11 OCTOBER 1998

Edited by Bruce Robinson ( &
Robert Franks (



As we look towards the thirty-fifth anniversary of a certain TV show (and let’s not forget that this particular series was initially given a thirteen week trial run only), we find that there are still new facts to discover. Of course, while there may be no truly new stories for us to enjoy (well, not in a television sense anyway ...), we can still reflect on some of the events of the past.

And this raises the intriguing question ... in another thirty-five years, will people turn their attention back to the events of 1998? Will researchers one day attempt to dig up details on how the reconstructions were produced? Will they attempt to painstakingly read through old Internet postings and various e-mails sent between the reconstructors? Or maybe even unearth a rough draft of Disused Yeti #10 with the old Change of Identity header?

Well OK, you may argue that this sounds silly and far-fetched (in which case, you’re probably right!). However, you have to wonder how Sydney Newman, Donald Wilson and Verity Lambert would have reacted if you had told them in November 1963 that in thirty years’ time, many of their internal memos would be read by thousands of fans eager to digest new pieces of trivia about their favourite TV show. Would these types of thoughts have crossed their minds? It seems very unlikely – despite all the behind-the-scenes problems, the original production team were just interested in creating a high quality science-fiction series.

Certainly, one wonders how Ms Lambert and co would have reacted on hearing that in the nineties, fandom would be fiercely debating the accurate titles of the first few serials!

Oh yes, enjoy issue #15 of Reconstruction Cutaway ... errr ... The Disused Yeti.

Bruce and Robert


In the previous issue, we started off the Reconstruction Updates with a few quick brain-teasers. Well, it looks as if all have been well and truly stumped!

Firstly, we asked if anyone could determine why The Crusade can be considered the first real Change of Identity reconstruction. However, since it is necessary to view the COI reconstruction (which is not yet available) to work out the answer, we’ll provide a bit more time to chew this one over!

Secondly, we mentioned a couple of interesting “mistakes” in The Faceless Ones. The first error concerns a character mistakenly left in a telesnap when he/she shouldn’t have been there. This, in fact, refers to a scene at the start of Episode 4 where the stewardess Ann leaves the cockpit, but in the next telesnap, can be seen standing behind the Inspector.

The second “blooper” concerns a continuity error in the actual storyline as televised. In Episode 4, the Doctor discovers the body of the real nurse hidden behind a wall panel. However, in Episode 5, the Doctor has apparently forgotten about this discovery, and requires the air traffic controller Meadows to indicate where the nurse can be found!

MARCO POLO [COI3 enhanced] (update by Bruce Robinson)

I originally completed this reconstruction over eighteen months ago (February 1997 to be exact). At the time, I was confident that I had managed to obtain just about every photograph that existed from the story (which amounted to a collection of approximately 120 shots). However, thanks to some fantastic assistance from Derek Handley and David Howe, this amount has sky-rocketed to something close to three hundred images! Therefore, a Marco Polo enhanced version is something that I hope to complete by the end of the year.
THE CRUSADE [COI6] (update by Bruce Robinson)
There has been a slight delay in the completion of The Crusade as further work is performed to enhance the audio quality. However, the bulk of the reconstruction itself has been completed, and the final recording can occur as soon as the audio is available. As the existing David Holman audio is a little patchy in places, I believe that the delay will ultimately be worthwhile.
THE DALEKS’ MASTER PLAN VOLUME 1 [COI8] (update by Bruce Robinson)
Steady progress has been made on this story. Although no actual insertion of photographic or video material has occurred, text captions have been prepared for the first six episodes (of course, this doesn’t include the existing fifth episode, Counter Plot). I have also commenced the process of examining photographic material, and determining which parts of the reconstruction may be visually deficient.
THE ABOMINABLE SNOWMEN [COI7] (update by Bruce Robinson)
The situation here is similar to that of The Crusade. Although the reconstruction has more or less been completed, I am strongly considering re-recording the story with an enhanced version of the Graham Strong audio. Once again, I believe a few weeks’ delay now is preferrable to re-creating the whole story in a year’s time because some elements were lacking the first time around.
THE “JV” RECONSTRUCTIONS (update by Michael Palmer)
After the completion of the fourth JV story, The Wheel of Space, the next story that was originally going to be tackled was The Celestial Toymaker. However, due to the perennial problem of ensuring that we have the best possible material available, the release will most likely be delayed. This means that the next JV stories are likely to be either The Underwater Menace or Fury from the Deep.
For further information about the COI and JV reconstructions, please consult the following web-page :


