over from the previous Friday. Filming then continues with scenes

of a battle between Daleks and Ancient Egyptians, Extras hired

from the Denton de Gray agency to play non-speaking Egyptian

soldiers are judged by director Douglas Camfield and production

assistant Viktors Ritelis to be very poor, and a number of shots

involving them are dropped. Problems again arise with scenery,

and in particular with a model pyramid which takes one-and-half

hours to erect on the morning of Wednesday 6 October after

Shawcraft have worked all through the night to complete it. Bill

Roberts, the manager of Shawcraft, tells Ritelis that he would be

happy for some of the specialist prop and model work on Doctor

Who to be put out to some other firm in future, as his team are overstretched.

Friday 8: One of the final pieces of filming for The Daleks'

Master Plan at Baling is a model shot of an erupting volcano,

utilising steam and compressed air to achieve the effect of the

magma. This proves unsatisfactory, however, as the volcano is out

of scale with the model TARDIS required to materialise on it. A

decision is taken to remount it at a later date.

The Myth Makers: Horse of Destruction is camera rehearsed and

recorded in Riverside 1. The total cost is £2,091.

Saturday 9: Dalek Cutaway: Mission to the Unknown is transmitted on BBC1. This is the last episode on which Verity Lambert

receives a credit as producer.

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Wednesday 13: Composer Tristram Gary's incidental music for

the first six episodes of The Daleks' Master Plan is recorded between 6.30 p.m. and 10.30 p.m. at the IBC Studios, at 35

Portland Place, London W1 A. The instruments, played by an

ensemble of musicians led by Eddie Walker, are: horn, cello,

percussion, flute, oboe and vibraphone.

Friday 15: Doctor Who's budget is set for the financial year beginning 1 April 1966 at an average of £2,750 per episode.

Monday 18: Four days1 preliminary rehearsal begins for The

Daleks' Master Plan: The Nightmare Begins. The venue for this

story's rehearsals is the Drill Hall at 58 Bulwer Street.

The volcano model shot initially attempted on Friday 8 October

is remounted on Stage 2 at Baling, this time using a high speed

camera to increase its effectiveness. Again however it proves

unsuccessful, this time because the rushes show strobing and an

occasional sideways kick on the picture. It will therefore have to be

remounted again.

Thursday 21: The volcano model shot is again attempted at

Ealing, but once more proves unsuccessful as the same picture

fault occurs as on Monday.

Friday 22: The Daleks' Master Plan: The Nightmare Begins is camera rehearsed and recorded in TC3. The budget is initially set

at £4,250 - the standard £2,500 plus half the additional one-off sum

of £3,500 allocated to this story. It is subsequently increased to

£4,310, The total cost is £5,318.

A press photocall takes place at 3.45 p.m. on the set, featuring

William Hartnell and the actors playing characters called Technix,

who are required to have their heads shaved for the production.

Tuesday 26: John Wiles sends make-up supervisor Sonia

Markham a memo pointing out that in The Nightmare Begins the

beard worn by actor Brian Cant, playing the character Kurt Gantry,

differed noticeably between the pre-filmed inserts and the studio

recordings, and that the hair-lace on William Hartnell's wig was

showing badly in close ups. He concludes:

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I would be grateful if you could look into these points. The

make-up on the whole in the programme is so good that I think it

a pity when something lets it down.

Wednesday 27: Sonia Markham replies as follows to John Wiles'

s memo of the previous day:

Thank you for your memo of 26 October. I have noted the

contents. I appreciate your remarks and can only apologise for

the lack of continuity on the make-up of Brian Cant.

Regarding the hair-lace on Mr. Harwell's wig, owing to different

lighting and change of positions on various sets, this does

sometimes occur, especially in big close-ups, and this is almost

unavoidable.

Friday 29: The Daleks' Master Plan: Day of Armageddon is camera rehearsed and recorded in TC3. The budget for this episode

is £4,250, the total cost £4,031.

NOVEMBER 1965

Friday 5: The Daleks' Master Plan: Devil's Planet is camera rehearsed and recorded in TC3. From this episode, the budget

reverts to £2,500 per episode for the remainder of the story. The

total cost of Devil's Planet is £2,268.

Friday 12: The Daleks' Master Plan: The Traitors is camera rehearsed and recorded in TC3. The total cost is £2,448.

Monday 15: The volcano model shot attempted on 8, 18 and 21

October is remounted again on Stage 3B at Baling, and finally

proves satisfactory.

Tuesday 16: Donald Tosh briefs the Copyright Department to

commission from writer Brian Hayles the storylines for two stories

entitled The White Witch and The Hands of Aten.

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Friday 19: The Daleks' Master Plan: Counter Plot is camera rehearsed and recorded in TC4. The total cost is £2,194.

Barry Learoyd, the Chief Designer (Drama), sends John Wiles

the following memo:

Dr. Who Serial V is proving a near disaster. I understand that the director is doing all possible to meet his dates but that his

commitment to twelve consecutive episodes has made this

virtually impossible. Scripts or near-complete scripts are often

available but planning the design and shooting arrangements for

these is entirely haphazard. The director has declared his

availability to the designers, but in practice this means the

designer designs to the script, presents the prepared design and

gets an O.K. from the director in a meeting lasting perhaps five

minutes. The result being that when he (the director) reaches the

stage where he can plan his shots, he must use what is done - or

whatever 'bits' of what is done that now fit in with his production

ideas. This very often means large areas of unwanted and wasted

scenery.

I give you this summary, despite the fact that this Serial V will

almost certainly continue in this same way, in order that you

may make quite sure that the following four episode parts allow

proper planning with the designers and directors together and so

that you may fight wholeheartedly against any recurrence of

more than six episodes being given to one director and in order

that you take some action to ensure that the addition of the

Christmas holiday period to the problem does not lead to real

disaster.

Tuesday 23: John Wiles responds as follows to Barry Learoyd's

memo of 19 November:

Thank you for your memo. Once again I am sorry that script

difficulties on the ... serial have caused so much trouble to our

designers. Nevertheless, I have no hesitation in affirming that I

think the results to date have been first class, and a credit to all

concerned with the programme. I am sorry that you consider

some of the director's shooting to be wasteful as far as sets are

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concerned, this hadn't occurred to me, nor do I believe I agree

with you. Your point about any director working for more than

six consecutive episodes is valid and I agree. Personally, I am

planning no serial of more than four episodes. The director of

Serial W joins me at the end of this week and will be available

for discussions with her designer thereafter, and the director of

Serial X will join me when he returns from leave in about two

weeks' time. Consequently, I am hopeful that the same situation

will not arise in the immediate future.

Wiles also sends Douglas Camfield a memo expressing his grati-

tude for the fact that the early episodes of The Daleks' Master Plan have been achieved within budget.

Friday 26: The Daleks' Master Plan: Coronas of the Sun is camera rehearsed and recorded in TC4. The total cost is £1,914.

DECEMBER 1965

Friday 3: The Daleks' Master Plan: The Feast of Steven is camera rehearsed and recorded in TC3. The total cost is £2,562.

Friday 10: The Daleks' Master Plan: Volcano is camera rehearsed and recorded in TC3. The total cost is £2,265.

Friday 17: The Daleks' Master Plan: Golden Death is camera rehearsed and recorded in TC3. The total cost is £2,398.

Friday 23: An extra day's shooting of film inserts for the final episode of The Daleks' Master Plan takes place on Stage 2 at

Baling.

Friday 31: The Daleks' Master Plan: Escape Switch is camera rehearsed and recorded in TC3. The total cost is £2,391.

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JANUARY 1966

Monday 3: Four days' shooting of film inserts for The Massacre of St Bartholomew's Eve - John Lucarotti' s four-part historical set in Paris 1572 - begins at Baling.

Wednesday 5: Chief Designer (Drama) Barry Learoyd sends John

Wiles a memo following on from their correspondence the previ-

ous November about Doctor Who's scenery requirements:

I was sorry to learn from the designer in the studio that there has

been a bit of misunderstanding about our attitude to 'wasted'

scenery. It is never our contention that a director should 'show

the set' except where this is an integral part of his conception of

the production.

Our only interest in this respect is that he does not ask for more

set than he is going to use. In Serial V, where the director had

not the time available to plan productions with the designer in

advance, and had no alternative therefore but to accept what was

given to him, our interest was that he should shoot his action

within these bounds, to the best advantage of the production.

Friday 7: The Daleks' Master Plan: The Abandoned Planet is camera rehearsed and recorded in TC3. The total cost is £1,919.

One day of location filming is carried out for The Massacre of St

Bartholomew's Eve. This is for a scene at the end of the story where a young girl named Dodo enters the TARDIS, subsequently

to become the Doctor's new female companion. The production

team's original intention was that the Huguenot character Anne

Chaplet, played by Annette Robertson, should be taken on board

the TARDIS at the end of this story. However, they have now

reached the conclusion that to have a companion originating from

Paris 1572 would pose the same problems of lack of modem

knowledge as had been envisaged with Katarina. They have

therefore decided to introduce instead a present-day character,

Dorothea 'Dodo' Chaplet, descended from Anne. The actress cast

as Dodo is Jackie Lane.

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Friday 14: The Daleks' Master Plan: Destruction of Time is camera rehearsed and recorded in TC3. The total cost is £1,888.

The recording overruns its allotted time owing to the fact that the

roller caption for the closing credits keeps sticking, requiring

numerous retakes of the final scene. A further retake proves

necessary when a stage hand appears in shot during the roller

caption sequence, incurring director Douglas Cornfield's wrath.

During production of The Daleks’ Master Plan, John Wiles and

Donald Tosh have both decided to quit the Doctor Who production team early in the new year. Wiles has never been entirely happy

working as a producer, feeling more at home as a writer and a

director, and he has had a very strained working relationship with

William Hartnell. He has indeed proposed replacing Hartnell with

another actor but this has been vetoed by Gerald Savory. Tosh has

decided to leave partly out of loyalty to Wiles and partly due to a

desire to move on to other work.

The man appointed as Wiles' replacement is Innes Lloyd, who

has been on staff at the BBC since 1953 and has worked on a wide

variety of different programmes. He has been chosen for the job by

Sydney Newman but accepts it with some reluctance as he is not a

fan of science-fiction. Tosh's successor is Gerry Davis, who has

asked to be transferred to Doctor Who after a stint on the football team soap opera United!

