Episode 199: Fury From The Deep (2)

Synopsis:

Locked in the oxygen supply store, Victoria screams as she sees foam pour from a vent in the wall - with tendrils of seaweed squirming within it...

The Doctor and Jamie rush to her aid. They manage to unlock the door and pull her from the room just as Robson, Van Lutyens and the Chief Engineer arrive. Robson accuses Victoria of emptying the oxygen tanks and refuses to heed her description of the creature she had seen, thinking it her imagination. The Doctor confirms that she was locked in, from the outside. 

Van Lutyens points out that it was not oxygen filling the room when they arrived, but some other, possibly toxic, gas. The person Victoria claimed to have seen in the room - the tall thin man - must have opened the vent.

In the family quarters, Harris is visiting his wife and is concerned about her health. As she becomes agitated, he is unaware that a piece of seaweed on the patio outside is becoming animated as though responding to her state of mind, continuing to emanate foam. Harris decides to seek the Doctor's help as the ESGO medic is out on Rig D at present. After he returns to the control centre, Maggie opens the patio door and stares at the weed, a pounding heartbeat sound filling her head.

The gas flow pressure drops once again. The Doctor tells Robson and the others about the heartbeat sound he and Jamie had heard in the impeller room, and Van Lutyens reminds them that this is what the control rig had reported. Robson points out that beneath the impeller shaft is a huge gasometer which acts as an echo chamber, and this is why the same sound can be heard here at the compound and out at sea on the rigs. He blames a mechanical fault, but the Doctor claims the sound is organic in origin. He insists they shut down the flow to investigate thoroughly but Robson once again refuses. Van Lutyens warns that his stubbornness could result in a gas explosion.

Jamie and Victoria, meanwhile, are chatting to Price, who handles communications. He explains to them the process connecting the compound with the rigs, showing them an illuminated plan.

Harris arrives back from his quarters and seeks out the Doctor, telling him of Maggie's illness.

Robson reluctantly allows the Doctor to go back with him - reminding him that they are still his prisoners.

Maggie receives a pair of visitors - technicians from the control centre named Oak and Quill. The latter is the man whom Victoria saw tamper with the oxygen tanks. The shorter, portly, Mr Oak speaks for the pair, claiming they have come to inspect an issue in the kitchen. 

Van Lutyens and the Chief decide that the latest blockage must involve the impeller itself. The gas flow is coming in from the rigs - but not transferring outwards to distribution centres beyond the compound.

They notify Robson, who orders only a release of gas to reduce the pressure build-up.

Oak and Quill are working in the kitchen. They have seaweed-like growths emerging from their collars and sleeves. They open the patio door and calmly observe the mass of foam and weed, which moves towards the house. They then go to Maggie's bedroom where she is sitting at her dressing table. Seeing them in the mirror, she demands to know what they are doing there. 

They open their blackened lips and emit a toxic gas which overpowers her.

Out on the beach, the gas release seems to have solved the immediate crisis - but the impeller still needs to be inspected. Price then reports that he is unable to contact Rig C.

The Doctor arrives at the Harris home, along with his companions, and they immediately smell the toxic gas. They find Maggie unconscious and smash the window to let the fumes escape.

The impeller is almost at a standstill, and the Chief thinks that it may be jammed at the base. It then stops, and he hears the heartbeat sound coming from the shaft.

The Doctor is told by Harris that his wife reported being stung earlier that morning, after finding a piece of seaweed in a folder. Victoria then spots a piece on the floor and the Doctor warns against anyone touching it. He suggests to Harris that someone must have placed the seaweed in the folder, intending himself to be the victim.

Jamie cannot see the threat from seaweed, after all the beach by the pipeline was full of it - a thought which alarms the Doctor.

Unable to get Robson to listen to his advice, Van Lutyens tries to get the Chief on his side. He is loyal to Robson, however, having worked with him for many years. They do agree that the impeller intake is the only place where something could get into the system unnoticed by CCTV.

They both hear the heartbeat sound, and the unnerved Chief decides to approach Robson with Van Lutyens' ideas after all - no longer able to dismiss the sound as mechanical.

They fetch Robson from his cabin but argue over what to do next - until all hear the sound again.

Van Lutyens warns "It's down there, in the pipeline, in the darkness, waiting...".

Data:

Written by Victor Pemberton

Recorded: Saturday 2nd March 1968 - Lime Grove Studio D

First broadcast: 5.15pm, Saturday 23rd March 1968

Ratings: 7.9 million / AI 55

VFX: Peter Day

Designer: Peter Kindred

Director: Hugh David

Additional cast: John Gill (Mr Oak)

Critique:

The original draft for this episode seems to suggest that Oak and Quill (then named Swan) come from outside the compound.

Maggie asks her husband to fetch the Doctor to help her when she falls ill - puzzling Harris as to how she knew about him.

When everyone later arrived at her home they believed her to be dead.

The cliff-hanger was different - with Van Lutyens accusing Robson of being a murderer when they lose contact with the rigs, and he still refuses to turn off the gas flow.

One new character was omitted altogether - the Piston Engineer. His dialogue was given to the Chief.

Derrick Sherwin subsequently rewrote several dialogue scenes, mainly those involving Van Lutyens arguing with Robson and the Chief.

Only a small amount of filming was required for this instalment. This included more VFX shots of the seaweed and foam in the patio area.

For the sequence where the excess gas was released and burnt off, a section of pipeline was set up and filmed at Denham Airfield. This took place on Monday 12th February whilst close-up shots of various characters in the helicopter's cockpit were being recorded for later instalments.

John Gill, who joined the cast from Episode 2 as Mr Oak, was an old friend of the director and had appeared in several of his productions.

Sherwin was rewriting the instalment up to the day before recording, including reworking the scenes between Harris and the Doctor and the introduction of the sinister technicians.

The attack on Maggie was originally scripted to be on film. Gill and Bill Burridge chewed charcoal biscuits just before recording, to blacken their mouth and lips. The camera zoomed in on their open mouths and the director cross-faded between them and Maggie - the sequence ending with a fade into the burning gas shot filmed at Denham. 

Gill and Burridge also had latex fronds resembling seaweed attached to their arms.

Frazer Hines smashed a prop window with a chair, and the dialogue was amended on the day to make it clear that the toxic fumes were not the natural gas viewers would have in their home. It was also made clear that Maggie had survived the attack on her.

The opening credits began over a filmed reprise of the cliff-hanger to the previous week, whilst the closing credits rolled over a close-up of the impeller shaft window following Van Lutyens' ominous words.

Two of the episodes will end on pieces of dialogue rather than visual threats / incidents - pointing to the fact that Pemberton's script was geared more for radio, as Sherwin and David had complained.

When the censor clips were recovered from Australia towards the end of 1996, courtesy of fan Damian Shanahan, included were many scenes from episodes which no longer exist. All were welcomed, but one sequence in particular stood out amongst the drowning mad scientists, murderous pirates and rampaging Yeti.

It was the scene from this episode in which Mr Oak and Mr Quill attack Maggie Harris. It was there in the soundtrack and in the telesnaps, but no-one knew just how disturbingly creepy it looked. The fact that it's one of the longest censor clips shows just how frightening the Australian censors thought the whole thing.

It's partly the fact that the technicians remain silent and seemingly benign until they open their blackened lips and hiss out the toxic gas. Their comic appearance, based as they were on Laurel & Hardy, juxtaposes with the horrific nature of their attack - the victim an ordinary housewife sitting alone in her bedroom. The close-up on the cadaverous Mr Quill's face is particularly disturbing, and I'm sure viewers were freaked out by it at the time.