Rick Brindell has recently completed two further stories in his Loose Cannon series of reconstructions. They are The Tenth Planet:4 and The Myth Makers. Rick’s next project will be The Space Pirates. As always, consult the following web-page for further details on Rick’s efforts :


We first announced the proposed release of the Disused Yeti magazine in issue #13. Since that time, we’ve now reached the stage where a considerable portion of the first issue’s content has been finalised. And just as significantly, we can finally announce the official name for the magazine. It is ... Nothing at the End of the Lane.

Before everyone starts crying “huh?!”, we should point out that this name stems from one of the very first items of documentation which exist from DOCTOR WHO (so if anything, the name is both pre-Troughton AND pre-Hartnell). In April 63, a writer in the BBC’s Script Department (Cecil “Bunny” Webber) put together some thoughts on the proposed series. One of the suggestions made was that the first episode would be called Nothing at the End of the Lane. At the time, nothing further was made of the suggestion ... until now. We decided that The Lane would make an ideal name for the magazine, as it highlights the type of information that can be discovered if one looks hard enough!

As for the content, below is a list of some of the items that will most likely be included in the first issue :

And just to show that we’re not totally obsessed with factual material, there’ll be a few retrospectives and story reviews thrown in (and perhaps even the occasional “lighter” piece as well ...).

The magazine is now expected to be released in February 1999. This will co-incide with the Gallifrey convention in Los Angeles, and on a more personal note, the first overseas trip of your Australian editor ...


Apart from a stint in the editor’s chair of Doctor Who Magazine, Richard Landen has also made a number of other important contributions to the world of DOCTOR WHO. One of these was the production of an early reconstruction of The Power of the Daleks (further details about this are provided in the following section). However, Richard was also significantly involved in recording DOCTOR WHO episodes in the sixties. While we now have high quality recordings of Graham Strong and David Holman to experience today, it has to be remembered that for many years, Richard’s audios were often the only recordings that existed from a number of stories (for example, The Celestial Toymaker).

Richard first developed the idea to record DOCTOR WHO episodes while he was operating sound equipment on one of the plays performed at his school. After saving up the money to purchase a reel-to-reel recorder, the first episode that Richard managed to record was Death of a Spy (The Myth Makers:3). After listening to the episode numerous times over the course of the following week, Richard was forced to record over the episode with the next installment of The Myth MakersHorse of Destruction. However, Richard enjoyed this latter episode so much, that he decided to retain all his recordings from that point onwards.

In fact, Richard would continue recording DOCTOR WHO episodes up to the Tom Baker story Underworld. And amazingly, Richard managed to record all episodes from Horse of Destruction to Underworld – no gaps exist in his collection.

Richard’s audios first came to the fandom’s attention when organised groups such as the Doctor Who Appreciation Society commenced. In fact, Richard found himself providing so many copies of his audios, that some of the original tapes were left with little oxide (this was especially the case with The Power of the Daleks). In 1992, copies of Richard’s versions of The Evil of the Daleks and The Macra Terror were utilised for the BBC Missing Stories audio releases.


In DY 12 and 13, we published a detailed look of the fan-produced reconstructions. In the first part of the article, a mention was made of an early reconstruction of The Power of the Daleks completed by Richard Landen. At the time the article was written, no further information was available on Richard’s efforts. However, we have now managed to make contact with Richard, who was more than happy to provide us with an overview of one of the world’s first DOCTOR WHO reconstructions.