A number of stories have already been commissioned for the

latter part of the third production block, including The Ark by Paul Erickson, The Toymaker by Brian Hayles (Tosh having now

decided against using Hayles' other submissions The White Witch

and The Hands of Aten) and The Gunfighters by Donald Cotton.

Accomplished writer Ian Stuart Black is also due to submit a

storyline to the production office. The Toy maker - the story in which it was proposed that Hartnell might be written out - is

currently being heavily rewritten by Tosh from Hayles' scripts as,

partly because of their extensive special effects requirements, these

were considered unsuitable for production. It will therefore be

some time before the influence of Lloyd and Davis will be fully

felt.

Monday 17: Four days' preliminary rehearsal begins for The

Massacre of St Bartholomew's Eve: War of God. This story's

rehearsals take place in the Drill Hall at 58 Bulwer Street.

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Donald Tosh has by this point left the production office after

completing his rewrites on Brian Hayles's The Toymaker (which will shortly undergo a change of name first to The Trilogic Game

and then to The Celestial Toymaker). In consultation with John Wiles and director Bill Sellars, he has removed a number of

impractical effects sequences- including some scenes set in a maze

- and substituted two new games of his own, one of these being the

Trilogic Game.

Tosh has now also formally rejected Hayles's storylines for The

Witch Planet and The Hands of Aten; but Gerry Davis will subsequently commission from the writer a four-part historical

adventure entitled The Smugglers, which will be made as the last story of the series' third production block.

Davis himself has meanwhile rejected an idea end tied TV New

Armada by the series' first story editor, David Whitaker, and returns it to him with the following letter:

Enclosed please find your storyline entitled The New Armada

which was passed on to me by Donald Tosh.

Sorry, but I don't feel that this is quite in line with the direction

set down by the Head of Serials for Doctor Who.

We are looking for strong, simple stories. This one, though very ingenious, is rather complex with too many characters and sub-plots. To simplify it, as it stands, would reduce the plot to the

point when it would virtually be a new creation.

I should very much like to hear from you. Perhaps we could

meet for a chat in the near future. Could you bring over a

number of storylines in embryo form we could take a look at?

Tuesday 18: John Wiles sends the following letter to Donald

Tosh:

I have now had a chance of reading episode four of The

Toymaker and I think it goes extremely well. Bill Sellars is also very pleased with it and a set of the scripts is now with the

designer to start preliminary work. It is possible that it may be a

bit short and I have agreed with Bill that I will look at all the

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episodes: in the event of one, three and four I'll try and work in

sufficient business to give us an extra two or three minutes per

episode and for episode two I will try and find another four

minutes. I have discussed all this with Innes and Bill; I hope to

do this as painlessly as possible, anyway don't worry, I shall

respect the 'fabric' as if it were of Westminster Abbey itself. I

gather ... that you are sending back the Hayles versions of

episodes one and two. I do appreciate this as it may help me to

find the extra stuff, which I want to do early next week.

Things go well here. Ian Stuart Black has brought in a very

exciting synopsis and we are going ahead with Serial AA.

Douglas has even finished his editing and has lost ten years!

In conclusion I must thank you for everything you have done for

the programme, not only in the immense amounts of rewriting

which you have done, always so cheerfully and efficiently, but

also for your constant encouragement and support in everything

we have undertaken. Your help to me personally was quite

fantastic and deeply appreciated and I hope that we shall

continue to work together many times in the future. Have a

splendid holiday and come and see us as soon as you get back.

Friday 21: The Massacre of St Bartholomew's Eve: War of God is

camera rehearsed and recorded in Riverside 1.

The production team have now formally adopted a system of

setting a budget for each episode according to its own particular

requirements, rather than using the standard budget figure through-

out. In future, the opening episode of each story will always be

allocated a larger proportion of the total budget than the others, as

this is the episode for which the new sets, monsters etc. have to be

made. It will however remain the case that if the total cost of a

story exceeds the standard budget for the number of episodes it

contains, savings will have to be made on other stories within the

same financial year so that, at the end of the day, the books

balance.

The budget for War of God is £2,825, the total cost £3,576.

Wednesday 26: Innes Lloyd sends copies of the draft scripts for

the first two episodes of Donald Cotton's The Gunfighters to Rex 306

Production Diary

Tucker, who has been assigned to direct it. The third episode is

currently being rewritten as it 'came through with precious little

action and nine sets,' and the fourth has yet to be delivered.

Friday 28: The Massacre of St Bartholomew's Eve: The Sea

Beggar is camera rehearsed and recorded in Riverside 1. The

budget is £2,425, the total cost £2,041.

FEBRUARY 1966

Friday 4: The Massacre of St Bartholomew's Eve: Priest of Death is camera rehearsed and recorded in Riverside 1. The budget is

£2,425, the total cost £2,632.

Friday 11: The Massacre of St Bartholomew's Eve: Bell of Doom is camera rehearsed and recorded in Riverside 1. The budget is

£2,425, the total cost £2,019.

Monday 14: Although John Wiles will receive the on-screen credit as producer of The Ark, Innes Lloyd has by this point taken over full responsibility for the day-to-day production of the series.

Friday 18: The Ark: The Steel Sky is camera rehearsed and recorded in Riverside 1. The budget is £2,700, the total cost

£5,678.

Saturday 19: The Massacre of St Bartholomew's Eve: Priest of Death is transmitted on BBC1. This is the last episode on which Donald Tosh is credited as story editor.

Tuesday 22: Director Rex Tucker has by this time received draft

scripts for all four episodes of The Gunfighters, but has expressed to Gerry Davis a number of reservations about them. Innes Lloyd

sends him the following letter

Gerry Davis has told me that he was able to talk to you

yesterday about episodes three and four of The Gunfighters, and he will look at them again in the light of your criticisms.

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Whilst they are not the greatest scripts, I believe and hope that

there is a great deal of humour and adventure that can be got out

of them. I am sure you will agree that it would be absurd to try

and make a traditional western - I would suggest that the

approach might be more on the lines of Car Ballou - tongue in cheek - heroes and villains well defined. Perhaps before you do

the casting we could have a talk about it. One of the things I

believe we should look for is either American actors in London

suitable to play parts in it, or English actors with really authentic

accents.

We will let you have the revised scripts as soon as they are

available. I look forward to seeing you after you have finished

editing A Farewell to Arms.

Friday 25: The Ark: The Plague is camera rehearsed and recorded in Riverside 1. The budget is £2,400, the total cost £1,945.

Gerry Davis has by this point completely rewritten the scripts for

The Celestial Toymaker as Gerald Savory has objected to Tosh's inclusion of two characters, George and Margaret, whom he

himself created for his successful West End play George and

Margaret (the gimmick of which was that the title characters never actually appeared). On seeing the rewritten scripts, John Wiles

sends a memo of protest to Savory, pointing out that he might

otherwise be open to criticism for wasting money on Hayles's

originals. He stresses that the story was supposed to have been one

of great menace - although arising from a battle of wills between

the Doctor and the Toymaker character, rather than from ray guns

and monsters - and that this was what had given it its relevance to

Doctor Who. He expresses the view that this has now been lost, as the Toymaker has been reduced virtually to a bystander and his

conflict with the Doctor downplayed. He ends by expressing his

regret that the story is going ahead at all now that the producer and

story editor who commissioned it have both left.

MARCH 1966

Thursday 3: One day's shooting of film inserts for The Celestial

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Toymaker takes place at Baling. Also carried out is a sound

recording of William Hartnell for the scenes in episode two where

the Doctor is invisible and heard only as a disembodied voice.

Hartnell himself will be on holiday for the studio recording of that

episode and of episode three.

Friday 4: The Ark: The Return is camera rehearsed and recorded in Riverside 1. The budget is £2,400, the total cost £1,939.

Tuesday 8: Gerry Davis briefs the Copyright Department to

commission from Brian Hayles the storyline for a story entitled

The Nazis.

Friday 11: The Ark: The Bomb is camera rehearsed and recorded in Riverside 1. The budget is £2,400, the total cost £1,597.

Monday 14: Four days' preliminary rehearsal begins for The

Celestial Toymaker: The Celestial Toyroom. This story's rehearsals take place in the Drill Hall at 58 Bulwer Street.

Tuesday 15: Gerry Davis briefs the Copyright Department to

commission from Ian Stuart Black the scripts for a further four-part

story, working title The Computers, which will be transmitted

immediately after The Savages. The basic scenario for this story, involving an attempt by a computer to take over the world from its

base in the newly-constructed GPO Tower, has been suggested by

scientist Dr Kit Pedler in discussion with Davis. It has been further

developed in a storyline accepted from writer Pat Dunlop, who has

since had to withdraw from the project as the proposed delivery

dates for the scripts clashed with work he was already committed

to doing on another BBC serial called United! Dunlop will subsequently be paid £50 for his contribution to the story. Pedler will

meanwhile strike up a firm friendship with Davis and become

Doctor Who's unofficial scientific adviser.

It has by this point been decided that Steven will be written out

of the series at the conclusion of The Savages. Peter Purves has been dissatisfied for some time with what he sees as a lack of

development of Steven's character, and Innes Lloyd and Gerry

Davis feel that the time is right for a change. The intention is that

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The Computers will introduce a replacement character called

Richard, or Rich for short, who will join the Doctor and Dodo on

their travels after meeting Dodo at a discotheque.

Friday 18: The Celestial Toymaker: The Celestial Toyroom is camera rehearsed and recorded in Riverside 1. The budget is

£2,700, the total cost £3,686.

Tuesday 22: Rex Tucker views the cinema film Gunfight at the O.K. Corral as part of his preparatory work for The Gunfighters.

Friday 25: The Celestial Toymaker: The Hall of Dolls is camera rehearsed and recorded in Riverside 1. The budget is £2,350, the

total cost £2,535.

Saturday 26: The Ark: The Bomb is transmitted on BBC 1. This is the last episode on which John Wiles is credited as producer.

Monday 28: Four days' shooting of film inserts for The

Gunfighters begins on Stage 3A/B at Eating.

Thursday 31: Innes Lloyd sends Terence Cook a memo in which

he reports that Barry Newbery's design drawings for episodes two

and three of The Gunfighters will be unavoidably late. There are two reasons for this: first, the production team have 'had much

trouble with scripts, due to rewrites and an uncontactable author';

and, secondly, Newbery has been tied up with work on The Ark,

due in particular to the unusually extensive special effects require-

ments of that story.