This will prove to be a rare example of an "Everybody Lives" story, but the audience weren't to know that on 23rd March 1968.

Interestingly, the fan produced publication An Adventure in Space and Time, which looked at each story of the 1960's in turn, does not single out this scene in its two page review (Issue 049). It does mention that victims of the weed can exhale toxic gas from their mouths - but not this sequence in particular. Considering that reviews were mainly written by people who recalled seeing the episodes on broadcast, it's surprising that it didn't stand out in the memory more.

Apart from this sequence, it continues to be a slow build, relying on atmosphere and developing the mystery. Other than the wriggling seaweed there's still no real hint as to the nature of the threat (the expected monster). Perhaps there are too many scenes of men arguing in rooms about the same thing over and over again at present, even if they are well acted - another pointer to Pemberton's background in radio drama.

Trivia:

• The ratings begin their slide this week, though the appreciation figure remains constant.
• Competition on ITV was very mixed, with different shows in just about every region. These included cartoons and several reruns of old adventure serials, some dating back to the 1950's.
• John Gill appeared in the 1963 film This Sporting Life - which also had in its cast William Hartnell, giving a performance which would help win him the role of the Doctor.
• Later in life Gill worked with director Roman Polanski, appearing in both Tess and Pirates.
• Radio Times published a small photograph of guest artist Victor Maddern, as Robson, to accompany the listing for this episode:

Story 312: Joy to the World

In which the Doctor travels through history to deliver a ham and cheese toastie and a pumpkin latte - including the 1953 Everest Expedition, the Orient Express in 1926 and an elderly couple in war torn Manchester. No-one he approaches is the right person, however.

Meanwhile, a young woman named Joy Almondo arrives at the Sandringham Hotel in London, asking receptionist Anita for a room for the week. It is Christmas 2024. Joy notices a locked door in her room, and assumes that most hotel rooms have one of these. It opens and a Silurian in a business suit emerges, with a briefcase chained to his wrist.

The Doctor then appears with his drink and snack...

London in the year 4202, and the TARDIS materialises in the Time Hotel so that the Doctor can get some milk. He is challenged by employee Trev Simpkins after spotting a man approach the reception desk and request a room on the third floor. He has a briefcase chained to his wrist.

The hotel allows guests to visit any period in Earth's history.

The Doctor tells Trev that he is suspicious about the briefcase man as he hasn't reacted at all to anything going on around him - despite guests dressed in various historical costumes.

The Doctor has deduced that the reason hotels always have a locked door in each room is because it links to this place. He leads Trev to believe that he is a special investigator, and co-opts him onto his mission.

The man with the briefcase, meanwhile, has gone into the bar. Approaching the barman, his eyes glow and he makes a cryptic comment: "The star seed will bloom and the flesh will rise".

He passes the case to the barman, whose eyes react in the same way - the chain transferring itself to the new carrier by itself. The first man becomes confused, as though freed of some hypnotic influence. The barman tells him not to worry as he will be dead soon. He now repeats the cryptic phrase.

The barman goes outside and meets Trev, and the case is then passed on to him. The original man dies - his body disintegrating -  and then the barman perishes in the same manner.

Trev approaches the manager of the hotel, Melnak, who is a Silurian. He is looking for someone who has access to all the rooms and their various time portals. Stating the cryptic phrase, Trev passes on the briefcase to Melnak then disintegrates.

The Doctor, who had ordered a ham and cheese toastie and pumpkin latte for lunch, follows Melnak - and this is how he comes to find himself in the Sandringham Hotel facing Joy and a Silurian...

Anita walks into the room, and is surprised to see the group - though not unduly so, considering one of them is a reptile man. The Doctor attempts to question Melnak, but he will only say that if the Doctor takes the briefcase then he will learn what he wants to know.

Fed up with everyone ignoring her, Joy grabs the case - and it transfers itself to her. She now states the phrase about the star seed. 

The Doctor tries to save Melnak - hearing of how he found himself in the far future after stumbling across a doorway in a cave - but the Silurian dies like the others.

The Doctor decides to open the case, and sees inside an orb emitting an intense light. An automated message warns them to close the case within 20 seconds or its current holder will be disintegrated. The Doctor notes that Joy appears not to be too troubled about dying.

They then get a second announcement that a four digit code must be entered within the next 15 seconds or the same fate will befall Joy. The Doctor claims that he cannot use the TARDIS again as it will split the causal nexus but before they run out of time a second version of the Doctor rushes in and tells them the code - 7214. The second Doctor - who hails from the future - leads Joy away into the Time Hotel, leaving the original in 2024. 

He is told that he will have to get to his future the long way round - by spending the next year here until he can complete the time loop.

With nowhere to go, the Doctor asks Anita for a room for 12 months. As he cannot pay for it, he agrees to work at the Sandringham.

As the months go by, he and Anita become good friends. She has developed a crush on him even though she knows he cannot reciprocate. Soon Christmas comes round again and the Doctor must depart. 

The loop is completed and it is he who now turns up and takes Joy to the Time Hotel.

He tells her that he has had the time to work out what the star seed might be, and why its owners need the Time Hotel. Joy is compelled by the briefcase to find a particular door, leading to a specific time zone. The Doctor tells her that the star seed is just that - a single atom which will detonate to create a sun. Someone wishes to harness the energy of a star by creating one of their own, but to do this they need to begin the process in the distant past so that it is ready for them to exploit in the future. This can only be some very large and powerful business.

The Doctor learns that Joy has been depressed following the death of her mother at Christmas during the COVID-19 pandemic, unable to visit the hospital and say goodbye - which is why she almost allowed herself to be killed by the case.

Such strong emotions allow her to free herself from the case.

The Doctor wants answers and takes Joy and the case into a room which appears to lead to a treetop lodge, overlooking a jungle environment. He opens the case and triggers an information interface. All the carriers have had their consciousness uploaded to it, and a hologram of Melnak appears to answer their questions.

The corporation behind the star seed proves to be Villengard, the weapons manufacturers. The Doctor realises that it would take some 65 million years for the star to be ready to exploit - and they are suddenly attacked by a Tyrannosaurus Rex. It swallows the case.

Trev then appears in hologram form, able to communicate with the Doctor through a psychic graft implant. He tells him that the star seed is about to detonate and must be taken off-world. 

He and Joy go to another room in which there is an ancient temple. The star seed has now found its way here The Doctor realises that he will have to use the TARDIS to throw the device into space, and so visits some of the other time zones to get equipment he can use - such as ropes from the Everest campsite. This he feeds through the Orient Express to link the case to his TARDIS.

By the time he is ready and gets back to the temple, he finds the briefcase empty.

Joy is outside, her body beginning to glow as she has absorbed the star seed into herself, along with the consciousnesses of all the people who carried it.

She reveals that she will not die - merely change - and that Villengard will not be able to get what they want. She soars into the sky and a new star is born. This is witnessed by people throughout history, including Anita and Ruby Sunday. Anita is then surprised to be approached by someone from the Time Hotel, offering her a new job.

Joy's mother also sees it from her hospital bed, before she too is absorbed into the star as she dies.

The Doctor then travels back over 2000 years to see the star shining in the sky above the city of Bethlehem...

Joy to the World was written by Steven Moffat, and first broadcast on Wednesday 25th December 2024. Festive Specials were always the work of the current showrunner, but in this case Russell T Davies was too busy writing the next series. Moffat had returned to the series to write Boom, and was approached to help with the Christmas episode.