Back in the late seventies, a fellow colleague and I embarked on the impossible task of collecting all the DOCTOR WHO photographic material from the then BBC Photographic Library. This was a costly exercise, although my offer to catalogue their department free of charge in return for copies of photographic transparencies, helped enormously. So when I eventually managed to view the John Cura telesnaps of The Power of the Daleks (which were known about at the time), the combination of these images with my audio recording seemed an obvious course.

Of course, if must be remembered that in those days, video was still in its infancy. Because of this, the reconstruction was fairly basic. Firstly, I obtained a camera script for Power, and arranged the telesnaps in the correct order. It was here that I discovered that in Episode Two, Janley’s cover up of Resno’s death was not totally featured in the script. Thankfully, I have a good memory! With suitable lighting, a vision mixer and two cameras (both of which were of a different type, which didn’t help) plus the audio tape, I proceeded.

The sound was recorded to videotape first to ensure that the timings were correct. I was determined to recreate the episode exactly, much against the advice of several people who insisted I should cut out the silent, quieter parts and all the “um’s” and “ah’s” (ie that swamp!!). From then on, it was simply a matter of recording the relevant telesnap over the corresponding portion of the soundtrack. Along the way, if I felt I could use any “wipe” effect to good advantage, then this was performed. Finally, the closing captions were produced by stealing various bits from other episodes.

The final completed version of Episode Two was sent to Christopher Barry, who was impressed enough to send me some notes and helpful criticisms. I completed Episode Two first, as I considered it the easiest episode from a visual point-of-view (I also wanted to think more about how I would tackle the aforementioned swamp!). However, once I developed a firm technique for completing the reconstruction, I then moved on to Episodes One and Three. When completing Episode One, I decided to remove some of the silent parts in the swamp – however, I am now convinced that this was not such a good idea (being a purist myself ...).



Last issue, Marcus Hearn provided us with details of his discovery of the John Cura telesnaps. Around the same time that Marcus was digging around the BBC’s Written Archives Centre, Stephen James Walker was also performing research for Howe/Stammers/Walker projects ...


I had been researching and writing about DOCTOR WHO since the late seventies, and (along with Jeremy Bentham and David Auger) was one of the first people ever to be granted access to internal BBC files for these purposes. This was at the BBC’s TV Drama Script Unit in Acton. I visited the Script Unit on many occasions over a period of approximately ten years prior to its eventual (and highly regrettable) closure in the early nineties. The Script Unit held, amongst other things, scripts (obviously), copyright files and writers’ files.

What I was unable to access at the time were the programme files (ie files compiled by the production office at the time of making a particular serial). These were held by the BBC’s Written Archives Centre (WAC) at Caversham. Just prior to the closure of the Script Unit, I came very close to gaining access to these files, when the staff at the Unit agreed to borrow the files from the WAC on my behalf. It was not until 1992 that I eventually succeeded.

Nowadays, the WAC take a rather more relaxed attitude towards external DOCTOR WHO researchers than they did at that time. This is possibly because, having had some experience of dealing with them, they now realise that they are generally quite respectable people and not the anorak-and scarf-wearing lunatics of popular myth. However, back in 1992, they would only allow access to people if they could prove that they were genuine and bona fide researchers with a publishing deal. As far as I am aware, I was the first DOCTOR WHO researcher ever to be granted access to their files. This was due to the fact that I had the backing of Virgin, although sadly I was unable to commence any research work until after the publication of The Sixties.

It wasn’t until about my fifth or sixth visit to the Centre that I actually discovered the files containing the telesnaps. There were a great many programme files that the staff had already cleared (i.e. vetted to remove any confidential or sensitive documents) in order for me to examine. It wasn’t until I had worked through virtually all of these that I managed to consult their file list to determine what other material was held.