APRIL 1966

Friday 1: The Celestial Toymaker: The Dancing Floor is camera rehearsed and recorded in Riverside 1. The budget is £2,475, the

total cost £1,716.

Monday 4: Gerry Davis rejects two storylines, The Ocean Liner and The Clock, submitted to the production office by David Ellis, 310

Production Diary

and one, The Evil Eye, by Geoffrey Orme.

Tuesday 5: A sound recording session takes place between 1.30

p.m. and 6.00 p.m. at Riverside Studios for The Ballad of the Last

Chance Saloon - a song, written by Tristram Gary and Donald

Cotton, which is to be featured throughout all four episodes of The Gunfighters. The singer is Lynda Baron and the pianist Tom

McCall. The recording goes badly, however, as Baron has diffi-

culty mastering the tune, and it is decided that a further session

will be required the following week.

Friday 8: The Celestial Toymaker: The Final Test is camera rehearsed and recorded in Riverside 1. The budget is £2,475, the

total cost £1,449.

Monday 11: Four days preliminary rehearsal begins for The

Gunfighters: A Holiday for the Doctor. Rehearsals for this story take place in the Drill Hall at 58 Bulwer Street.

Tuesday 12: A further sound recording session takes place be-

tween 7.00 p.m. and 11.00 p.m. at Riverside Studios to finish work

on The Ballad of the Last Chance Saloon.

Friday 15: The Gunfighters: A Holiday for the Doctor is camera rehearsed and recorded in TC4. The budget is £3,205, the total cost

£4,065.

Friday 22: The Gunfighters: Don't Shoot the Pianist is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the

total cost £2,142. Rehearsal is delayed by the late arrival of the

prop guns required for the action.

Monday 25: Michael Ferguson, the director assigned to handle

The War Machines (formerly called The Computers), visits Theatre 3 at Lime Grove Studios from 10.30 a.m. to 11.30 a.m. to view a

film entitled Machines Like Men, which he hopes may provide

some inspiration for his realisation of the story.

It has by this point been decided that Dodo will be written out of

the series in the second episode of The War Machines, Innes Lloyd 311

Doctor Who – The Handbook – The First Doctor

and Gerry Davis having concluded that a younger and more

sophisticated female companion is required. The War Machines

will therefore introduce two new companions, whom the produc-

tion team have decided to call Ben (replacing the character Rich in

writer Ian Stuart Black's original storyline) and Polly.

A number of actresses have attended auditions for the role of

Polly, at which they have been required to read the following

speech:

(SENTENCES IN CAPS SPOKEN TO PERSON IN ROOM)

POLLY: (INTO PHONE) Hello, yes right I'll hold on. (TO

FRIEND IN ROOM) A LONG DISTANCE CALL - DUNDEE.

NO HAVEN'T THE FOGGIEST. WHO LIVES IN DUNDEE

ANYWAY? (TO PHONE) Oh, yes. (TO ROOM) HE'S

COMING ON NOW!

Who's that? Doctor? Doctor, who? I didn't catch your last name,

oh, I see. (TO ROOM) I WASN'TMEANTTO. (MAKES A

FACE) Look are you sure you haven't got the wrong number or

something?

Yes, my name is Polly Wright. But?... Oh, I see a friend of my

uncle's. But which uncle? Charles? Haven't seen him for ages -

don't think he quite approves of me.

What! He's been kidnapped! You're joking! Who'd want to

kidnap Uncle Charles? Oh I see!

(HAND ON PHONE - TO ROOM) HE SAYS THAT UNCLE

CHARLES HAS BEEN KIDNAPPED BY DALEKS OR

SOMETHING. HE MUST BE A NUT OF SOME KIND.

Look, I think you'd better tell the police hadn't you, I mean...

Oh!

(TO ROOM) HE SAYS I'M HIS ONLY HOPE.

I'm very flattered Doctor whatever your name is but... Oh. He's

in danger. You don't know Uncle Charles. They're in danger not

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him. He'll bore them to death. What's that? I'm in danger as well.

Oh now, a joke's a joke but this... (TO ROOM) HE SOUNDS

QUITE SINCERE ABOUT IT -

But who is threatening me? - What! But he's right here I

(BACKING AWAY PHONE IN HAND) ROGER DON'T

FOOL AROUND WITH THAT KNIFE. STAY WHERE YOU

ARE...

On the basis of these auditions, the role of Polly is this month

awarded to Anneke Wills. She came to the production team's

attention earlier in the year when her husband, actor Michael

Gough, portrayed the Celestial Toymaker. Michael Craze is cast as

Ben. Contracts have been agreed under which Wills is to receive

£68 5s per episode and Craze £52 10s per episode. (William

Hartnell is by this point receiving £315 per episode.)

Wednesday 27: Two day's shooting of film inserts for Savages begins at Baling.

Friday 29: The Gunfighters: Johnny Ringo is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2,196.

MAY 1966

Sunday 1: Rex Tucker carries out one day of location filming for a scene in episode four of The Gunfighters where a fur-clad Savage is seen on the TARDIS scanner screen. The Savage is played by

walk-on John Raven. Location filming for The Savages also takes place on this date.

Friday 6: The Gunfighters: The OK Corral is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2,012. Rehearsal is again delayed by the late arrival of prop guns,

causing vociferous complaints from members of the cast required

to use them.

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Friday 13: The Savages episode one is camera rehearsed and recorded in Riverside 1. The budget is £3,205, the total cost

£4,542.

Friday 20: The Savages episode two is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2.806.

Sunday 22: Location filming for The War Machines takes place between 10.00 a.m. and 5.00 p.m. in Bemers Mews, Newman

Passage, Fitzroy Square, Charlotte Place and Bedford Square, all in

the vicinity of the GPO Tower in central London. A prop police

box is set up in Bedford Square for scenes of the TARDIS arriving

at the beginning of the story and leaving again at the end. The GPO

have refused permission for filming to take place from the Tower

itself - this is the first weekend after the public opening of the

Tower and they are concerned that there would be too much

disruption - so panoramic high angle shots of the area are taken

instead from the Centre Point building on Tottenham Court Road

and the Duke of York pub in Charlotte Place.

Monday 23: Three days' shooting of film inserts for The War Machines begins at Baling. The first two days are spent on Stage 3A/B, filming scenes of a warehouse where the War Machines are

constructed. Wednesday 25 May sees the crew moving outside

onto the studio lot for scenes of army troops storming the ware-

house.

Thursday 26: A second day of location filming takes place for

The War Machines, this time in the Covent Garden and Kensington areas, including Cornwall Gardens. Some high-angle shots are

taken from a house at 50F Cornwall Gardens.

Friday 27: The Savages episode three is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost£2,252.

Also recorded today are the first eight scenes of episode four,

which involve smoke effects.

JUNE 1966

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Friday 3: The Savages episode four is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost £

1,931.

Monday 6: Four days' preliminary rehearsal begins for The War Machines episode one. Rehearsals for this story take place in the Drill Hall at 58 Bulwer Street.

Friday 10: The War Machines episode one is camera rehearsed and recorded in Riverside 1. The budget is £3,205, the total cost

£5,098.

Wednesday 15: Gerry Davis rejects the following storylines: The Nazis by Brian Hayles, The People Who Couldn't Remember by David Ellis and The Herdsmen of Aquarius by Donald Cotton.

Friday 17: The War Machines episode two is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2,355.

Sunday 19: Five days' location shooting for The Smugglers begins in Cornwall. The regular cast are needed only for the first day.

They then return to London to continue work on The War

Machines.

Monday 20: Innes Lloyd sends Jackie Lane a letter following her

departure from the series:

I'd like to thank you for all the hard work that you have put in

since you have been playing Dodo. I am very sorry that because

of the background etc., you were a victim of circumstance.

Anyhow, let's hope that your time with us has not been wasted,

and that from it you may receive a tempting offer.

Should you want any photographs or anything, please do not

hesitate to contact us; do come in and see us when you can.

Thursday 23: Michael Craze and Anneke Wills are presented to

the press at aphotocall beginning at 2.30 p.m. in Television Centre.

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Friday 24: The War Machines episode three is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2,069.

Innes Lloyd sends Gerry Davis a memo confirming that William

Hartnell will be unable to appear in episode three of Serial HH (yet

to be commissioned), which is due to be recorded on Saturday 11

February 1967.

By this point, however, moves are afoot to write Hartnell out of

the series altogether and replace him with another actor. Hartnell

has been finding his role as the Doctor increasingly taxing and has

now become extremely difficult to work with. Lloyd has decided

that a change would be good both for the series and for Hartnell

himself, and has won agreement to this from his superiors. He is

already in discussion with well-known character actor Patrick

Troughton to establish if he would be willing to take over from

Hartnell. Other actors previously considered for the role of the

second Doctor have included Michael Hordern and Patrick

Wymark,

Wednesday 29: Michael Craze carries out a sound recording for

The War Machines episode four at Lime Grove R.

JULY 1966

Friday 1: The War Machines episode four is camera rehearsed and recorded in Riverside 1. The budget is £2,575, the total cost

£2,090.

Friday 8: The Smugglers episode one is camera rehearsed and recorded in Riverside 1. The budget is £3,213, the total cost

£4,261.

Friday 15: The Smugglers episode two is camera rehearsed and recorded in Riverside 1. The budget is £2,580, the total cost

£2,299.

Saturday 16: William Hartnell - having as usual returned for the weekend to his family home in Mayfield, Sussex from his weekday

digs at 98 Haven Lane, Baling - tells his wife Heather than he has

agreed to give up the role of the Doctor and that his final

appearance will be in October. This will be in a story entitled The 316

Production Diary

Tenth Planet, written by Kit Pedler with story editor Gerry Davis, which will be the first of the series' fourth production block.

Friday 22: The Smugglers episode three is camera rehearsed and recorded in Riverside 1. The budget is £2,580, the total cost £

1,552.

Friday 29: The Smugglers episode four is camera rehearsed and recorded in Riverside 1. The budget is £2,580, the total cost

£2,369. This brings to an end the recording of Doctor Who's third production block.