Moffat claimed that one of his inspirations was the fact that most hotel rooms had a locked door in them. (Not in any I've ever stayed in, but then I'm more of a B&B person myself).

I'll state it now, right at the start, that this is probably my least favourite festive special. Even Chibnall gave us Daleks at New Year, but this story makes the unpardonable sin of being really rather dull.

It looks good, and is full of Moffat's clever-clever touches and timey-wimey stuff, but it's totally lacking in incident. It's noticeable that the clip used to plug it was the sequence with the dinosaur attack - and that's about the only exciting thing that happens in the entire episode.

Something which I really don't like is schmaltz, and this has it in abundance. I know it's Christmas, and non-fans are watching postprandial, but the ending to this is so saccharine I'm surprised dentists and diet-planners weren't inundated with new patients and customers straight after the hols. 

Bringing the biblical nativity story into it really was the waffer-thin mint for me.

The episode takes ages to get started and another of the issues with it is that extended sojourn at the hotel with Anita. As well as taking up a huge chunk of the running time, as though there wasn't actually enough plot for an hour long special, it made no sense. The Doctor has UNIT and lots of companions kicking around in 2024. His previous incarnation might still be hanging out at Donna Noble-Temple's house. Why not go spend the time with any of them? The idea that he honestly has nowhere to go in contemporary London for an entire year is a nonsense.

The main guest artist is Nicola Coughlan, of Derry Girls and Bridgerton fame. She plays Joy Almondo - that surname being Italian for "in the Earth" or "in the world". She also played Queen Victoria as a bit of a spoiled brat in CBBC's Dodger, which had starred Christopher Eccleston as Fagin and Billy Jenkins as the titular character.

Melnak is played by Jonathan Aris, who is best known for playing Anderson in Sherlock, but who has also featured in the Moffat / Gatiss Dracula and Good Omens. He also makes an appearance in Rogue One.

Playing Anita is Steph de Whalley, who had mostly worked in theatre up to this point. We'll see her again.

From Game of Thrones and a number of comedy shows (Plebs, Twenty Twelve, W1A and Trollied) we also have Joel Fry, who plays Trev.

Millie Gibson gets a brief cameo at the end, as Ruby Sunday.

See below for some other incidental characters.

Overall, more a Hallmark Christmas themed TV movie with sci-fi trappings than an episode of Doctor Who. 14 months after the event I still have no urge to watch this again.

Things you might like to know:

• The working title for this episode came from a song - "Christmas, Everywhere, All At Once".
• When he wrote this, Moffat hadn't read the Series 14 finale - but had already read the Series 15 one...
• One of the doors in the Time Hotel appears to belong to the Hobbits from the Lord of the Rings movies.
• Another cultural reference is the Hotel's clothes store, which supplies the guests with suitable historical outfits. It's called "Mr Benn's". The cartoon series Mr Benn (1970 - 71) featured a character who visited a fancy dress shop and ended up in whatever era matched the outfit he selected. The mysterious shopkeeper wore a fez. The Loch Ness Monster one was my favourite instalment.
• And Benn is Anita's surname.
• The Hotel bar is called DeTamble's - from the novel The Time Travellers Wife, which Moffat adapted, not terribly successfully, for the screen.
• A woman on the Orient Express is named Sylvia Trench (Niamh Marie Smith). That's the name of James Bond's lady friend in the films Dr No and From Russia With Love, played by Eunice Gayson.
• The 1953 Everest Expedition is the one which first reached the summit of the world's highest mountain, on 29th May of that year - the news getting back to Britain in time for the Coronation. Edmund Hilary and Tenzing Norgay appear in these sequences - played by Phil Baxter and Samuel Sherpa-Moore respectively. The latter is actually the great-great-grand-nephew of Tenzing Norgay.
• Another of the Time Hotel doors is said to lead to the Fall of Troy, which would have been interesting to see as the First Doctor was there (The Myth Makers).
• You can also visit the Gunfight at the OK Corral (The Gunfighters) and the destruction of Pompeii (The Fires of Pompeii) - so lots of opportunities for the Doctor to meet an earlier incarnation.
• Guests can also take a trip with Nostalgia Tours (Delta and the Bannermen).
• That whole hotel interlude was a late addition as the script progressed. The Doctor was originally to have globe-trotted for the year - cut for budget reasons. The character of Anita was expanded from less than a dozen lines on the strength of Steph de Whalley's audition.

Inspirations: Heaven Sent

Heaven Sent was written both as a showcase for the talents of Peter Capaldi as an actor, and as a challenge to himself by Steven Moffat. He claimed it was the hardest thing he had ever written up to this point. The aim was to show the Doctor in isolation - what he does when he has no-one with him.

No-one to save or protect - or to show off to. Just his own survival.

The castle represented his grief over losing Clara in the previous episode. This proves to be a construct within his own Confession Dial - a device introduced at the start of the series in The Magician's Apprentice. 

Moffat realised that the series had seldom succeeded in presenting grief in a realistic manner. This was especially true in the case of Katrina, Sara Kingdom and Adric in the classic era. The Doctor and fellow companions tended to carry on as though nothing had happened in the very next story.

Nyssa gets over her father's death all too quickly as well - failing to react the way you would expect anytime she meets the Master who has stolen his corpse for a body.

Moffat admitted that he hadn't really managed to handle grief himself in his own series. Amy and Rory have effectively lost decades of their daughter's life when they discover she's River Song, and the Doctor soon forgets about them once the Impossible Girl shows up.

The notion of an individual being repeatedly teleported was one which Moffat had entertained for years, and even considered using for a Big Finish story. He reasoned that if you were continually teleported in this way, you could exist for as long as that technology functioned. 

Star Trek has had characters living well into the future after being saved in the transporter Pattern Buffer (such as Scotty in the ST:TNG episode "Relics"), and ST: Strange New Worlds had Dr M'Benga's daughter saved in a transporter buffer until he could find a cure for her terminal medical condition in its first season.

And Doctor Who had already used a similar idea - in a Moffat story - when Donna and others were "saved" by the Library mainframe in Silence in the Library / Forest of the Dead.

For the monster, Moffat elected to make this something that the Doctor would be genuinely frightened of, and so made it a childhood nightmare. That it derives from his time on Gallifrey also helps to hint at the conclusion to the episode, where we discover the truth about the castle and who has been responsible for his incarceration.

The Doctor refers to the Brothers Grimm - Jacob (1785 - 1863) and Wilhelm (1786 - 1859) - the German folklorists and collectors of fairy tales. Their 1812 collection Kinder - und Hausmarchen (Children and Household Tales) included The Shepherd Boy.

When the Doctor sends the boy to tell the High Council he's back, he says he "came the long way round" - as the Eleventh stated he would get home in The Day of the Doctor.

After always claiming he had left his home planet due to boredom (The War Games onwards), the Doctor now confesses that he ran away as he was scared.

Next time: From one of the very best episodes ever, to one of the very worst IMHO. It's The Twin Dilemma following The Caves of Androzani all over again. Nice TARDIS though...

Episode 198: Fury From The Deep (1)

Synopsis:

The TARDIS materialises in mid-air, high above the grey waters of the North Sea. It slowly descends to rest on the surface, and the Doctor and his companions are forced to take to a rubber dinghy in order to reach the shore.

The beach appears to be deserted, windswept and covered in sea foam. The trio lark around in this for a while, until Jamie notices a pipeline running across the sand. They are unaware that they are being closely observed - caught in the crosshairs of a remote controlled weapon... 