At that time, incidentally, the Centre held no programme files for productions later than 1969. The files for 1970 onwards were held at the BBC’s Records Management Unit, otherwise known as RAPIC, which David Howe and I subsequently gained access to when working on The Seventies and The Eighties. As far as I am aware, no other DOCTOR WHO researcher has ever been granted access to RAPIC. Files for early seventies productions have now been transferred to the Written Archives Centre, however.

On discovering the telesnap files in the WAC, I immediately had photocopies taken of all the telesnaps of missing episodes, for my own reference. I also started to explore with staff at the Centre the possibility of obtaining proper photographic copies. However, it quickly became apparent to me that this would be a very difficult thing to arrange (the BBC is still a very bureaucratic organisation!) and very expensive. Basically, I was told that this could be only be performed with the agreement of Bobbie Mitchell, the manager of the BBC’s photographic department (someone I had previously found very difficult to deal with). Also, I would be required to pay a full fee for every single image obtained.

It was at that point, I believe, that Marcus Hearn, who had started visiting the WAC to research material for DWM, also independently discovered the telesnap files. (If I remember correctly, I learned about this from Andrew Pixley.) Given the greater clout and resources available to them, it was obviously going to be much easier and more affordable for DWM to arrange for proper photographic copies to be made. It was also more worthwhile in the sense that they could ensure that the telesnaps made it quickly into print.

I therefore left all the work to DWM from that point onwards, which is why they have been generally credited with making the first discovery of the telesnaps. However, whilst not wishing to nit-pick or make too much of the matter, I think that my own discovery was actually a couple of weeks before theirs!



Our look at the cliff-hangers featured at the conclusion of the Hartnell serials is drawing to a close. Here is the penultimate installment :

Galaxy 4The Exploding Planet

Scene — After narrowly escaping the destruction of the planet, the travellers depart for new adventures. Vicki and the Doctor soon notice another planet on the scanner, and wonder what is happening on the surface. In a dense jungle, a man in ragged clothing is stumbling through the undergrowth, and muttering “I remember now ... remember ... I must kill ... must kill ... must kill ...”

Caption — The scene tracks out to a shot of the jungle, over which the “Next Episode MISSION TO THE UNKNOWN” caption appears. The picture fades to black and the credit scroll commences.

Notes — There is no reprise of this scene in Mission to the Unknown. The scene of Garvey in the jungle was actually recorded with the remainder of Mission.

Mission to the UnknownMission to the Unknown
Scene — In the Dalek conference room on Kembel, Malpha presents a rousing speech about conquest to the other delegates. The other representatives continue the chant – “victory, victory, victory ...”

Caption — “Next Episode TEMPLE OF SECRETS” is displayed over a shot of the Daleks filing through the control room.

Notes — There is no reprise of this scene in Temple of Secrets.

The Myth MakersHorse of Destruction
Scene — As a result of the attack on Troy, Steven is suffering from an illness, and is lapsing in and out of consciousness. The Doctor briefly turns his thoughts to the recently-departed Vicki, before considering how he can find a way to heal Steven’s sickness.

Caption — “Next Episode THE NIGHTMARE BEGINS” appears over a freeze shot of the Doctor, Katarina and Steven.

Notes — There is no reprise of this scene in The Nightmare Begins.

The Daleks’ Master PlanDestruction of Time
Scene — The Doctor and Steven survey the barren wasteland that was once the thriving planet of Kembel. Steven contemplates all the lives that have been lost in the battle, and the Doctor replies, “What a waste ... what a terrible waste.” The Doctor and Steven then enter the TARDIS ...

Caption — As the TARDIS dematerialises from Kembel, the “Next Episode WAR OF GOD” caption appears. The screen fades to black and the credits roll.

Notes — There is no reprise of this scene in War of God.