AUGUST 1966

Monday 22: Director Derek Martinus sends the scripts for The Tenth Planet to William Hartnell, who is currently on holiday in Cornwall:

We' ve done quite alot of work on these and I think the end

result moves along at a real pace and has a lot of action. We've

got a very good supporting cast for you headed by Bob Beatty as

General Cutler. It would be very useful indeed if we could have

a read through of all four episodes on the first Tuesday morning

so that any inconsistencies can be ironed out and the new people

get a perspective on the development of their characters. If we I

do this, it shouldn't be necessary for you to come in until after

lunch on succeeding Tuesdays. I know you'll want to come up

from the country, so can we say 10.45 for the first Tuesday

morning (13 September)?

I hope you are having a wonderful rest in Cornwall, I very much

look forward to working with you once more.

Rehearsals for this story are to start on the Tuesday of each week

rather than, as in the past, on the Monday due to the fact that

Doctor Who's regular studio recording day has now been changed from Friday to Saturday, and the rest of the schedule has had to be

adjusted accordingly.

Wednesday 24: Martinus holds a planning meeting for The Tenth Planet.

Hartnell replies as follows to Martinus's letter of 22 August:

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Doctor Who – The Handbook – The First Doctor

The script arrived safely, thank you indeed.

I am extremely glad to hear that we have Bob Beatty with us, a

good actor and an extremely pleasant fellow.

Forgive the repetition. We know each other well.

One important factor to me, at this boy's club, there are two

ping-pong tables in the outer room where I would like to sit and

compose my thoughts, therefore, I would ask you to forbid the

rest of the cast playing at these tables during our working hours.

I find it most distracting trying to concentrate.

It will be my last four weeks with, or as, Dr. 'Who', then I turn to

pastures new.

My wife and I are certainly enjoying the rest together with

beautiful surroundings and perfect peace.

Tell Innes, the fishing is superb.

Finally, let me add my thanks to you for the considerate after

lunch calls, so much easier at that awkward place.

My affection and regards to all those concerned.

Tuesday 30: Four days' shooting of film inserts for The Tenth Planet begins on Stage 3A/B at Baling. The first day is devoted to model shots.

SEPTEMBER 1966

Tuesday 6: Martinus sends a further letter to Hartnell's holiday address in Cornwall:

Thank you very much for your nice letter -1 am glad you think

Bob Beatty is a good idea. I have worked with him myself

before in the theatre and, as you say, he is both a very good actor

and a very nice chap.

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Production Diary

I am still not completely happy with the scripts though we are in the process of making one or two minor changes. However, I

shall do my utmost to let you have a complete corrected set by

the end of the week.

You will be glad to know that we have found a much better

rehearsal room at St Helen's Hall. I very much look forward to

seeing you on Tuesday at 10.45 a.m.

Tuesday 13: Four days' preliminary rehearsal begins for The Tenth Planet episode one at St Helen's Hall, St Helen's Gardens, London W10.

Saturday 17: The Tenth Planet episode one is camera rehearsed and recorded in Riverside 1. The budget is £3,215, the total cost

£4,835.

Saturday 24: The Tenth Planet episode two is camera rehearsed and recorded in Riverside 1. The budget is £2,585, the total cost

£2,355.

Tuesday 27: William Hartnell fails to arrive for the first day's rehearsal for The Tenth Planet episode three, informing the production team that he is ill. Story editor Gerry Davis rewrites the

script so that the Doctor is unconscious for the entire episode and

seen only briefly from behind, played by a double, Gordon Craig.

Thursday 29: Derek Martinus sends Hartnell the following letter: Very sorry to hear you are so poorly, but please don't worry

about the show. Gerry has been very clever and managed to

write around you.

Everybody sends their warmest regards and we all hope you will

be fit to do battle on the last one.

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OCTOBER 1966

Saturday 1: The Tenth Planet episode three is camera rehearsed and recorded in Riverside 1. The budget is £2,585, the total cost

£2,171.

Saturday 8: The Tenth Planet episode four is camera rehearsed and recorded in Riverside 1. The budget is £2,585, the total cost

£2,453. The transformation from William Hartnell to Patrick

Troughton is recorded first, from 6.30 p.m. to 7.00 p.m., having

earlier been rehearsed for an hour. Following the dinner break

from 7.00 p.m. to 8.00 p.m., the remainder of the episode is then

recorded between 8.30 p.m. and 10.00 p.m. Recording slightly

overruns its allotted time as Anneke Wills, Michael Craze and

Gregg Palmer (playing a Cyberman) are required to do a retake of

one scene in which technical problems occurred. This takes place

between 10.00p.m. at 10.15p.m.

After completion of the recording, the principal cast and mem-

bers of the production team attend a farewell party for William

Hartnell at Innes Lloyd's flat. Lloyd later drives Hartnell home.

Tuesday 11: Video editing is carried out between 7.30 p.m. and

10.30 p.m. on episode four of The Tenth Planet, bringing to an end the production of the first Doctor's era.

* * *

In the months between July and October 1966, following Patrick

Troughton's agreement to take over from William Hartnell, the

production team carried out a considerable amount of work on

formulating the new Doctor's character and commissioning and

developing scripts for the remainder of the fourth production

block. These details will be covered in The Handbook - The Second Doctor.

The final episode of The Tenth Planet was transmitted on BBC1

on 29 October 1966, concluding the first Doctor's era on screen.

320

7: From Script to Screen –

The Ark

Introduction

This chapter presents an in-depth look at just one of the first

Doctor's stories. In doing so it reveals the process of making

Doctor Who at this point in the series* history and - a factor common to every story - some of the behind-the-scenes discussions and thought which go into a production.

The production chosen for this case study is The Ark, a story

transmitted mid-way through the third season in 1966.

The Ark was made during a period of transition for Doctor Who.

Producer John Wiles and story editor Donald Tosh were both on

the point of leaving the series, and their respective successors

Innes Lloyd and Gerry Davis had yet to take over full

responsibility from them. Consequently, Wiles, Tosh, Lloyd and

Davis were all left with very few memories of this particular

production. The story's writer, Paul Erickson, died in 1991, and as

far as we know never gave an in-depth interview about his work on

it. For our account of the production we have therefore turned

primarily to director Michael Imison and to designer Barry

Newbery. We have however incorporated a few comments from

other participants, including some recollections from Paul Erickson

taken from on-stage inter- views given at two Doctor Who

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conventions in the eighties.

The Scripts

Every Doctor Who adventure which appears on screen starts life as an idea. This idea may be in the mind of a writer, it may come

from the producer or the script editor, or, as is more often the case,

it may develop out of a discussion between two or more of these

people.

Once the initial contact has been made, a story outline or

synopsis will generally be commissioned from the writer. Assum-

ing that all is well when that is delivered, one or more of the actual

scripts themselves will then be commissioned. Depending on the

status of the writer, these stages may be compacted or expanded

accordingly. In the case of The Ark, the idea of setting a story on board a giant travelling spaceship was one that the producer, John

Wiles, was keen to develop. 'I loved the idea of the Ark,' Wiles

remembers. 'It's always been one of my joys to imagine the world

as a giant spaceship travelling on and on and on.' Wiles discussed

this idea with story editor Donald Tosh who contacted Paul

Erickson to see if he would be interested in submitting a story

outline based on the concept. Tosh and Erickson then worked on

the story outline together to develop the idea into final scripts.

Erickson was formally commissioned to write The Ark on 27

May 1965, at which time the story was assigned serial code' Y'.

Erickson was required to deliver the scripts for the first two

episodes on 1 September 1965 and for the final two on 1

November 1965, for a production date of 5 March 1966. Erickson

was paid through his agents a fee of £250 per episode.

Erickson and his agents were initially concerned about whether

or not there would be any fee payable if the scripts were ultimately

rejected by the BBC. On 9 June, the agents arranged for a revised

schedule of delivery dates, together with an assurance from Donald

Tosh that he would advise promptly of the acceptance/non-accept-

ance of each script as it was delivered. The necessity for this

assurance was that Erickson did not wish to work on any further

episodes unless he was happy that they would be accepted. The

revised delivery dates made provision for this. Episode one was

now due on 18 August, episode two on 1 September, episode three

on 30 September and episode four on 1 November.

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Meanwhile, plans for the season as a whole were shaping up,

and the extension of The Daleks' Master Plan from a six- to a twelve-parter (see Chapter Six) meant that one story was

effectively lost from the production order. Therefore, on 4 June

1965, The Ark was assigned the new serial code 'X'.

Erickson signed his contracts on 14 June 1965 and delivered his

draft scripts for episodes one and two on 7 September. John Wiles

and Donald Tosh then discussed them with him, and the latter

requested that he make some revisions. The revised versions,

together with the first drafts of episodes three and four, were all

delivered on 18 November.

On 4 January 1966, Tosh accepted the scripts and authorised the

full payment of all the monies due to Erickson.

On 20 January 1966, Erickson's agent contacted Tosh to ask that

the final writer's credit be shared between Erickson and someone

named Lesley Scott, although he accepted that no further money

would be due as a result. Up to this point, Erickson's had seen the

sole name on all documentation pertaining to the writing of the

story. When asked about this in later years, Erickson replied foal

Scott - who was in fact his wife at the time - made no contribution

whatsoever to the scripts. 'It was a personal arrangement I had with

her,' he explained, 'which was my own personal business at the

time. The circumstances went into history. I need say no more than

that.'

The scripts for the first two episodes had amendments made to

(hem by Donald Tosh, and further input into all four episodes was

made by the director, Michael Imison.

'I was brought in and given the scripts,' recalls Imison. "Then I

worked with the scriptwriters on them.'

Imison was not particularly impressed with the scripts at first. 'I

didn't think they were wonderful!' he says. "The Monoids were my

idea. I can't remember what they were called originally. They were

fairly indefinite creatures, but I had this idea, which I thought was

brilliant, of having actors with ping-pong balls in their mouths so

that they could play these one-eyed creatures which would appear

to have a living eye. I thought this would be a great thing for BBC

Enterprises to market, but of course it was a total damp squib! I

don't remember what else I got them to change. Having worked

quite a lot as a script editor I was quite happy to get people to

rewrite.'

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Pre-production

Michael Imison was a director new to Doctor Who, who had

started his career at the BBC working for the Script Department.

"There was pool of us who, when we weren't working on a

particular programme, carried out a sort of general survey of what

writing was available. It meant for instance that I could go to the

theatre a good deal at the BBC's expense! Which I was very happy

to do as the theatre has always been my main love.