The Doctor decides to examine the pipe, which is stamped with the name "EuroSea Gas", and opens an inspection hatch using his sonic screwdriver. He is alarmed to hear a throbbing vibration, suggestive of a heartbeat.

All three are then shot down by tranquiliser darts.

They wake a short time later to find themselves inside the EuroSea Gas compound, under guard. They are interrogated by a man named Robson, who is accompanied by a younger man named Harris. Robson is in charge here, with Harris his deputy. He accuses them of trespassing in a restricted area and of sabotaging the pipeline.

Robson goes off to deal with other matters and Harris explains that they have been experiencing problems with the gas flow from offshore rigs, with which they have been having communications problems. 

The Doctor informs Harris of the strange heartbeat sounds he heard from the pipeline. He suggests some marine life may have managed to get into the system - and that the gas flow be halted until an investigation is carried out. Harris admits that the stubborn Robson won't countenance any production delays 

Robson has gone to the main control centre and has technician Price attempt to call the drilling rigs. Out in the North Sea, a group of these structures cluster around - and are connected to - a central command rig.

Contact is established with Rig D, but reception is poor and the engineer based there, Carney, speaks in a flat, halting manner - claiming all is well. He states that the repair crew sent out a short time ago must remain on the rig. Communications then break down again.

Harris advises that the system be shut down so that they can investigate thoroughly the blockages to the gas flow, but Robson refuses to cut production. He resents having Harris as his deputy, belittling his university education whilst he relies on his many years of practical experience - including an unbroken four years on a rig.

Harris has written some notes on the problem which he wishes Robson to look at, and his boss only reluctantly agrees to look at them. When he produces his file, the notes have gone. Thinking he must have left them at home, Harris contacts his wife, Maggie, who lives in family quarters on site, asking her to bring them to him as Robson refuses to allow him to leave in the middle of this crisis.

The Doctor and his companions have been locked in a crew cabin, and are trying to break free. Jamie tries unsuccessfully to climb through an opening above the door, but Victoria quickly opens the lock with a hairpin.

Maggie is searching for the notes and as she opens a folder she feels a sharp pain in her hand, as though stung. There is only a piece of seaweed visible. She tosses this out onto the patio, and fails to notice it then squirm to life, frothing with foam. She begins to feel faint.

EuroSea Gas is a joint venture between the British and Dutch governments, and on site is a senior engineer from the Netherlands named Van Lutyens. He and Robson do not get on as the belligerent chief refuses to heed anyone else's advice. Van Lutyens is concerned about morale on the rigs as well as being left out of the loop with updates on the current problems.

The Doctor and his companions are listening in from the corridor.

The Control Rig then makes contact, and lead technician Baxter reports the very issues which Van Lutyens had raised, annoying Robson. He also informs them that he and his crew have heard the heartbeat sounds from the pipeline and think something has gotten inside. The Doctor recognises the description of the noise and so he decides to investigate himself. Victoria is ordered to go back to the cabin and wait there.

Harris informs Robson that his wife has been taken ill, and is reluctantly allowed to go and see her as the chief will not allow a doctor to come in from outside. The compound is on security lockdown.

Hearing someone approach, Victoria hides in an oxygen supply storeroom which is rapidly filling up with the gas. She spots a tall, cadaverous-looking man who appears to have opened all the valves. As she closes them, he locks her in.

The Doctor and Jamie have entered the impeller room - the device which draws the gas along the pipes from the rigs and into the control area. One section of pipe is transparent, to allow for visual inspections of the flow.

Unable to pick the lock this time, Victoria hears a bubbling sound behind her and sees foam begin to pour from a ventilation grille. She is shocked to see something moving within it.

The Doctor is listening to the heartbeat sounds, confirming that there is some living organism in the pipes, when he and Jamie hear Victoria scream.

Tendrils of seaweed are emerging from the vent...

Data:

Written by Victor Pemberton

Recorded: Saturday 24th February 1968 - Lime Grove Studio D

First broadcast: 5.15pm, Saturday 16th March 1968

Ratings: 8.2 million / AI 55

VFX: Peter Day (with Len Hutton)

Designer: Peter Kindred

Director: Hugh David

Guest Cast: Victor Maddern (Robson), Roy Spencer (Frank Harris), June Murphy (Maggie Harris), John Abineri (Van Lutyens), Hubert Rees (Chief Engineer), Graham Leaman (Price), Richard Mayes (Baxter), John Garvin (Carney), Bill Burridge (Mr Quill)

Critique:

Back in 1964 Victor Pemberton submitted a story for the second season of Doctor Who. This revolved around earth tremors in England creating fissures in the ground, out of which a sentient, malignant mud emerged. Pemberton claimed to have a fear of earthquakes. It was rejected by David Whitaker, story editor of the time, who described it as "rather a stewpot of all the other science-fiction serials we have ever done, with bits of Nigel Kneale scattered about. I don't think the dialogue is very good and I'm quite sure it is not right for Doctor Who".

However, Pemberton had also adapted his story as a Doctor-less radio drama and, as The Slide, it was produced by the BBC's Third Programme - broadcast in seven instalments between February and March 1966. The man who commissioned it was Peter Bryant.

It tells of earthquakes in the vicinity of a New Town named Redlow in Kent. A huge crack appears in a country lane on the edge of the town, and a dense mud emerges which is soon found to be a living organism. Wildlife dies in the area and those living closest to the fissure begin to be affected, driven suicidally insane. A Chilean scientist named Gomez is brought in (played by Roger Delgado) and he comes into conflict with the local MP - Hugh Deverill - responsible for the building of Redlow (played by The Twin Dilemma's Maurice Denham). After his schoolteacher fiancée is affected, local doctor Ken Richards (played by Pemberton's partner David Spenser - Thonmi in The Abominable Snowmen) helps alert the authorities and aids in the fight against the mud.

After getting his foot in the door of Doctor Who as story editor himself for a short time, but opting not to take on the role long-term, Pemberton then rethought the drama to adapt elements of it back into a Doctor Who story. His old radio colleague Peter Bryant now produced the show and he was responsible for commissioning him once again.

Other than his earlier radio drama, Pemberton's main inspiration for the story, provisionally titled "Colony of Devils", was the increasing availability of North Sea gas, being pumped into homes across the country. The idea that something malignant could exploit this and so get inside everyone's home is what appealed to him - as did the notion that the Earth could be destroyed by some natural force unleashed by technology from within it.

Another inspiration was sea foam, or spume, seen washed up on the surf line of beaches. Seawater heavy with dissolved organic material, such as algal blooms, produces this when agitated.

Pemberton would prove to be highly proprietorial about his story, leading to conflict with the new story editor Derrick Sherwin. Neither he nor director Hugh David, who had previously helmed The Highlanders, particularly liked the story. Pemberton's background in radio meant the episodes were too dialogue-heavy, and Mr Oak and Mr Swan (as Quill was originally named) were presented much more as a comedy duo (Pemberton having been inspired by Laurel & Hardy, whom he had met in person on one of their 1950's British tours). The number of location sequences also had to be reduced.

One of the biggest changes Sherwin made, rewriting the early episodes over Christmas, was to sow the seeds of Victoria's departure into the dialogue. Watling had always stated that she would only do one year on the programme before returning to theatre, and had given a full three months notice. Bryant had hoped to change her mind and the character was still written into several forthcoming stories.

Differences from the initial script for Episode One included the fact that the TARDIS was to have materialised on top of a cliff rather than in mid-air or on top of the sea, and the Doctor and companions would have had to climb down to the beach. 