J : Planet of Giants

3 episodes
Planet of Giants 13 Oct 64 17.16 23’15” 8.4 37 57
Dangerous Journey 07 Nov 64 17.15 23’40” 8.4 45 58
Crisis 14 Nov 64 17.15 26’35” 8.9 33 59
Total Duration = 73’30” (approx)
Average Viewing Audience = 8.6 million
Average Chart Position = 58.0
Repeat Screenings — nil on BBC1, however the story has been repeated on UK Gold.
Countries Sold To — Abu Dhabi (Arabic), Australia, Chile (Spanish), Costa Rica (Spanish), Dominican Republic (Spanish), Ethiopia, Hong Kong, Iran, Jordan (Arabic), Kenya, Libya (Arabic), Mauritius, Mexico, Morocco (Arabic), New Zealand, Nigeria, Rhodesia, Saudi Arabia (Arabic), Singapore, Thailand, Trinidad & Tobago, Tunisia, Uganda, Venezuela and Zambia
Status — all three episodes were originally destroyed at an unknown time between 1972 and 1977. The complete serial now exists on 16mm monochrome film (negative film prints were recovered from BBC Enterprises in 1977/78).

Clips — n/a

Notes —

Telesnaps — currently missing. PasB (Programme-as-Broadcast) documentation indicates that John Cura provided his services for all four episodes of the serial. It is uncertain whether this means Cura created telesnaps of all four episodes (in which case, he would obviously require facilities at the BBC), or whether the first episode of the next serial (World’s End) was mistakenly included as part of Planet of Giants.

Behind-the-Scenes Shots — unknown

Publicity Shots —

Planet of Giants 29 Jun 65 877 A none
Dangerous Journey 29 Jun 65 900 G cut A
Crisis 29 Jun 65 1007 G none
cut A : “cuts ... 18ft. At 4 mins delete shots of man turning over body and displaying its blood-stained face and chest. At 7 mins delete shots of 2 men turning over body and dragging it away.” [This is a verbatim description of the cut as recorded by the Censorship Board – the above comment refers to the scene in which the scientist Smithers is murdered by Forester.]

I wasn’t even born when The Faceless Ones was originally transmitted. In fact, at the time the serial was being junked, I was still at primary school. Consequently, until this JV reconstruction, my only real knowledge of the story came from the DWM archive, a wobbly copy of Episodes 1 and 3, and a rather dull-looking Target novelisation. The only thing that really captured my interest was a picture of miniaturised humans I recall seeing in a piece of fan art years ago (and even then, this seemed to have very little to do with the remaining episodes). Of course, I was aware that the story had something to do with a race of aliens escaping from a dying planet, but I had no idea how this concept was actually realised.

As to the story itself, well, against all of my expectations, I found I enjoyed the tale. While probably not the greatest of Who stories, it provides us with Malcolm Hulke’s first attempt at creating a sympathetic alien race. The appearance of the Chameleons is interesting though by the end of the story, all of the main aliens appearing in their humanoid form is clearly a cost-cutting move. Equally, the whole of the Chameleons’ history is presented in a conversation on the main Air Traffic Control set. The dénouement, where the Doctor agrees to help the Chameleons, is dispensed with in an equally cheap fashion. However, it is interesting to watch a race of DOCTOR WHO monsters say, to all intents and purposes, “Oh, all right then, we won’t invade Earth.”

Probably the most disappointing element of the story is the abrupt manner in which Ben and Polly are written out. Following their role early in the story, they disappear for a couple of episodes and are briefly reunited with the Doctor and Jamie at the end for a quick goodbye. Something must have been in the air on 20th July 1966. While Ben and Polly are being hastily written out at Gatwick Airport, a few miles away Dodo is being written out in an equally rushed manner in the final episode of The War Machines.

The role of the companion in this story is primarily split between Jamie and Samantha Briggs. Samantha is a well-written character, and indeed her role in the story is very much that of a prospective DOCTOR WHO companion (similar to that of Ray many years later in Delta and the Bannerman.) Consequently, we learn much more about Samantha than normal, and it is a shame that she doesn’t leave in the TARDIS at the end of the story.