'I worked on a programme called Compact, which I was script

editor of for quite a time, and was getting a bit fed up with this

when a directing course became available. After I'd done the

course I started by directing some poetry programmes, which were

a sort of summer replacement for Monitor. Then I became one of the regular directors on Compact. From there I went on to do

classic serials, the most important of which was a version of

Buddenbrooks by Thomas Mann. That was really quite a big

undertaking, nine episodes, of which I was rather proud, but at that

time the departments were split up and there was a new department

head and he didn't like what I'd done on Buddenbrooks.'

Buddenbrooks was the third classic serial that Imison had

directed, and then out of the blue he was assigned to work on

Doctor Who, a job he saw as being a kind of penance. 'I thought I'd gone on to bigger things!'

Also assigned to the production was designer Barry Newbery,

who had worked on Doctor Who since the very beginning, initially alternating on stories with Raymond P. Cusick. Newbery had yet to

design a science-based story for the series, although he had

handled some episodes of The Daleks' Master Plan, and The Ark was to be his first.

Unfortunately, Newbery does not have very happy memories of

working on this story. 'One of the problems was that I didn't feel

that the director was happy directing science-fiction. Looking at it

no w, I can see that Michael was into the story and understood it

and did a good job. You had so little time designing Doctor Who in those days and you needed a director who was really proactive

when it came to the nitty gritty of getting the programme made.

When you're working to such a tight deadline, you've got filming

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From Script to Screen – The Ark

and studio work to plan and you give a director an outline which

you hope he will understand. You do sketches and plans of the sets

for him and you want to know which he wants to shoot in the

studio and which on film. The clock goes round ever so quickly

and you need someone who comes up with the answers you want

and need quickly.

'I was usually terribly enthusiastic about my work, and I

probably gave myself too much to do in the allotted time. When

you've got all the balls in the air and at the same time are trying to

get sense from the director, and he is likewise trying to get sense

from you and doesn't understand what you're talking about, then

you get a terrible feeling of frustration. And I got that with Michael

Imison. Mind you, I am talking about my troubles, but he had his

troubles too.'

A part of this frustration was perhaps due to the fact that Imison

was not happy to have been assigned to Doctor Who in the first place, but mat he was nevertheless determined to make his mark

with the show.

'I think I was deliberately trying to show off,' he admits. 'I had a

pretty ambitious camera script, not all of which was achieved! I did

feel that one of the things Doctor Who should be doing was to have as much science and as many effects as one could manage. It was

very complex and, I think, over-ambitious.

'I remember vividly, because of the circumstances, that while I

was recording the first episode the Departmental Organiser, Terry

Cook, appeared in the gallery and sat behind me. As a courtesy I

said, "We're on page twelve," and indeed we'd been on page twelve for quite a time. "I was beginning to wonder if there was any other page!" he commented. So yes, it was quite complex.'

The Ark was the first full story for Jackie Lane, who played

Dodo. Michael Imison remembers having to introduce her, as well

as working with William Hartnell and Peter Purves. 'I had quite a

lot to do with deciding what she was going to be like. Bill of

course was very set in his ways and, as you can see in the finished

episodes, was never very certain of his lines and had to be handled

with kid gloves. It was made very clear to me that I had to be very

careful with him. Peter was very jolly. I liked him.'

The costumes for the Monoids were designed by BBC costume

supervisor Daphne Dare and constructed by freelancers Jack and

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John Lovell. Dare recalls that the costumes were particularly

challenging for the actors who had to wear them: 'The Monoids

were a classic example of a monster which came together on the

day. You see we had so little time to practise the make-up and

putting things together. The Monoids' Beatle wigs were more or

less there to conceal the air holes in their heads. The costumes

were very hot and uncomfortable as they were made from latex

and rubber. The actors would always wear cotton T-shirts

undemeath which were absorbent and then would put the costume

on only at the last moment before rushing onto the set so that they

were less likely to faint or expire!'

The novel aspect of the creatures was, as Michael Imison points

out, the fact that they had only one eye. This detail is recalled by

Jack Lovell. 'The eye was a ping-pong ball level with the actor's

tongue. The actors looked out through holes in the mask which is

maybe why the upper part of the mask was covered with hair to

conceal the holes, because I'm certain they were originally never

meant to have hair.' John Lovell further recalls that the hair was

actually yak hair.

During the sixties, the use of stock rather than specially-

composed incidental music was a common practice, and it was one

that Imison elected to follow for The Ark.

The music chosen was a combination of extracts from Tristram

Gary's score for the season one story The Daleks, some of which had been reused on Doctor Who twice since, and some stock drum music by Robert Famon (the track was actually called 'Drum-dramatics No. 11'). The latter was used as backing for the Monoid

funeral in episode two, and also in episode four.

All the music and the new sound effects - which were provided

as usual by Brian Hodgson at the BBC's Radiophonic Workshop -

were pre-recorded onto tape and then 'played in' during the actual

recording of the episodes in the TV studio. This meant that the cast

and crew could hear the music and effects as they performed; and

if a retake was necessary, the tapes would need resetting

accordingly. This is one of the reasons why recording tended to be

continuous, as the complexity of fitting together all the elements

often precluded a retake if the only thing that was wrong was an

actor fluffing a line and then recovering from it.

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From Script to Screen – The Ark

In Studio

Eventually, the programme went into the studio. By the time of the

third season, recording of Doctor Who was being split between the faculties at Riverside Studios on the south bank of the Thames at

Hammersmith and those at Television Centre in White City. The

Ark was recorded entirely in Riverside Studio 1, with shooting of film inserts taking place beforehand at the BBC's Television Film

Studios in Baling.

The four episodes of The Ark were camera rehearsed and

recorded on 18 February, 25 February, 4 March and 11 March

1966. There was also apparently a single piece of recording

completed on 24 January (between the recording of episodes one

and two of The Massacre of St Bartholomew's Eve) with actor

David Greneau playing a Guardian. It is not known exactly what

this extra recording was, or why it was scheduled for a non-

recording day rather than for one of the adjacent recording days. It

is possible that it was a session with a photographer to take the still required for a sequence in which the Guardian is miniaturised in

episode one.

Rehearsals for The Ark took place in a Territorial Army Drill

Hall at 58 Bulwer Street, London W12. The cast would start

rehearsing each episode on a Monday morning with a read-through

of the script. This would be followed by initial rehearsals, with full

rehearsals taking place from Tuesday to Thursday. Wednesday

morning would normally be devoted to a first read-through of the

following week's episode, so that the story editor would then have time to take it away and, in consultation with the writer, iron out

any problems identified.

On the Thursday morning there would be a 'producer's run', for

which the producer and story editor would be present and any final

adjustments would be made to the script and the performances

before the cast and crew moved into the studio on the Friday

morning.

During the day on Friday, a final series of rehearsals would take

place on the sets (these having been erected overnight), for the

benefit not only of the director and his cast but also of the

cameramen, lighting and other technical personnel. By about 7.00

p.m., all would have to be ready for the episode to be recorded.

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After an hour's dinner break, the half-hour between 8.00 p.m.

and 8.30 p.m. would be spent on line up - i.e. making sure that that

cast and crew were all in their correct positions and that all

technical equipment was ready. The recording itself would then be

scheduled to take place between 8.30 p.m. and 9.45 p.m. (although

in the case of The Ark there were a few variations from the norm, as the recording of episodes one and three was scheduled to last

from 8.30 p.m. to 10.00 p.m. and that of episode two from 8. IS

p.m. to 9.4S p.m., the dinner break in the latter case having taken

place between 6.45 p.m. and 7.45 p.m. and line-up between 7.45

p.m. and 8.15 p.m.).

Recording had to finish by 10.00 p.m. if the production was not

to go into overtime and incur additional costs. In the case of The

Ark, this deadline was passed for some of the episodes.

Typically in the sixties, stories would be recorded in the same

scene order as would be seen on transmission. As videotape was

very difficult to edit, recording breaks would be scheduled only if

absolutely necessary - to allow cast to change costume or make-up

for example, or to move from one set to another where this could

not be achieved by way of a 'bridging' scene. These scheduled

breaks were kept to a minimum, with an upper limit of five

normally permitted in any one episode.

In a complete departure from the normal course of events,

however, The Ark saw the first use in Doctor Who of full out-of-scene-order recording. This was for the final episode of the story,

and was required because of the difficulty involved in moving the

single full-size space shuttle pod prop from one set to another.

The scenes in the final episode were recorded in the following

order:

The closing TARDIS scenes were recorded first, with the cast in

their costumes for the following story, The Celestial Toymaker.

William Hartnell was on a separate set to allow him to fade from

view as the episode ended.

The closing credits for the episode were then recorded from the

caption roller.

There was then a recording break to allow the regular cast to

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From Script to Screen – The Ark

change into their costumes for The Ark.

Recording continued from the start of the episode up until the

first scene in the Refusian castle. Then all later scenes in the

castle were recorded together.

The scenes involving the escape of Steven and the Guardians

from the kitchen were then recorded, as were all the scenes on

the Ark involving the launcher.

Next, the launcher prop was moved to the Refusis II set and

all the scenes of the launcher on the planet were recorded.

Finally, the remaining scenes were recorded in order.

Michael Imison also remembers doing storyboards for the epi-

sodes, planning out what the shots would look like when recorded

and cut together. These storyboards would have been used to help

the designers and technical personnel to understand what the

director was expecting. They were produced prior to the rehearsals,

and then amended, if necessary, during the rehearsal process.

In other books in this series we have, at this point, given a

detailed scene-by-scene summary of the story under consideration,

with comments from many of those involved in the production. On

this occasion, lack of space prevents us from doing so, so instead

we present the following observations from Michael Imison and

Barry Newbery on some of the key aspects of the story's

production in studio.

Michael Imison:

"There were children present on the Ark because this was meant to

be a community travelling for many years through space and we

wanted to suggest that.

'I insisted that we had shots of the cast actually touching the

elephant in the jungle because I'd gone to the trouble of getting a

real animal in rather than using some stock footage. I actually had

the elephant in a van outside my flat overnight because it had to be

driven down from somewhere in the north of England and the BBC

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wouldn't give the driver anywhere to park on the premises. The

driver fed it and then went off to some hotel and he asked if I could

keep an eye on it.