Price was named Blake - changed because this name had only just been used in The Web of Fear. Swan was renamed due to the character Swann in the recent The Enemy of the World.

The story was retitled in January 1968 to avoid using the word "Devils", to avoid offending religious sensibilities. Pemberton was initially unhappy with this, but warmed to the new title later. (Ironically, the PA on this story would go on to direct a story with that word in its title only a few years later).

Filming for this episode got underway on Sunday 4th February, when the regular cast members travelled down to Botany Bay near Kingsgate, Kent. They had recorded the fourth instalment of The Web of Fear the previous evening. David had begun work at the location the day before.

16mm film was used to reduce costs, in preparation for the introduction of colour television. In the past, more expensive 35mm had been employed.

Joining the regulars was a helicopter pilot named Mike Smith - known as "Mad Mike" due to a number of stunts he pulled, and not just aeronautical ones. He swung from the base hotel's chandeliers and ate wine glasses at dinner. Debbie Watling actually went in a date with him.

A second, larger, helicopter was also required, with a different pilot.

Also present was actress Susan George - Frazer Hines' then girlfriend, who he was hoping to see cast as Victoria's replacement. 

Smith's helicopter was required for the shot of the TARDIS descending to the sea. This was a quarter size prop, originally built for The Romans, and was hung from the helicopter on piano wire then shot soft focus to disguise this fact. Due to the windy conditions, several attempts were needed to have the prop land correctly, with PA Michael Briant - the future Doctor Who director who would add an initial E to his name - standing on the skids to manipulate the wire.

Aerial shots were captured of the Doctor and companions in the dinghy, rowing to shore. The BBC fire fighting foam machine came into its own once again to produce the foam - spread by the larger helicopter - across the beach at the tideline. The scene where the Doctor and Jamie lift Victoria and throw her into the foam was an impromptu bit of business from Troughton and Hines on an unsuspecting Watling.

Troughton ad-libbed the Doctor's "Come on in - the water's lovely".

For the pipeline inspection hatch sequence, Peter Day had created a special prop for the sonic screwdriver, but Troughton kept dropping it due to the freezing temperatures numbing his fingers. What Troughton would be seen to use on film was actually the whistle from Watling's life-jacket.

An RAF search and rescue team was on standby throughout the location filming.

VFX filming took place at Ealing from Wednesday 7th to Friday 9th February. Peter Day was assisted, uncredited, by Len Hutton. For this episode, the sequence of the seaweed writhing on the patio then producing foam was recorded - with the weed prop manipulated by pumping gas through it from an aerosol. Shots of the weed and foam emerging from ventilation grilles, to be used in several episodes including the cliff-hanger to this one, were also filmed. (This footage would simply be reversed to show it retreating).

A model was created of the impeller room, seen in this episode as a POV shot just before the Doctor and Jamie entered the set during studio recording.

The main guest artist for the serial was Victor Maddern (1928 - 1993), a popular character actor who had appeared in many film and TV productions since 1950 and would go on to be a regular on The Dick Emery Show (as pensioner Lampwick's son-in-law). He appeared in five Carry On... movies, most memorably in Carry On Spying. Often called upon to play criminal types, one fantasy genre film he featured in was Blood of the Vampire (1958), in which he played the villain's murderous assistant.

Peter Kindred had previously designed The Tenth Planet. Martin Baugh and Sylvia James continued to design costumes and make-up respectively.

During the week of rehearsals for this episode, news broke of a major incident on a gas drilling rig off the Yorkshire Coast. Gas was leaking from the borehole and the authorities used incendiaries to ignite it, as a warning to shipping to avoid the area until the issue could be resolved. The Doctor Who production team realised that this topical news item might help their upcoming story as the incident would still be fresh in people's minds.

Recording took place between 8 - 9.45pm on Saturday 24th February. 

Crosshairs were overlaid on location footage of the Doctor and companions on the beach. A rippling effect was used for a POV shot of Victoria waking up from the tranquiliser and seeing ESGO guards looking at her.

Recording breaks were used mainly for camera moves, and to allow Troughton and Hines to move from the impeller room set to the corridor where they hear Victoria scream. The transparent pipe section was a photo-caption. An echo was added to the soundtrack as the camera zoomed into a close-up of the screaming companion.

Sadly, Fury From The Deep is lost to us today. We have telesnaps, the odd clip, and the soundtrack - and it's the latter which we should be most happy with, especially when it comes to these early instalments. This episode is one very much of mood setting, in particular the ominous heartbeat throbbing sound heard by the Doctor and his companions and reported by the rig crew. If there's a monster, we're not terribly aware of it yet as only foam and wriggling seaweed - something you could see most days on a visit to the beach - are seen.

Dudley Simpson's music helps considerably, complementing Brian Hodgson's radiophonics.

It's a near contemporary setting once again - only things like video phones suggest it's the near future - and we're still on Earth (an unbroken run since the opening instalment of The Abominable Snowmen. Even the exiled Third Doctor won't have this many consecutive episodes set on Earth).

Then there's the issue of the menace being something which could easily invade the viewers' homes.

It's also a base-under-siege story, like many others since The Tenth Planet. Hobson in The Moonbase is just one letter away from the chief here - and that was a story which Pemberton had acted in.

Once again we are presented with a man in charge of a major scientific project who, psychologically, really ought not to be in that role.

If The Web of Fear was a forerunner of the UNIT years in general, then Fury From The Deep is a forerunner of Season 7 in particular in its setting and atmosphere.

Something which has always puzzled me about this opening episode - and some later scenes set on the beach - is why no-one seems to remark on the fact that there's a Police Box sitting on top of the waves just off-shore. Did no-one notice it when they came to collect the tranquilised travellers? We'll later see Maggie Harris walk into the sea, but there's no sign of the TARDIS.

This episode is notable in the history of Doctor Who as it sees the introduction of the sonic screwdriver. "Never fails" says the Doctor of it, even though we've never seen him use it before, despite it proving invaluable on countless occasions before now, and Jamie has to ask what it is.

Troughton will use it on a couple more occasions, and it will become an iconic part of the programme during the Pertwee and Tom Baker years, before JNT and Christopher Bidmead removed it early in Davison's tenure. Back in the new iteration of the series, mainly for merchandising reasons one suspects, and because of the speed of plotting required for 45 minute stories, it has become a magic wand - capable of doing almost everything.

Quite who invented the sonic is a contentious issue. Pemberton claims that it was he, as writer, and his initial script did state that the Doctor "takes from his pocket something which looks like his own version of a screwdriver". Michael E Briant has also claimed credit, saying that he thought using an ordinary screwdriver would make the hatch scene look dull and the Doctor really ought to have some sort of special gadget to do this sort of thing.

Fans have noted the similarity between this early version of the sonic and Hartnell's pen torch.