The reconstruction itself maintains the excellent standards set by the JV team. The quality of the remaining episodes is excellent considering that they have never been released on BBC Video or repeated on any satellite channel. The telesnaps themselves are of the usual high quality, as is the soundtrack. There are no interview snippets at the beginning of the tape – instead we are treated to a COI-style introduction of pictures and text briefly outlining the story’s history. There is, however, a treat for Pertwee fans at the end of the tape in the form of a reconstruction of the trailer for The Mind of Evil.

The Faceless Ones is a story that surpassed my expectations. While not an obvious “classic”, it held my attention throughout and provided me with an enjoyable couple of evenings’ entertainment.



All those who work with such motivation to bring lost episodes of DOCTOR WHO to life, are to be commended. You are all performing such a huge piece of work, completely out of your own money and time, and love for the show (while little else happens in the years since DOCTOR WHO came to an end).

I could go on about how I like one style of reconstruction over another, but in truth, all of them do just as good a job. Strangely, I’m a nineteen year old fan of the William Hartnell and Patrick Troughton eras. In fact, DOCTOR WHO has been a form of escapism for me ever since I was just a little “time tot”, and it continues to be so. Thanks to all the reconstructors – I am so grateful.



Thanks for the latest issue of the newsletter. It was fascinating stuff, especially the article by Marcus Hearn on the telesnaps, and the lovely bit of nostalgia from Tim Woolgar. The Web of Fear was one of my very favourite stories when I was a kid, and it still works its magic spell for me.

Having experienced most of the reconstructions and missing episode audios over the last few months, I recently started going through them all again chronological order (I eventually plan to integrate it with the surviving material and do a complete Seasons 1 to 6 one of these days!). This has once again brought home the fantastic achievement of the reconstructions, which it strikes me are of truly archival value and a lifeline to all the programme’s fans.

Without wanting to sound a killjoy, I am one of those who believes that the chances of rediscovering even one more missing episode are now fairly slim. Therefore, to be able to sit down and watch these wonders come back to life actually strikes me as more valuable every time I watch them. The overall achievement is quite simply breathtaking and a tribute to all the teams’ fantastic efforts.



I enjoyed reading the latest issue, however I did manage to find a possible error in the story guide for The Reign of Terror. The guide stated that the director’s credit was removed from A Change of Identity (episode 3). However, the director’s credit is intact in my copy of the story.


[ed : Patrick has raised an interesting question which requires a little more research. Stay tuned for further details!]


Perry Armstrong, an Australian fan, provides us with his recollections of the show’s early years ...


Aged six years, or thereabouts, my earliest memories of DOCTOR WHO are from Planet of Giants. I can recall the general feeling of “smallness” being conveyed quite convincingly with scenes of our heroes scurrying around the laboratory sink, for example. The image that most strongly remained with me was the camera pulling back from the TARDIS until it was just a tiny speck at the bottom of the garden. Following Giants, there’s a large gap between this story and the next one I can recall – The Celestial Toymaker. And even then, Toymaker exists in my mind only as a series of jumbled images of adults playing children’s games. Another thing I do remember from the story is the sinister mood prevalent throughout.

From The War Machines onwards, my memories become a lot clearer. I was terribly impressed with the War Machines and found them scary in the way a lot of people talk about the Daleks. Their large size made them ominous, and the recognisable “present-day” setting added to the effectiveness of this story. At the time, I had the innards of an old mantlepiece clock as a play-thing, and I could wind it up and watch it whirr and click. I remember pretending it was a War Machine!

As I entered my seventh year, I was greeted with The Tenth Planet. The only part I remember from this story is, not surprisingly, the regeneration scene. It astonished me, and I couldn’t wait to see what happened next. Therefore, I do remember The Power of the Daleks quite vividly. I accepted Patrick Troughton as the Doctor immediately, and I thought the steady build-up of the Dalek threat was superbly handled (in a similar way as would be done in Genesis of the Daleks years later). No one who saw Power will ever forget the infamous “production line” sequence, and I’m no exception.