'I went to Baling myself and supervised all the filming of the

models. The model of the statue was lifted by someone holding its

legs out of shot, and then shifting their grip to the head as it moved

past the camera. That gave the effect of it being moved by an

invisible creature. The model statue wasn't actually blown up as I

kept it afterwards. The explosion was a separate piece of footage

that was mixed in at the right point.

'One of the problems with the Monoids was that a lot of them

were extras and you're not allowed to give extras specific direction,

so I wasn't able to get them to do the sort of Monoidy things which

I'd hoped would make it a popular monster.

"The Monoids' voices were created live in the studio using a

similar process to that used on the Daleks. Obviously the voices

were not spoken by the actors playing the Monoids as they had

ping-pong balls in their mouths! There would have been a speaker

on the studio floor so that the actors could hear the voices as well.

'Each of the Monoids had a communicator device around its neck.

They moved a slider to reveal a black dot at the front when they

were speaking. I think that was to try and show which one was

speaking at any given time, because it wasn't obvious otherwise.

"The effect of the Monoid's gun firing was done by turning up the

contrast on the camera so the picture whited out. There was also a

light at the end of the gun, and a small charge of flash-powder was

ignited to give a puff of smoke.'

Barry Newbery:

'The jungle set was quite big. It filled more than half of one of the

stages at Ealing. At the very back there was a painted cloth. It was

from stock, painted with Dylon, and had been used so often that it

had faded. It worked exceedingly well as it gave the impression of

a tremendous distance, although it didn* t come over too well on

the black-and-white recording. The boles of the trees were

constructed scenery, but all the foliage was from real trees. There

was a great mixture of plants and trees from England and from

elsewhere in the world. All the greenery was hired from a firm

called Greenery who were based at Hampton. They'd supply all the

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From Script to Screen – The Ark

raw materials and we'd put peat and sawdust on the floor, marsh

grasses and grass sods around, and then place all the trees and

leaves to complete the effect. A smoke machine was used in the

jungle, and dry ice too.

"The animals were all hired from a specialist firm and then

looked after by minders. They'd put them into the shots where we'd

need them. I remember one shot where we had the camera

mounted on a mole crane and tracked along about 60 foot of

camera track, then came down and stopped in close-up on a python

moving over some dead tree branches.

'For the scene where the Doctor and his companions look up

through the trees and see that it has a metal roof, I got a very nice

bonsai plant and set it up in front of a scaled-down painting of the

roof. With a wide angle lens on the camera, the bonsai looked like

a full-size tree and the effect was quite convincing. However, the

shot seen on screen wasn't the one I set up.

'The metal roof was also seen as a painted cloth. I asked the

scenic artist to paint it in such a way that it appeared to curve

downwards, giving the impression that the Ark was spherical. You

see, I had decided - whether rightly or wrongly - that since the ship

obviously had artificial gravity it must be spinning like a ball in

order to create this. Actually, having since given it some further

thought, I now realise that the characters would have had to have

been standing on the inner surface of the sphere for this to have

worked, so the roof/sky wouldn't have looked like that at all!

'All the Ark's control consoles and equipment were built on to

stock rostra. All the equipment was made. I put small pea-lights in

the control panels, which didn't do anything except light up and

look good. The small monitor screens on the main console were

just transparencies with lights behind them to give the effect.

'Other parts of this set were made from moulded PVC, which to

me at the time was a brand new material and technique. The

navigation chart was provided by back projection. If you wanted to

use back projection, you had to book it in advance as its

availability was limited.

'It would have been far too expensive to have built a separate set

for the shot of the cabinets containing the miniaturised humans, so

I improvised. I used a couple of filing cabinets and two mirrors set

up at angles to one another to give multiple reflections. The

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miniaturised humans were just painted cut-outs, made by a free-

lance designer called Peter Pegrum who went on to manage the

BBC's Visual Effects Department. However, these miniatures were

not seen on screen and nor was a shot of a Monoid removing a

tray. I don't know why as I know it was recorded.

'We were always having to break new ground. When doing

science-fiction we all tried to make our designs look like the son of

thing which belonged to a different era. In addition, if you put

commonplace items in a strange situation then they tend not to be

recognised for what they really are. For example, I used school

desks in the Ark's kitchen set, and they did look alien. Well, I hope

they did!

'Later I had to create the landscape of the alien planet that the

Ark reaches at the end of its journey. For this, I used a lot of

broom-type plants, on the stems of which I hung rovings of

fibreglass, strewn so as to give the impression of a kind of candy-

floss. My aim was to create a setting totally unlike any you could

find on Earth. I also added some fibreglass rocks from stock and

some grass and sawdust.

'Also for that set I had to build a ten foot diameter circular

spacecraft - the landing module in which the Ark's crew descend to

the planet's surface.'

Post-production

While the recording of a Doctor Who adventure accounts for what is eventually seen on screen, the diary of a production does not end

there.

Far less time tended to be spent on post-production during the

first Doctor's era than during later eras simply because nearly all

the work was done in pre-production and live in the studio. All that

remained for the director to do was to supervise any editing

required, and any final sound dubs. 'There would have been a

certain amount of editing done the week after recording,' confirms

Michael. 'That tended to take place on the Monday or Tuesday

evening the following week.'

As previously mentioned, the number of edits tended to be

minimised by having the story recorded in transmission order with

few recording breaks. In addition, the recording of each episode

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From Script to Screen – The Ark

was done only about two weeks' prior to its transmission. The

director therefore had to split his time between the episode just

completed, the episode to be rehearsed and recorded the following

week, and, possibly, further episodes of the story being planned for

subsequent weeks.

For Michael Imison, work on The Ark was overshadowed by the

fact that he was told when he was mid-way through making the

final episode that his services as a director were no longer required

by the BBC.

'Before I went into the gallery to record the last episode,' he

recalls, 'I was handed a note to say that my contract was not being

renewed.'

Michael therefore went back to being a story editor. 'I had to

find the job myself; I wasn't offered it. Some friends in the Plays

Department employed me and, curiously, the fact that I had done

Doctor Who helped. They were setting up a science-fiction series called Out of the Unknown and needed someone who knew something about science-fiction. I knew nothing about science-fiction,

but as I had done Doctor Who they thought I might!

'After a crash course in science-fiction, which I thoroughly

enjoyed, I had a marvellous time. I attended the Trieste Science-

fiction Film Festival in France as a BBC observer and was

immediately put on the Grand Jury! They thought that to have

someone English on the Jury would be a good idea. Then the next

year we entered one of the Out of the Unknown episodes. The Machine Stops, and won, so that was rather fun.

"Then the man who had sacked me became Head of Plays and I

realised that my future at the BBC was going to be very limited.

An actor friend whom I'd employed in Buddenbrooks, who was at

the time represented by a large American agency in London, came

to talk to me. His agency had lost their London agent to a rival

company and they needed someone in a hurry to look after their

American clients in England - the other agent had gone off with all

the English clients!

'My friend arranged for me to be interviewed and they offered

me twice the money the BBC was paying! So then I became an

agent, and I must say I've never regretted it.'

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Transmission

The Ark was eventually transmitted on consecutive Saturdays from 5 to 26 March 1966. It achieved ratings, in millions of viewers, of 5.5 (episode one), 6.9 (two), 6.2 (three) and 7.3 (four), all of which

were lower than the season average of 7.65.

Although the third season of Doctor Who had started success-

fully, enjoying audiences around the 10 million mark for most of

the epic twelve part The Daleks' Master Plan, The Massacre of St

Bartholomew's Eve had proved particularly unpopular, the ratings dropping off dramatically from 8.0 to 5.8 million. The Ark went some way towards improving the situation, and this trend was

continued by The Celestial Toymaker, but The Gunfighters and The Savages proved less popular. In terms of position in the weekly TV

chart, The Ark fared poorly. The highest placing it could manage was for episode two, which clocked in at 70th. For episode one it

dropped out of the top 100 shows altogether; the first time that

Doctor Who had failed to appear in the top 100 since it started.

Part of the reason for The Ark's poor figures was that most ITV

regions were showing the highly popular music magazine show

Thank Your Lucky Stars in the slot opposite Doctor Who. It seems that, against this competition. Doctor Who could command a really high audience only when the Daleks appeared.

Considering the problematic background of the third season as a

whole (see Chapter Six), and also the limited technology and time

available, The Ark stands up well as an example of Doctor Who in this period. It was a very ambitious project, achieved with much

imagination and skill by all those involved.

CREDITS

Written by

Paul Erickson and Lesley Scott

Title Music by

Ron Grainer and the BBC

Radiophonic Workshop

Title Sequence

Bernard Lodge

Incidental Music by

Tristram Gary (stock)

Tristan Gary (stock)

Special Sound

Brian Hodgson

Production Assistant

David Maloney

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From Script to Screen – The Ark

Assistant Floor Manager

Chris D'Oyly-John

Assistant

Thelma Helsby

Floor Assistant

Emest Skinner

TM2

Fred Wright

Grams

John Hurley

Tony Bowes

Vision Mixer

Clive Halls

Crew

1

Film Cameraman

Tony Leggo

Film Editor

Noel Chapman

Costume Designer

Daphne Dare

Make-Up

Sonia Markham

Lighting

Howard King

Sound

Ray Angel

Story Editor

Gerry Davis (and Donald Tosh

before his departure)

Designer

Barry Newbery

Producer

John Wiles (and Innes Lloyd after

his arrival)

Director

Michael Imison

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8: Selling the Doctor

Media

One of the main bastions of public interest in Doctor Who was

the BBC's own listings magazine, Radio Times. From the series'

on-air debut in 1963 right through to the end of the first Doctor's

era, every story was heralded by a feature article, accompanied as

often as not by a photograph. Occasionally features would appear

partway through a story's run as well. As Radio Times was

published in regional editions, each giving details of programmes

specific to its own particular region as well as of those transmitted

nationwide, there would often be regional variations in the

coverage given to the series. For example, the London edition

might present a small feature while the Welsh one boasted a whole

page plus a photograph.

The first story to be promoted with a front cover photograph in

the magazine was Marco Polo in February 1964. The same

privilege was later accorded77i« Dalek Invasion of Earth and The

Web Planet - the stories given perhaps the most publicity of any of the first Doctor's adventures.