Trivia:

• The ratings get off to a very good start, in terms of both viewers (over 8 million) and the appreciation figure. Whilst the latter will actually improve, this will prove to be the highest audience figure for this story.
• From this week, the series was broadcast 10 minutes earlier than previous stories due to a Tom & Jerry cartoon being dropped from the evening schedule.
• The New Statesman critic Francis Hope was not terribly impressed with the episode, disliking the messing about in the foam and its reuse so soon after being employed to act as web / fungus in the previous story.
• The Slide has been broadcast on BBC Radio 4 Extra several times in recent years and is also available on CD as part of the Radio Collection. It was included as an extra on the Blu-ray / DVD of Fury From The Deep.
• Milton Subotsky, of Amicus portmanteau horror film fame, and one of the producers of the Peter Cushing Dalek movies, was interested in buying the rights to The Slide.
• John Abineri will return to the series on several occasions - as General Carrington in Ambassadors of Death, Railton in Death to the Daleks, and as Ranquin in The Power of Kroll. He had also been considered for Decider Garif in Full Circle, and Maylin Renis in Timelash.
• He was a regular in Terry Nation's Survivors, played Herne the Hunter in Robin of Sherwood, and features in a Season 2 episode of Blake's 7 as Blake's uncle. That B7 role is an interesting one in that Abineri was the third actor cast. Ronald Lewis had to be dismissed due to his alcoholism, and Duncan Lamont was given the role - only to die suddenly early in production. Lamont played Galloway in Death to the Daleks - alongside John Abineri.
• Roy Spencer had previously played Manyak in the first two episodes of The Ark.
• June Murphy will return as WREN Jane Blythe in The Sea Devils, directed by Michael E Briant.
• Hubert Rees will be back in the next season as Captain Ransom in The War Games, and later as Stevenson in the opening Antarctic section of The Seeds of Doom. In 1982 he portrayed Inspector Lestrade opposite Tom Baker's Sherlock Holmes.
• Graham Leaman will return to the series on several occasions, the first time as the Grand Marshal in The Seeds of Death. He then portrayed Time Lords twice, in Colony in Space and in The Three Doctors. Prior to this story he had appeared as the Controller in The Macra Terror. He suffered from mobility issues and always appeared in roles where he could be seated.
• Bill Burridge had been an extra on the series since the Hartnell era. He is noticeable as one of the soldiers in The Romans, for instance.
• There is a fear of seaweed - Fykiaphobia.
• Radio Times had its usual introductory feature on the new story, whilst the programme listing was accompanied by another portrait of Troughton from the same location photo shoot.

What's Wrong With... The Happiness Patrol

It is very much a "Marmite" story - in that you either love it or hate it - but in terms of plotting it actually holds up for the most part. The problems are minor compared to some.

For a start, how can you have a Late Show at the Forum, when there's a curfew in place? We hear that attendance is compulsory, so not sure how that works in practice.

Additionally, when we do get to see inside, there's hardly ever anyone there.

Failure to be happy earns you a death sentence, yet Gilbert M is grumpy all the time, and the doorman at the Forum even more so. You can understand why Gilbert M might be tolerated, but surely the doorman could be easily replaced.

Actually, some of the worst offenders are the Patrol members themselves, who hardly ever smile and are usually squabbling.

If making people happy is the prime driver on Terra Alpha, how does the creation of thousands of widows and orphans help achieve that?

Silas P is employed to root out Killjoys by pretending to be one of their number - handing over a card that claims to offer a support group for them. On the reverse, however, is his true identity as a member of the Patrol. Problem is, he hands over the cards with the real ID face upwards, and the Killjoys in each case have to turn it over to show the fake side - without spotting the Patrol ID.

And if he is such a prominent member of the Patrol, ensnaring many Killjoys, why does Priscilla P shoot him down without first checking that he's okay. He's simply acting groggy after being knocked out, so not his usual self. Has she carried a grudge against him for a while and was looking to get rid of him, possibly to get his role? If that's the case, there's nothing to suggest it on screen.

Trevor Sigma is conducting a galactic census, and seems to suggest that he is doing this entirely on his own, on foot - which seems more than a little unlikely.

One production error that makes it into the finished episode is when a Patrol member appears on screen a little too early, whilst the Doctor is messing about with the go-kart.

And what is the point of these vehicles if you can overtake them easily at a brisk walking pace. (We saw a similar problem with the buggies in the Varosian punishment dome).

There's also the business with the Kandy Man's head. It was altered part way through production to add the metal mouth piece and so looks different when we see him in the pipes in the final episode, recorded earlier.

We know that scripts were generally running overlong during this period of the show, with a lot of cutting going on to make episodes fit the time slot (either in the script editing, or in the actual recording edit). This may be why Gilbert M seems to pop up out of nowhere then vanish again at times. On one occasion his disappearance from the Kandy Kitchen actually allows the Doctor to re-stick the feet of the Kandy Man and so escape.

Finally, I suppose we need to talk about that bizarre villain. In the original scripts, the Kandy Man was supposed to look human in a lab coat but with a shiny glazed face, and with belongings like spectacles and pencils which proved to be made of sweets. A decision was then taken to have him made entirely of different sweets, but they elected to go for ones that made him look almost identical to a long established commercial character - Bertie Bassett. This drew a complaint form the company. Surely they must have known that there would be copyright issues here? There are lots of sweet varieties they could have used that would have served the purpose but left him looking unique, and not some copycat. When you consider the issues of product placement at the BBC, it is especially strange that this decision was made. (This was the era when Blue Peter presenters couldn't call it Sellotape, and brand names on things like washing up liquid bottles - ideal for Apollo rockets - were taped over).

Knowing how much he craved publicity for the series, one suspects that JNT provoked this controversy deliberately.

He had to promise that the character would never be returning to the series - so maybe not something wrong after all...

Episodes: Afterlife - The Yeti

Apart from a cameo appearance in The Five Doctors, when it wasn't even seen very clearly due to being filmed - often at distance - in a darkened cavern, the Yeti have never returned to Doctor Who - despite the Great Intelligence being brought back three times in the modern series.

As is well known, one idea for writing Jamie out of the series had been a third Yeti / Great Intelligence story provisionally titled "The Laird of McCrimmon". This would have seen the TARDIS visit 18th Century Scotland, arriving at Jamie's ancestral home. The castle would have been besieged by Yeti whilst the Intelligence possessed the locals - all apart from a girl named Fiona. The current laird was on his deathbed, and the Intelligence wanted to possess Jamie as he was next in line - thus giving it another remote power base from which to spread.

The story ended with the Intelligence expelled once again and Jamie staying on to take up his inheritance, presumably with Fiona by his side.

The dispute with Derrick Sherwin over cuts to The Dominators and the unauthorised marketing of the Quarks led to Mervyn Haisman and Henry Lincoln ending their relationship with the series, and we never got our third proper Yeti appearance.

Unlike the Daleks, Cybermen and Quarks, who all managed to encounter the Second Doctor again in comic strip form, the Yeti never made the transition, despite their popularity - due to the same Quark issue which prevented "The Laird of McCrimmon" coming about. 

What we got instead of robot Yeti were the Ice Apes, which featured in TV Comic issues 881 - 884 in November 1968. A race of aliens bombed the Antarctic in 1970 as a show of strength, unwittingly revealing a race of giant Ice Apes which lived below the icesheet. The Doctor and Jamie had to fight both aliens and Apes, in a story called Ice Cap Terror. The final instalment was published on the series 4th anniversary.

It's not known if the Yeti, had they been used as intended, would have been under the control of the Intelligence - in the same way that the Quarks were presented as a fully autonomous villain in their comics strips.

The Yeti did feature in one Doctor Who Weekly comic strip - one of the ones at the back which didn't have the Doctor. This was "Yonder... The Yeti", and it appeared in issues 31 - 34. 

As mentioned, we did get to see a Yeti one more time in the series - menacing the Second Doctor and the Brigadier, in the Death Zone on Gallifrey, in The Five Doctors. This was purely a cameo, and viewers at the time could be forgiven for not knowing what they were looking at until the Doctor shouted "It's a Yeti!". The way the creature was filmed - a Mark II survivor from The Web of Fear - may have been due to the poor state of the costume. The script fails to acknowledge the fact that the Yeti are robots, controlled by the Great Intelligence. The Doctor chases it off using a firework, reacting like a wild animal.