I don’t recall much from the early part of The Evil of the Daleks (I preferred seeing Daleks in futuristic settings). However, I do remember the climactic battle on Skaro – particularly impressive was a scene where a Dalek’s top exploded, and the camera zoomed in, and we could see a pulsating brain-like mass inside (the brain seemed to be lit up from inside). To those who say there’s never been a shot of a “topless” Dalek, I refer you to the photo on page 7 of Starburst magazine Vol. 1, No.6 which shows the BBC effects crew setting up the very shot I describe!

Now, on to The Tomb of the Cybermen ... and this DID terrify me! The whole mood of it was wonderful, with staggering sets, scary music and superb “film noir” photography. The story maintained a level of tension throughout – there was always the feeling that something was about to happen. It left an indelible impression, and when (in a state of ecstasy) I watched the recovered video many years later, I was amazed how accurate my memories really were.

At around this time, I was now eight years old ... and the Yeti stories came next. Apart from having a crush on Victoria, my main memories of The Abominable Snowmen are of the moving silver balls. I thought they were neat. The Web of Fear made a much greater impression, particularly the opening scene where a silver ball breaks the window and causes the Yeti to come to life and kill a man. I don’t remember much from Fury from the Deep, except for the Doctor and Jamie in the TARDIS saying a tearful goodbye to Victoria as she (seen standing on a beach) shrinks to the distance on the scanner.

And finally, to conclude my early memories, I can recall The Wheel in Space. I liked the oddly shaped Servo Robot in this story, and I remember seeing the same costume (minus the “accordion” legs – it was being worn by a girl in black tights!) being used in some other kid’s programme (possibly VISION-ON?). The other thing about Wheel that sticks in my mind is the eerie scene of floating globules attaching themselves to a spaceship, and then having embryonic Cybermen burst forth from them.



The following request has been sent to us by Julian Knott :

In 1987, while I was running the DWAS Reference Department, I produced a cassette containing music that had been used in the Hartnell and Troughton eras of DOCTOR WHO. This cassette, called Space Adventures, consisted of twenty-one tracks, and included material from such stories as An Unearthly Child, The Moonbase and The Web of Fear. When we compiled the original cassette, the technology available to us was extremely limited. However, eleven years later, the advances in digital technology have allowed us to create a CD version which is more accessible, and certainly more affordable. Apart from enhancing the existing tracks, we've also managed to add some new material from The Space Museum, Terror of the Autons and The Tenth Planet. The CD can now be obtained by mail order and from selected dealers. For ordering details, and a full track listing, visit the Space Adventures web page at :

or email me at JulianK@Dial.Pipex.Com.


Thanks to the following for help with this issue : Perry Armstrong, Dominic Jackson, Chris Krisocki, Richard Landen, Michael Palmer, Andrew Pixley, Simon Simmons and Stephen James Walker.


The DOCTOR WHO reconstructions are fan-produced endeavours completed without the consent of BBC Worldwide, BBC Television, or any holders of the DOCTOR WHO licence. No infringement on any such copyright holder is intended nor are the tapes produced for any sort of monetary compensation. Tapes are distributed through the worldwide DOCTOR WHO fan network. Support the BBC releases!
 All material published in this newsletter is copyright Change of Identity Productions. Please do not reprint any of the contents in another publication (whether electronic or print) without obtaining the prior permission from the editors.

The newsletter is available in three formats – plain text, Word 6, and HTML. There is also an “announcement” mailing list which simply announces the release of a new issue, and provides details on how the issue can be downloaded from a web-site. Send an E-mail to Bruce if you wish to be added to any of these lists. The back-issues (in HTML format) can be located at the following web-site:

Previous Issue


Next Issue