Doctor Who's first mention in Radio Times was actually in the edition published the week before its debut episode was transmitted, when in the 'Next Week' preview column a photograph and

'teaser' text announced the start of the first story. The BBC's own

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Selling The Doctor

in-house magazine, Ariel, also covered the event, this time with a photograph of associate producer Mervyn Pinfield, producer Verity Lambert and director Waris Hussein on the classroom set from

An Unearthly Child. Ariel described Doctor Who as 'an ambitious space/time adventure serial consisting of a series of stories of a

varying number of episodes. Each episode will end on a cliff-

hanger.'

Clearly there was considerable interest in the new series but, as

things turned out, the opening episode was transmitted in less than

ideal circumstances. First, the assassination the previous day of US

President John F. Kennedy meant that many viewers were simply

not in the mood to watch television - unless it was to see one of the

special programmes hastily put together by the BBC and ITV to

mourn Kennedy's passing. Then, on the Saturday evening many

viewers' homes were blacked out by a widespread power failure.

Those who did watch, however, apparently liked what they saw.

'William Hartnell, gazing from under locks of flowing white,'

wrote Michael Gowers in the Daily Mail on 25 November, 'and the appealing Carole Ann Ford represent the Unknown Them, William

Russell and Jacqueline Hill the ignorant, sceptical Us, and their

craft is cunningly disguised as a police callbox. The penultimate

shot of this, nestling, after a three-point touchdown, in a Neolithic

landscape, must have delighted the hearts of the Telegoons who followed.'

The press were largely silent during the run of The Daleks, but the fact that Terry Nation's evil creations had caught the public's

imagination did not go unregistered. On 4 February, just three days

after the transmission of the story's final episode, Douglas

Marlborough reported in the Daily Mail that, 'since the Daleks vanished from the series, hundreds of children have written to ask

what would happen to them. Some suggested that they should be

competition prizes. Now the future of two of the five-feet-tall

fibreglass-and-wood robots has been decided. Today they go to

children of Dr Bamardo's Homes.' Marlborough went on to explain

that two more Daleks had been kept by the B BC in case they were

needed 'for future TV appearances'.

Under the headline 'Do-it-yourself Daleks are coming,' Reveille

reported on 2 April that the BBC was arranging for 'hundreds of

do-it-yourself scale models of the robots to be put on the market.'

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Doctor Who – The Handbook – The First Doctor

The article went on to state that 'the eerie, clipped-voice robots

which appeared in Dr. Who, the BBC television serial, proved so popular that they are to be brought back to the screen again,

probably in the Autumn.'

During 1964 and 196S the Daleks became a national cult, but

they were not the only race of Doctor Who monsters that the BBC

tried to promote. Another first season menace which received a fair

amount of coverage was the Voords, who were revealed to the

public by the Daily Mail on 11 April.

"They bounce across BBC TV screens today in the first episode

of a new DR. WHO space series - and could rival the dreaded

Daleks,' wrote the reporter. The article was accompanied by a

photograph showing Carole Ann Ford in the clutches of a rubber-

clad Peter Stenson.

1964 drew to a close with another Dalek-related report in the

Daily Mail - the paper which had given Doctor Who the most coverage over the previous year. Hot on the heels of the conclusion

of The Dalek Invasion of Earth, they reported that Terry Nation was being asked to bring back the aliens once more, but that he

didn't want to do so. 'I don't want to bring them back,' he explained

to Douglas Marlborough. "They've hit such a level of popularity

that nothing they do can be quite as popular again. The Beatles and

pop groups in general have dropped a bit, and the Daleks seem to

have filled the gap. I can't see them hitting this level for much

longer. But what can one do? I don't want the Daleks back. The

BBC does. They've insisted on it.' Perhaps the fact that, as

Marlborough reported, Nation was speaking from a '15-room

£15,000 Elizabethan mansion near Teynham, Kent had something

to do with his being persuaded to write another Dalek story.

During the series' second season, Nation's finances continued to

fascinate Douglas Marlborough, who on 11 March 1965 reported

that 'the man who invented the Daleks has made a fortune out of

his science-fiction mechanical monsters. Mr Terry Nation, their

34-year old creator, last night declined to say how much. But the

TV and film rights are believed to be worth £300,000.' Nation was

quoted later in the article as saying, 'There was a sudden need for

money and so I did the series. It turned out to be the shrewdest

move I've ever made.'

Reveille carried an interview with Verity Lambert around the

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Selling The Doctor

same time and revealed that Carole Ann Ford was to be replaced

with Margaret O' Brien [sic]. The ever dependable Daily Mail also interviewed Lambert on 28 November 1964, as the second Dalek

Story finished its run. On 2 April 1965,the Daily Mail reported that Jacqueline Hill and William Russell had both asked to leave the

series by June.

Monsters other than the Daleks continued to be mostly ignored

by the press, with two notable exceptions: the Zarbi, who received

almost full-page coverage in the Daily Mail, and the Mechanoids, who were afforded similar treatment.

After Galaxy 4 went into the studio, newspaper readers were

treated to the sight of a trio of attractive women wielding large

guns. 'Enter Dr Who's new foes: The ray-gun blondes' screamed

the headline to Brian Bear's feature in the Daily Mail. This was followed by 'UGH! It's the TV monsters' after Mission to the

Unknown was recorded on 7 August. On 23 October, a sextet of

bald men peered from the paper as the Technix from The Daleks'

Master Plan were unveiled. On 4 December, Jean Marsh hit the

headlines as 'A Touch of the Avengers: The New Girl Linking Up

with Dr. Who Tonight.' The feature, with an accompanying

photograph, revealed that Marsh had been given 'a woollen catsuit,

black leather boots, expertise in judo and karate and a ray gun for

when that suits the script writers better.' The Beatle-wigged

monocular creatures of The Ark also appeared in the press when Jackie Lane was announced as the latest addition to the TARDIS's

crew.

On 3 December 1965, the Manchester Evening News speculated

that William Hartnell might be giving up the role of the Doctor.

'I've had a good innings,' he apparently explained to their reporter.

Hartnell's agent, Eric 1'Epine Smith, denied any such thing: 'I can

assure you categorically that William Hartnell is not giving up. I

have plans for him when he finishes the series.'

Of course, Hartnell did eventually leave, and on 6 August 1966

newspapers reported that the BBC was searching for a new actor to

take the role of the Doctor. 'I think three years in one part is a good innings and it is time for a change,' Hartnell was quoted as saying

in The Times.

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Overseas Sales

England was by no means the only country to enjoy the first

Doctor's era. The Keys of Marinus was the story sold to the most countries in the sixties and early seventies and Dalek Cutaway and The Daleks' Master Plan (with no overseas sales at all) those sold to the least. It appears that The Daleks' Master Plan may have been offered for sale only as an eleven-part story -presumably minus the

off-beat Christmas Day episode The Feast of Steven.

Two countries which received the great majority of the stories

were Australia and New Zealand.

In New Zealand, Doctor Who began on 18 September 1964 on

the Auckland regional channel, AKTV-2, with 100,000 BC. It then continued until 11 December, when Inside The Spaceship concluded. This was the first time that Doctor Who had been shown outside the UK. Other New Zealand regions - Christchurch

(CHTV-3), Wellington (WNTV-1) and Dunedin (DNTV-2) -

subsequently transmitted the same episodes, but at different times

and to a different schedule.

Marco Polo was the next story transmitted on AKTV-2. This

was nearly two years later, between 27 October and 8 December

1966. After a short break, it was followed between 24 May 1968

and 30 August 1968 by The Reign of Terror, Planet of Giants, The

Rescue and The Romans. The fourth and final run of first Doctor stories started on 27 October 1968 and continued until 3 November

1969. The stories shown were The Space Museum, The Time

Meddler, Galaxy 4, The Myth Makers, The Massacre of St

Bartholomew's Eve, The Ark, The Celestial Toymaker, The

Savages, The War Machines, The Smugglers and The Tenth Planet.

Doctor Who first aired in Australia at 7.30 p.m. on Tuesday 12

January 1965, when ABW Channel 2 Perth (part of the Australian

Broadcasting Commission (ABC) network) transmitted the open-

ing episode of 100,000BC. As in New Zealand, programmes were

transmitted on a regional basis rather than nation-wide, as the film

had to be physically taken from one region to the next. Doctor

Who's debut in other regions therefore came a few days later. In Sydney, for example, the first episode went out at 7.30 p.m. on

Friday 15 January.

The Australian Censorship Board (ACB), by whom all TV

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Selling The Doctor

programmes and films were required to be vetted and classified

before they could be shown, had rated the first three Doctor Who

stories as 'A', or Adults Only - hence the relatively late time slot.

This initial batch of episodes had in fact been made available to

Australia back in April 1964, but transmission had been delayed

due to this unexpected hitch. When it came to Marco Polo, the

ACB were prepared to rate some of the episodes 'G', or General,

but only after certain cuts were made. This set a precedent whereby

most of the other first Doctor episodes shown in Australia would

be rated 'G' but subjected to minor cuts to remove supposedly

objectionable shots.

Once weekly transmissions got underway, Australians were able

to see Doctor Who regularly for 67 weeks until the fourth and final episode of The Crusade was screened in Sydney on 22 April 1966

- one of the longest uninterrupted runs that Doctor Who has ever enjoyed anywhere in the world.

A further season began later in the year, on 3 October in Sydney,

but now Doctor Who was being shown four nights a week

(Monday I, to Thursday) rather than weekly, and at 6.30 p.m.

rather than 7.30 p.m. All the episodes in this season received a 'G'

rating, but again cuts were made. Stories to suffer in this way

included The Chase, Galaxy 4, The Ark (from which all close-ups of the Monoids were removed!) and The Gunfighters. Dalek

Cutaway and three episodes of The Daleks' Master Plan were not cleared for transmission as it was considered impracticable to bring

them within a 'G' rating by making cuts, the problem lying with the

grim nature of the storyline itself. Consequently these two stories

were not purchased for transmission in Australia.

The first Doctor Who repeat in Australia was of The Reign of Terror, beginning on 9 November 1966. This was followed by

repeats of Planet of Giants, The Romans, The Web Planet and The Crusade. (The Dalek Invasion of Earth and The Rescue were omitted from this run due to their 'A' ratings.) After the repeats, the final batch of first Doctor stories were transmitted, starting on 31

March 1967 in Sydney. The final episode of The Tenth Planet - a story which, unusually, had escaped any cuts - went out on 14 June

1967.

Another country which saw Doctor Who at a very early stage

was Canada. The first episode was broadcast by the Canadian

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Doctor Who – The Handbook – The First Doctor

Broadcasting Corporation (CBC) at 5.00 p.m. on Saturday 23

January 1965. Transmissions then continued weekly until 3 April

1965, when the programme's slot was moved to 5.00 p.m. on a

Wednesday. Apart from the first episode of The Daleks, all the first five stories of season one were shown before the run came to an

end on 7 July 1965.

Merchandise

The overwhelming success of Doctor Who in the sixties can

arguably be traced back to the seven-part Terry Nation-scripted

story The Daleks, which added two new words to the vocabulary of schoolchildren everywhere: 'Dalek' and 'Exterminate'.

The BBC were bombarded with letters asking when the Daleks

would return, and interest continued unabated for the following

three years. Their meteoric rise to become the merchandise item of the mid-sixties owed a great deal to one man, Walter Tuckwell.

In the early sixties, the BBC created a licensing department,

BBC Exploitation, whose job it was to exploit the varied and

numerous rights in BBC-owned characters and settings, including

the Daleks. The rights to market the Daleks were eventually given

to a character-licensing company with whom the BBC had done

business before, thus relieving the BBC of much of the work

involved in such dealings. This company was Walter Tuckwell

Associates.

'When they made their first appearance in about the fifth episode

of Dr. Who, late in 1963,1 rang the BBC and asked if they were going to be a big thing,' Tuckwell explained in an interview at the

time. 'They said: "Forget it. Dr. Who is going to finish them off

after six episodes and then he is off to China with Marco Polo."

'But like Dick Barton just after the war, this was a scary

programme that the kids loved. They enjoy being frightened when

they know the goodies are going to win in the end. Before the end

of that first series, youngsters were running round their school

playgrounds growling "Ex-term-in-ate". It was bingo and nobody knew it.'

Tuckwell's job was to approach manufacturers and publishers

and try to interest them in buying a licence to use the Daleks in

342

Selling The Doctor

conjunction with their products. As this involved the companies

being approached and given the idea, rather than the companies

independently deciding to approach the BBC, Tuckwell met with a

very favourable response. By Christmas 1964, there were numer-

ous companies gearing up to release toys and games the following

year. When the BBC announced that they were planning another

Dalek story for Christmas 1965, interest grew even stronger, and

by the end of 1965 around eighty-five different products had been

released to tie in with Doctor Who and the Daleks.

This trend was reported by the press and there was even a

special BBC 'Interlude' film, set in a toyshop, during the course of

which an army of Louis Marx Daleks was seen to be wiped out by

a large crawling doll.

Tuckwell's success at getting the Daleks into every toyshop, and

from there into every child's Christmas stocking, was what really

brought Doctor Who into the public eye. Without that marketing push, it is arguable that Doctor Who would not have become the hit it did.

There was even a fan following for the programme, and reviews

of Doctor Who started to appear in science-fiction fanzines of the period. A fan club for William Hartnell, concentrating on his role

as the Doctor, was set up and run by a young fan who lived in

Stoke-on-Trent. It provided occasional newsletters and sent out

autographed publicity photographs of the regular cast members.

Spin-Offs

Interest in Doctor Who spilled over into the theatre and on to cinema screens as the Daleks moved outside the boundaries of the

television show which had spawned them.

1965 saw the release on 24 June of the first full-length cinema

film to feature the Daleks. Dr. Who and the Daleks was an instant hit with people of all ages, and preparations started almost immediately on a follow-up, Daleks Invasion Earth 2150 A.D. This

second film was released in June 1966, but as the Dalek craze was

dying down by then it fared less well at the box office. Although

both films were based on televised scripts (for The Daleks and The Dalek Invasion of Earth respectively), the Doctor was played by 343

Doctor Who – The Handbook – The First Doctor

Peter Cushing and his assistants by Roy Castle, Jennie Linden and

Roberta Tovey (first film) and Bernard Cribbins, Jill Curzon and

Roberta Tovey (second film).

Both films generated a large amount of media attention, which

was boosted in 1965 by the Daleks paying a visit to the Cannes

Film Festival and by a major display of props and sets which was

mounted initially in London's Selfridges department store and then

went on tour around the country to other stores owned by the same

parent company.

Producer Milton Subotsky' s later claim that there were plans for

a third film (reported to have been called Doctor Who's Greatest

Adventure) seem to have no factual basis in the BBC documentation of the time.

Aside from the two cinema films, there was also a one-offstage

play. The Curse of the Daleks was written by Doctor Who's story editor, David Whitaker, and featured neither the Doctor nor the

TARDIS, concentrating instead on the Daleks themselves. The plot

of the play picks up on the Daleks' immobilisation at the end of

The Daleks and depicts the activation of the creatures by an

unwary archaeological team, one of whose number has secret plans

for them. The play was staged at the Wyndham's theatre in

London's Charing Cross Road and ran for two weeks from 21

December 1965.

The Daleks also had their own comic strip, which ran in TV

Century 21, and their own annuals and books. They even made

appearances at numerous promotional events and exhibitions,

including the Daily Mail Boys' and Girls' Exhibition of 1964/65.

This was the first major public appearance of the Daleks, and

crowds packed the hall at London's Olympia exhibition centre to

catch a glimpse of them.

Viewer Reaction

The series' audience appreciation figures were generally good.

These statistics were compiled by the BBC from a regular survey

of a panel of viewers, whose comments would occasionally be

used to write up more detailed Audience Research Reports on

particular programmes. The Reports for Doctor Who provide a

344

Selling The Doctor

fascinating insight into how the series was perceived by the general

public at the time of transmission.

Tonight's new serial seemed to be a cross between Wells' Time

Machine and a space-age Old Curiosity Shop, with a touch of

Mack Sennett comedy,' commented one viewer, a retired Naval

officer, after watching the opening episode of 100,000 BC. There were occasional voices of discontent - 'A police box with flashing

beacon travelling through interstellar space - what claptrap!' was

one viewer's opinion - but on the whole the episode was regarded

as 'an enjoyable piece of escapism, not to be taken too seriously, of

course, but none the less entertaining and, at times, quite thrilling.'

By the time of The Aztecs, interest was apparently falling off.

One viewer said he was 'afraid that this series has gone on far too

long: the danger and escape there from fall into a never-varied

pattern length and repetition - result, ennui.' And this was for the third episode of the sixth story to be transmitted! Others expressed

a preference for the science-fiction based adventures over the

historical, but younger children seemed to have enjoyed The Aztecs

more than their parents.

When the second season began with Planet of Giants, viewers

welcomed the series' return - 'preposterous' though its concepts

were. The most frequently-expressed view about the first episode

of The Dalek Invasion of Earth was that there was not enough of the Daleks in it. Another comment was that the show was 'rather

gruesome for young children to watch, with drowned bodies and

daggered bodies.'

The Romans came under fire as being 'so ridiculous it's a bore!'

Again there was criticism of the historical adventures in general,

and one common comment was that the story lacked any realism -

everything was 'transparently phoney.' The Web Planet was not

liked either, being described as a 'third rate kiddies pantomime.' It

was generally felt that the series had 'lost its entertainment value

and should be either rested or "scrapped." Plainly, ideas were running out.' The Space Museum seemed to confirm this view as, after a promising start, it was thought to have deteriorated into 'a

load of drivel.' Some viewers commented that William Hartnell

seemed unsure of his lines - 'or,' said one, 'was it that Dr. Who was

given too many "urn's", "ah-h-h's" and "er's" in the script?'

345

Doctor Who – The Handbook – The First Doctor

An interesting point to note here is that the stories which tended

to attract the most criticism in the Audience Research Reports were

those which received the highest ratings!

The Chase was very well received, with many positive com-

ments being expressed. 'Full of adventure' and 'exciting, lively and

quite convincing' were examples. However, a large minority

seemed to hate Doctor Who with a vengeance, dismissing the

programme as 'rubbishy, incredible and ridiculous - too ridiculous

even for children.'

The Daleks' Master Plan elicited a wide variety of comments

also, but the summation at the end of episode twelve was: 'It may

be said that if adult viewers start by "tolerating" this serial for the sake of their children, it seems clear that they often find that it has its attractions and on this occasion there were, in fact, plenty who

considered Dr. Who excellent entertainment by any standards.'

Other, more ad hoc surveys of viewers' reactions were carried

out from time to time by the BBC's audience researchers. During

the run of Marco Polo, for instance, numerous comments were

received to the effect that 'Dr. Who seemed to be a great favourite, apart from one or two younger children who find it frightening,'

but that 'the punch and excitement of the Dalek period has given

way to boring details of maps and commentary,' and more

generally that 'several children and their parents have said they

prefer this series to look into the future rather than the past.' Again, the occasional more disparaging comment was made. Two 'professional class' fathers, for example, thought that Doctor Who was 'a bad and pernicious programme' for the BBC to be putting out.

However, these views were very much in the minority.

Overall, Doctor Who had been a great success, and from humble beginnings had risen to a position of prominence in British popular

culture unparalleled by any contemporary TV series.

346

Selling The Doctor

William Hartnell Stories in Order of

Average Viewing Figures

(Figures in millions of viewers)

The Rescue

12.5

The Web Planet

12.5

The Dalek Invasion of Earth

11.9

The Romans

11.6

Inside the Spaceship

10.15

Galaxy 4

9.9

Marco Polo

9.47

The Chase

9.4

The Crusade

9.38

The Daleks' Master Plan

9.3

The Space Museum

9.2

The Keys of Marinus

9.07

The Daleks

8.97

Planet of Giants

8.57

The Time Meddler

8.4

The Myth Makers

8.34

The Celestial Toymaker

8.3

The Aztecs

7.53

The Sensorites

6.92

The Tenth Planet

6.75

The Reign of Terror

6.73

The Ark

6.48

The Massacre of St Bartholomew's Eve

6.43

100,000 BC

6.4

The Gunfighters

6.25

The War Machines

5.23

The Savages

4.91

The Smugglers

4.48

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Document Outline

FRONT COVER

Foreword

1: William Hartnell - In His Own Words

2: William Hartnell - As Others Saw Him

3: The Doctor

4: The Stories

5: Establishing The Myth

6: Production Diary

7: From Script to Screen - The Ark

8: Selling the Doctor

9: Production Credits

BACK COVER