One of my childhood memories was of great impatience felt waiting for Doctor Who to start. The guy reading the football results was, I'm sure, delivering them intentionally slowly to annoy us - but worse for me was Basil Brush...

Each episode of the puppet series ended with a story being related by the "Mr..." of the day, and Basil would interrupt constantly, dragging it out. As a child you don't think about programme running times etc - you just think that darned fox is delaying the start of your favourite programme. (You really had to be there). Things weren't quite so bad one Saturday evening in 1975, for a sketch which saw Basil and Mr Roy mountain climbing in the Himalayas featured the appearance of a Yeti. This was a bit of a hybrid, having the top half of a Mark II, but with the bottom half of the original version. The difference is noticeable from the colouring of the fur. The sketch can be found on The Mind Robber DVD.

There was one place in 1995 where you could see not only Yeti but the Great Intelligence, Professor Travers, Lethbridge-Stewart and Victoria Waterfield. As well as all these characters from The Web of Fear, we also had the return of Sarah Jane Smith - plus the first look at Kate, the Brigadier's daughter. It was written by someone who worked on Doctor Who - Marc Platt - and directed by someone who worked on Doctor Who - Christopher Barry.

The production was called Downtime, and it was an unofficial video release from Reeltime Pictures, designed to act as a direct sequel to the 1967/8 story, as well as letting us know what Victoria did after Fury From The Deep.

The story revolves around computer technology and the main setting is the New World University, run by Victoria and being used as the latest bridgehead for the Intelligence.

Victoria had gone to Det-sen Monastery in response to a dream, believing she might be reunited with her father. Instead, the Intelligence was behind this, still possessing the mind of Travers. 15 years later she's running the university, many of whose students have been brainwashed by the Intelligence through the internet. The entity needs something called the Locus to fulfil its scheme, which it believes to be in the hands of the Brigadier - but he has given it to daughter Kate, who lives on a narrow boat with his grandson and is estranged from him. Sarah Jane is brought in to track down the Brigadier by the university, unaware of its motives.

The Brigadier is aided by one of his old pupils from Brendon School, who eventually sacrifices himself to defeat the Intelligence. Travers dies after being freed of its influence.

As well as three Troughton stories, there are references to Evil of the Daleks (the death of Edward Waterfield on Skaro) and Mawdryn Undead (the Brig's helper). The Intelligence employs the world wide web nearly two decades before Steven Moffat used the idea.

As well as boasting performances from Debbie Watling, Nicholas Courtney, Lis Sladen and Jack Watling - all reprising their old roles - John Leeson, James Bree and Geoffrey Beevers feature in other roles. This Kate Lethbridge-Stewart is played by Beverley Cressman.

The Yeti in this resemble more the Mark II version, without the glowing eyes or ribbed midriff. They get a big action sequence on the university campus (recorded at the University of East Anglia).

The final scene sees Victoria standing isolated on a beach - mirroring her departure in Fury From The Deep.

The spin-off was novelised by Virgin in 1996 as part of its "Missing Adventures" range, using the same cover art as the VHS release - the Yeti looking more like Bigfoot.

The production was long out of print (both as novel and VHS) until November 2015 when Downtime was released on DVD in remastered form, and with a new making-of documentary.

Episode 197: The Web of Fear (6)

Synopsis:

Driver Evans is tending to Staff Sergeant Arnold's wounds in the fortress ops room when they see the wall bulge and break open, and the web begins to flood in...

Arnold insists they warn the others but Evans elects to flee and save himself.

The Doctor pauses in the tunnel and informs Anne that, until they know who they can trust, they should not let anyone else know about their controlled Yeti. They immobilise it for 90 seconds, to allow them to get clear, then order it to resume taking orders from the Intelligence.

A few minutes later they encounter Jamie and the Colonel who inform them that Victoria and Travers are being held at Piccadilly Circus. They hear that this information came from Arnold, and that he had somehow survived the web.

Elsewhere, the controlled Yeti comes back to life and moves off, joined by two others.

The tunnel party then encounter Arnold who tells them that the fortress has fallen. They are all then surrounded by the trio of Yeti and captured - as is Evans by another of the creatures nearby.

At a junction, the Colonel and the Doctor stage a diversion which allows Arnold to escape unnoticed.

In the ticket hall of Piccadilly Circus station, Travers and Victoria discover a large transparent pyramid, and the Professor deduces that it is the machine which the Intelligence intends to use on the Doctor. They see a shadowy figure which disappears when challenged to show itself, and assume - rightly - that this is the entity's human agent. They hear its voice, warning them not to interfere in its plans. Travers hates himself for having caused all these events due to his scientific curiosity, whilst Victoria tries to reassure him.

On one of the platforms downstairs, the Doctor lets Jamie into the secret of the controlled Yeti - still not trusting the Colonel. He has to explain that he doesn't know which of the creatures guarding them is theirs.

He gives Jamie the voice control microphone and then arranges his escape - hiding him in a large tool box. He is to summon their Yeti once everyone has left.

Arnold is in the tunnels and comes across Harold Chorley. He questions him as to how he could have survived on his own down here for so long, then asks him to accompany him.

A Yeti appears at the Piccadilly Circus platform with Evans. The Doctor warns everyone to do as they are instructed and not resist. He is taken away first and a second Yeti gives him a helmet which has electronic attachments. He uses his control device to immobilise them both and begins to tamper with the helmet.

After everyone else had been taken away, Jamie emerges from the toolbox and begins calling for the controlled Yeti. He has a near miss with one, but it is programmed to go elsewhere and ignores him.

Travers and Victoria see the Doctor brought into the darkened ticket hall, wearing the helmet, followed soon after by the others. He urges everyone not to interfere and assures them he will be fine.

Chorley then emerges from the shadows, flanked by a Yeti.

Everyone assumes that he has been the agent of the Intelligence, but he points to the real enemy who appears behind him - Arnold, who wears a similar helmet.

The Intelligence explains that Arnold is dead and it is merely using his body.

Jamie is then brought in by another Yeti and Arnold orders it to kill him if the Doctor fails to co-operate. The Doctor is ordered to sit inside the pyramid, and Arnold connects up the helmet. The machine will transfer the contents of his mind into the Intelligence, but the Doctor must submit willingly.

Jamie suddenly orders his Yeti to attack Arnold, whilst the others take the opportunity to pull the Doctor free - despite his protestations. Jamie pulls off the helmet and throws it at the pyramid which blows apart. All of the Yeti suddenly collapse.

The Doctor is furious - accusing them of ruining his plan. He had crossed the connections in the helmet, so that it would have drained the Intelligence instead of his mind. Now all they have done is eject it back out into space, free to attack again some day.

They are horrified to find that Arnold has been reduced to a charred corpse.

Chorley is quick to exploit their victory and insists on an interview with the Doctor, hoping to make him a household name. Travers wants to discuss many things with him as well.

The Doctor decides instead to hurry back to Covent Garden with Jamie and Victoria to retrieve the TARDIS. The Colonel and Evans also leave, to check on street level conditions, accompanied by Travers - leaving Anne to face the inquisitive journalist alone.

Nearby, the Doctor warns his companions that they will have to get out of the tunnels quickly, before the electricity supply is turned back on...

Next time: Fury From The Deep

Data:

Written by Mervyn Haisman & Henry Lincoln

Recorded: Saturday 17th February 1968 - Lime Grove Studio D

First broadcast: 5.25pm, Saturday 9th March 1968

Ratings: 8.3 million / AI 55

VFX: Ron Oates

Designer: David Myerscough-Jones

Director: Douglas Camfield

Critique:

There were quite a few differences between the original version of this episode and the broadcast version. A cage had been set up in the ticket hall. Travers attempted to sabotage the pyramid electronics using his penknife but was stopped by a Yeti, which knocked him aside then threw him into the cage with Victoria. He woke up when the others were brought into the room.

The biggest change related to the original idea that the museum housing the Yeti exhibit would have been London's Natural History Museum, for in this version Arnold survived - freed of its influence when the Intelligence was ejected. Travers would have recognised him as the commissionaire who had let him in on the evening the Yeti came back to life, and Arnold would have had no memories after going round locking the museum up for the night.

The controlled Yeti would also have survived, with a frustrated Jamie telling it to "go blow a fuse" - which it then did, literally.

Studio recording for this final episode was granted an extra 15 minutes, with recording beginning at 8.15pm. Patrick Troughton's son Michael was in attendance. He would go on to appear in the programme himself some five decades later, playing Professor Albert in Last Christmas.

The episode opened with a reprise of the model filming of the web bursting into the fortress.

Jack Woolgar provided the rasping voice of the unseen Intelligence, and adopted similar tones for the possessed Arnold. He taped various versions of the voice prior to production, testing out different vocalisations. You can hear these as an extra on the Special Edition DVD / Blu-ray of the story.

Some of the Intelligence's dialogue was pre-recorded. 

The script had stated that the helmets should look strange, but not silly.

A number of recording breaks had to be taken to reposition actors in the tunnel set, to make it look longer than it was and to have different characters meeting each other.

For the climax, another break allowed for the pyramid prop to be removed and for Woolgar to have his charred make-up supplied. A model shot of the pyramid exploding was then inserted, with a whiteout covering the joins. A smashed up pyramid prop was then placed on set. One shot saw the camera overexposed by widening the aperture, so that Arnold's face appeared to blacken.

Roger Jacombs, who had been an extra in earlier serials such as The Faceless Ones, joined the ranks of the Yeti this week. John Levene had taken on the role of unofficial union rep for the Yeti, ensuring that the performers were freed from their heavy costumes regularly. One performer did actually pass out under the hot studio lighting. Levene's Yeti was already destroyed, so he crawled out of shot to the stricken actor to help him out of the suit.

Immediately after broadcast of this episode, a short trailer was shown for the following story. This comprised some of the opening location sequences, showing the TARDIS descending to the sea, the opening of the pipeline inspection hatch, and the Doctor and his companions caught in the crosshairs of a rifle.

The videotapes for The Web of Fear were cleared for wiping in July 1969, by which time film copies had been sold for broadcast in Australia, New Zealand, Hong Kong, Singapore, Gibraltar, Zambia and Nigeria.

In 1978, the BBC's archivist Sue Malden came upon a pile of film cans returned from Hong Kong, which were about to be destroyed. On the top of the pile was the first episode of The Web of Fear.

35 years later, Philip Morris, who ran a film and television archive retrieval service, came upon film copies of all six episodes, as well as those for The Enemy of the World, at a broadcasting relay station in Nigeria. As mentioned when we looked at it the other week, by the time he went back to take possession of the films, the third episode had disappeared - denying us further the first ever meeting of the future Brigadier Alistair Gordon Lethbridge-Stewart with the Doctor.

Prior to the episodes' return, a few brief censored clips were returned to the BBC from Australia in May 2002, including scenes of the Yeti attacking troops at Covent Garden and in the Underground tunnels, as well as shots of web-shrouded corpses.

For their next submission, Haisman and Lincoln would move away from the Great Intelligence and its Yeti servants, though a third story featuring them was planned for later. What happened to that, we'll talk about another time when we consider the brief afterlife of the Yeti.

Of the new characters created for this story, Haisman later stated that the Colonel and Driver Evans were the writers' favourites. They continued to receive payments for Lethbridge-Stewart, but he claimed that there had been complaints from Welsh viewers about the latter's cowardice, which is why the character was never brought back.

In the end, this was the final appearance by the Yeti in the series, save for a cameo, whilst the Intelligence would be brought back in The Snowmen - the 2012 Christmas Special - then in The Bells of St John and The Name of the Doctor, stories which opened and closed the seventh series in its 50th Anniversary year.

The former is a prequel to the two Troughton stories, depicting the Intelligence first arriving on Earth in Victorian times. The Web of Fear is specifically referenced when the Doctor uses a London Underground lunchbox to conceal a Memory Worm from the Intelligence's host, and gives it the idea that the network might provide a strategic weakness that could be exploited if attacking the city. The Doctor also states that the box dates to 1967, so another nod to this story being set at time of production and not 1975.

When it was announced that these lost episodes had been recovered it was noticeable that, of the two stories, The Web of Fear was the one which caused the greatest excitement and eager anticipation. This was due to its reputation, such as word of mouth from fans who had seen it at the time, a very good novelisation, and a strong opening episode. The David Whitaker story, on the other hand, relied heavily on a lacklustre orphan instalment and a generally poor reputation. It was simply the one with no monsters in Season 5. Once the missing episodes were made available, interest did shift somewhat towards The Enemy of the World - nowhere near as bad as Episode Three suggested - but the reputation of this story remained strong.

It's still very much one of the best Troughton stories, with a lot going for it. Base-under-siege format, popular monsters, a very dark tone - both in terms of atmosphere and themes, with a high body count of popular guest characters - and excellent performances all round. And into this mix we get the introduction of one character who will prove to be hugely popular and significant, whose presence is still felt in the programme to this day.

The Web of Fear is the third of four stories which lead inexorably towards the Pertwee era, which is still fondly remembered by many as the beginning of a Golden Age for the series.

The War Machines showed how the Doctor could be placed in a contemporary, urban setting, allied with the military to defeat an "alien" menace. The Abominable Snowmen then laid the groundwork for this story, introducing the Great Intelligence, the Yeti and Professor Travers - elements which could be brought together in a similar setting to the Hartnell story. Both even have pitched battles between army and monster in Covent Garden, in the very heart of London.

The success of this combination would lead to the creation of UNIT and the return of Lethbridge-Stewart in The Invasion - a story in which it was hoped Travers might also return - which acted as a dry run for the Pertwee / UNIT years.

Trivia:

• The ratings end strongly, comfortably over 8 million and with the joint highest appreciation figure for the story.
• Once again Huw Wheldon, controller of television programming at the BBC, had praise for the series at the weekly review meeting, calling this instalment "a connoisseur's piece".
• On Friday 22nd March, Francis Hope wrote about this story and the next as part of an article on the horror elements of Doctor Who for The Listener. 
• The Radio Times letters page for April 4th featured a missive from D Milbour praising the story: "Every episode was excitingly made, each ending in a gripping crisis, and what superb acting! Long live the Yeti, to fight again".
• A poster for the 1967 classic In The Heat of the Night (starring Rod Steiger and Sidney Poitier) appears on the wall of a corridor at Piccadilly Circus. To avoid rules governing advertising on the BBC, it was retitled "Block-Buster". A poster for the Scottish National Party can also be seen, featuring a thistle-shaped design.
• DWM produced a choice of two covers to mark the return of the missing episodes in October 2013, this one covering The Web of Fear.

• And finally, another fantastic retro movie-style poster from Oliver Arkinstall-Jones: