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A   C H A N G E   O F   I D E N T I T Y    N E W S L E T T E R   5

NEWSLETTER ON THE MISSING EPISODES OF DOCTOR WHO

Edited by Bruce Robinson (robinsba@ozemail.com.au)     2 March 1997

"Terrible! Horrible! Terrible and horrible! Horrible and terrible!"
(Kublai Khan on the death of Ping-Cho's husband-to-be - "Assassin at Peking")

INTERVIEW WITH DAMIAN SHANAHAN !!!
SEASON ONE COMPLETE !!!
MORE TELESNAP INFO !!!
UNDERWATER MENACE 4 CLIP DISCOVERED !!!
THE NIGHTMARE BEGINS !!!

*** WELCOME! ***
Hello, and thank you again for the interest in the newsletter. The
"official" readership count now stands at 135. A rough country-by-country
breakdown is : Australia [40], USA [60], UK [25], New Zealand, others and
unknown [10]. Whilst most of the recipients are receiving CI via E-mail,
there is an increasing number of snail mail people ... 

The "script issue" is still proving to be a contentious one. Just briefly,
my own "Change of Identity" reconstructions feature on-screen captions to
display the appropriate narrative and dialogue (as opposed to other
reconstructions, where no captions are used). Keeping in mind that I don't
wish to "flog a dead horse", there's something further I would like to
mention ... 

A majority of people who view the reconstructions appear to like the text
captions ... with one or two reservations (eg "Savages" was too small to
read - which is fair enough). However, I occasionally receive an E-mail
message where the correspondent mentions that they enjoy the
reconstructions, apart from the on-screen script. These viewers feel that
the purpose of a reconstruction is to make the reconstructed episode
EXACTLY like the original.

While I respect these views, at no stage have I ever wanted to make an
exact replica of the missing episodes. In fact, I consider it an insult to
the creators of DW to suggest that I can create something to rival their
productions ("Marco Polo" is a good example). This is another reason why
I'm not all that concerned with, for example, having "authentic" credits
(ie letter-perfect with the originals), or producing video covers where the
labels all line up precisely. :-)

The main reason that a "recreation" is out of the question, is that it
simply isn't possible. Sixty-odd telesnaps, plus a handful of other stills
and rehearsal shots, just isn't sufficient to adequately recreate 25
minutes of television. And obviously, the problem is compounded even
further for the non-telesnap stories.

So the scripts will definitely be staying! While I don't intend to produce
a long list of reasons, I do appreciate the messages received from people
who are not very familiar with the Hartnell / Troughton stories. These
viewers mention that they find the text captions a big help when it comes
to understanding the story. 

On the other hand, I also understand the views of people who want to be
able to "imagine" scenes in their mind, without the assistance of on-screen
captions. However, I still don't think this is a problem. As they say "a
picture is worth a 1000 words" - no matter how much text is included, it
still leaves plenty of room for imagination.

Of course, these are just all my opinions - feel free to write in with your
own :-).

*** SEASON ONE COMPLETE! ***
February 1997 has seen the release of two further reconstructions - both
from Season 1. In fact, "Marco Polo" and Reign of Terror" are the only two
stories from Season 1 where episodes do not exist at all ("Marco Polo") or
in part ("Reign"). However, with the reconstructions now released, the
completion of Season 1 can be announced!

"Marco Polo" is the third "Change of Identity" production (ie one of
mine!). Distribution is currently in progress - in fact, most overseas
distributors should have copies by now. Please send me a note if you are
interested in finding out more about the distributors.

The main question received on "Marco Polo" is - how has the reconstruction
been completed with such a lack of material? The answer -with great
difficulty! Many scenes from the story are not represented at all by
photographic material - this means the only choice is to have lots of
close-ups of the major characters. Hopefully, this problem is not too
obvious ...

An effort was made to only include photos that actually exist from "Marco
Polo" in the final production. The temptation was there to include
additional material (ie from other Hartnell stories), but it was considered
preferrable to remain with "authentic" material. Actually, there are two
exceptions to this in "Marco Polo". The first is a TARDIS scene from "Keys
of Marinus". The second ... let's just say that it has something to do with
a bamboo forest ...

In total, about 130 photos were gathered for the story. Unfortunately,
about a week after the story was completed, a photo was received of the
Grand Vizier forcing the Doctor to kowtow (in episode 6). If you've already
seen the reconstruction, you may have realised that this was one of those
scenes where very little existed. Oh well, it can always be added to the
enhanced version ... :-)

And finally, please keep sending those comments in! If there's any way you
think "Marco Polo" could have been improved (no matter how trivial), please
send an E-mail / letter to the newsletter address.

The other reconstruction from Season 1 - "Reign of Terror" - was completed
by Michael Palmer. "Reign" differs slightly from Michael's previous efforts
("Tenth Planet 4" and "Mission to the Unknown), in that Michael has
primarily used stills, as opposed to video footage, in the reconstructions
of episodes 4 and 5. The stills mainly consist of screen grabs from the
existing episodes, as well as a few grabs from the brief 8mm footage that
exists. Michael now intends to start work on "Invasion" episode 1.

If you're interested in receiving either the "Marco Polo" or "Reign of
Terror" videos, please write. In fact, this is also a good time to mention
another important subject ...

*** A SMALL REMINDER ... ***
Please remember that the reconstructions are NON-PROFIT projects. They are
completed by fans who don't expect to receive any gratuity for their
efforts. Because the videos are available for the cost of distribution
only, there is NO NEED to purchase these tapes from video profiteers. Why
bother when the tapes are available for the cost of distribution only?

*** UNDERWATER MENACE 4 CLIP DISCOVERED ***
An additional clip from "Underwater Menace" was discovered by Damian
Shanahan on November 8 1996. This clip was discovered in the Australian
Archives, where Damian unearthed all the other censored clips. The clip
itself is approximately three seconds in duration, and features the
drowning of Professor Zaroff towards the end of episode 4. The BBC have
been notified of the discovery.

Damian also notes that while the search for missing material continues, the
chances of finding cut material from "Marco Polo", "Reign of Terror" and
"Mission to the Unknown" grow more remote by the day ...

In more positive news, the BBC intend to shortly release the "War Machines"
video. With the addition of the recently discovered footage, the story is
now lacking approximately 45 seconds (cut by New Zealand censors). The
restoration work is being performed by Steve Roberts of the BBC, and Paul
Vanezis.

*** GALLIFREY 97 ***
Three reconstructions were screened at "Gallifrey 97" (a Doctor Who
convention recently held in Los Angeles). Since the guests were Michael
Craze and Anneke Wills, the reconstructions were centred around the era of
Ben and Polly. The stories selected were "Tenth Planet 4" (the Michael
Palmer version), "Power of the Daleks" (my version), and "Underwater
Menace" (Richard Develyn / Robert Franks version). Apparently, Anneke Wills
has a fondness for the latter story, especially Polly's comment of "you're
not turning me into a fish!".

Thanks to the organisers of the con, in particular, Shaun Lyon. The
reconstructions received a positive write-up in the con programme book, and
according to Shaun, they went down "very well".

Talking about conventions, there's more details in the "Requests" section
below ...

*** AN INTERVIEW WITH DAMIAN SHANAHAN ***
In Issue #3, an interview was featured with Ellen Parry, who was partly
responsible for the discovery of the Australian censored clips. This issue,
we turn our attention to Damian Shanahan, who has worked tirelessly to
track down the material. I recently conducted the following E-mail
interview with Damian. Once again, it should be pointed out that Dallas
Jones is a former President of the Doctor Who Club of Australia. Dallas
might be a household name in Australia, but I don't know about the rest of
the world ... :-)

(1) How did you first learn of the possibility of missing clips in the
Australian archives? 

I had viewed the recently found 8mm footage at Dallas Jones' place. We got
to talking about the plight of the missing episodes and whether or not more
episodes may turn up (considering the absence of any major discoveries
since "Tomb" was recovered in 1991). 

I had recently bought David Howe's "First Doctor Handbook" and was
impressed with the amount of detailed research the British fans had done
for this publication. I discussed with Dallas whether or not Australian
fans had done anything similar, and he indicated that access had always
been a problem. He spoke to me of the research he conducted in 1984
regarding the censorship of Dr Who in Australia.

"Did they keep the footage they cut?" I asked, and he replied that he
didn't know. I was determined to find out. I came across the page for the
Censorship Board repository in the Australian Archives web sight and after
scouting around, came across folder series numbers and so on. The material
in one of the folders, which seemed the most promising, was less than
thirty years old. I then read about granting of special access. As the
material was hardly of a sensitive nature, I knew I could get access to
request the material without too much trouble.

I anticipated a potential problem, though. In dealing with a government
department, I would not be taken seriously when requesting material about
what is regarded to be a children's science-fiction series. Therefore, I
contacted Ellen Parry who I knew was doing Science Fiction fandom as part
of her PhD thesis. I asked her to write a letter so we could access the
material together and it would then appear to be for academic research.

Indeed it has long been a goal of mine to do thorough research into the
screening of the Dr Who series in this country and the role of the
Censorship Board has always been key to that. The documentation I've found
has been vast. I've spent almost 7 months of trips into the Australian
Archives accessing material from the ABC and Censors in an attempt to piece
together everything I can find. I hope to collate and summarise everything
held on the topic with the purpose of publication in the future.

When did this occur? April 1996 and onward.

(2) What was your immediate reaction? Were you hopeful that missing clips
could be discovered, or did you think that this was just another "dead end"?

I was not particularly hopeful that anything would actually be held.
However, I was willing to put in the time and effort to look, so that if
footage was held I would not give up until I found it. Or at least until I
found evidence of what actually happens to footage once it is censored. I
was also keeping an eye out for destruction schedules!

(3) In her interview, Ellen gave us a short run-down of the procedures
involved in accessing the clips. From your point-of-view, how much work was
actually involved in tracking down the clips?

Developing a rapport with the AA has been crucial. It is traditional for
government departments to be dismissive of public requests to conduct
searches - it is much easier to say nothing is held. Simply writing letters
really doesn't do much at all. Apparently a fan in Melbourne has been
writing letters for ages but got nowhere! 

The only reason the material was found, was because (a) I knew where to
look (from the Internet AA website) and (b) I could personally request
checklists of material held. The checklists are held in Sydney and contain
the exact details of the whereabouts of the footage - ie in which box!
These checklist details are not easily available outside Sydney and are not
on the Internet.

Even after I told the AA that the checklist indicated this footage was
held, they were still skeptical. However, because Ellen and I had presented
ourselves as academics we were taken seriously enough - the AA staff would
inspect the particular box to see if footage was actually in it. Even then,
it may have been footage of something else. Therefore, I still did not
announce it to fandom or the BBC until I had viewed it and could therefore
be certain.

Coming across a folder series which states that clippings from censored
material has been kept, is NOT proof that Dr Who cuts were retained. Many
other series were cut in the same period as Dr Who and yet their footage
was destroyed! The AA didn't know they had the material - they rely on the
agencies (eg. Censorship Board) to keep their own records of what is held.
Therefore, attempts to write to the AA to ask if they held Dr Who were
useless. They (the AA) don't know exactly what they hold - it's not their
job to!

The Censorship Board really didn't know either. This was all catalogued
many, many years ago, and they will not go to the trouble a Dr Who fan
would to track something down in their own records. Particularly when their
records had already been archived to a different part of the city! It was
only after the Villawood office of the AA had spliced together the footage
I requested and had heard the words Dr Who (none were fans), that they
could say material was held there. But even then, because they were
unfamiliar with Dr Who, there was still a reasonable chance that it was not
Dr Who at all! I could only announce it after I had seen it.

(4) Do you have any further news on whether the BBC intends to release
these clips shortly?

They had intended to use the material from "Fury from the Deep" and "Macra
Terror" on the end of the "War Machines" release, but this idea has been
shelved.

(5) Are you still involved in any search for missing Doctor Who material
(that you can tell us about!)? 

Yes. Because I have been spending a lot of time (ie a weekly basis, over
several months) developing a healthy rapport with archivists at the
Australian Archives and with the Film Conservator of the Villawood
storehouse of the AA. I have made contacts with the Document Archives at
the ABC and with their Film Archives as well.

I have now gained access to material never before seen by anyone in fandom
and I have made a search inside the vaults at the ABC. I spend two full
days almost every week going through file checklists at the AA and ABC
Archives conducting the most thorough search possible into early Dr Who
material. If there is anything in the AA or the ABC Archives, I intend to
find it!

(6) What are your thoughts on the missing material itself? Do you feel it
is a sufficient return for all the work you've put in?

Yes I do. The BBC are happy that "Dominators" in now complete, and that
"War Machines" is nearly complete (apart from 45 seconds cut by NZ
Censors). Many of the clips are too brief to be of great interest, but the
"Fury from the Deep" clips are wonderful. Even if no clips had been found,
the wealth of material in documents will make interesting reading for
Australian Fans, and this is proving to be very rewarding. It will take a
long time to collate though!

(7) And thank you Damian for your time!

*** THE TELESNAPS PART II ***
Last issue, details were provided of the Doctor Who telesnaps currently
residing at the BBC's Written Archives Centre (WAC). This issue, there will
be a closer examination of the actual telesnaps themselves, in particular,
the format of the telesnaps. Next issue, will see the conclusion
(continuation?) of the telesnap info with a closer look at the DW material
held by the WAC.

For the telesnaps, it is believed that John Cura was taking traditional
photographs with a 35mm film camera straight off a television screen.
However, all that survives nowadays are the contact sheets. For those
unfamiliar with photography, contact sheets are made by laying film
negatives over a piece of photographic paper, compressing the two under
glass to ensure good contact between the negatives and the paper, and
exposing them to light. This is performed so that photographers can create
a quick sample of the contents of a roll of film, without having to make
full prints of each and every frame. An individual telesnap on a contact
print is usually no larger than a thumb-nail.

>From the contact prints, a client can then select which images should be
made into full-sized prints. In contrast, a traditional print is made by
projecting the image of a negative onto light-sensitive paper. This way,
the image can be enlarged to virtually any size, and greater care can be
taken to bring out the more subtle aspects.

Unfortunately, the telesnaps as published in DWM aren't representative of
the quality of the originals. The main problem concerns the manner in which
the telesnaps are published. Marvel arranged for negatives to be obtained
from the original contact sheets (the size of each negative is believed to
be 4 x 5 inches). However, the publishing house that did the "Fury" photos
scanned each photo in separately, and did not pay attention to whether the
brightness, contrast, etc varied between the pictures.

Therefore, this explains why the telesnaps published in DWB are superior to
those published in DWM. The DWM ones have had a few more problems in the
preparation stage.

As to how the actual telesnaps are stored, each episode in the BBC's
Written Archives Centre consists of the contacts glued onto a single sheet
of foolscap paper. At the top of each sheet is a typed heading, which
states the story name and episode number. Glued on the back of some of the
sheets, are various cuttings from the "Radio Times", cast lists, covers
etc. The missing episode 4 of "Enemy of the World" has a sheet inserted
with it's typed heading, but obviously no telesnaps. 

More will be provided on the WAC next issue ...

*** THE NIGHTMARE BEGINS ... ***
Recently, Harold Achatz (an Australian fan) completed a reconstruction of
"The Nightmare Begins" - episode 1 of the "Daleks Master Plan". The most
striking features of Harry's reconstruction are (a) the 3D animated Daleks,
and (b) the animation of the stills to make the characters "talk".

Here are Harry's thoughts on "Nightmare Begins" ...

~~~~~~~~~~~~~~~
"The Nightmare Begins" took ages - I wanted to do an episode that no one
has done before, and added to that, a Dalek story! I also wanted the actors
in the photos to talk, and the Daleks to actually move. Both turned out to
be very difficult to achieve. With the Daleks, I chose a design closest
possible to the TV versions, and then reshaded and reshaped parts of the
model so I could make the Daleks move.

With the actors, I only had a few photos of the actors from the episode.
With those and my animation programs, I learnt to adjust the face to make
them "talk". In other words, to drag out "life" from one still. 

The actual reconstruction was achieved by recording the audio into "Video
Studio" (a PC / video software tool). I then edited the Hartnell title
sequence straight on to video. If any video footage exists, I place them in
the right spots in the episode. Now comes the hardest part - trying to find
photos, and then using a paint program to change them if necessary.

If the photos involve actors, I use an animation program called "Goo" to
make the actors speak their lines. When I am satisfied with the clip, I
save it as an "AVI" file. This can then be edited straight into the "Video
Studio" software. A few seconds of video like this can take most of a day
to get right.

The Daleks are all 3D models, apart from the video footage which actually
exists from the episode. I animate the Daleks frame-by-frame, that is, by
creating stills on a red screen background. After I have enough stills, I
find a backdrop scene. I usually have to use a paint program to remove any
object in the background. I then edit in the background scene into "Video
Studio", and overlay the Daleks frame-by-frame over the still.

All this is just part of it! Some scenes are overlayed three times to
achieve what I want. In total, the episode took three months to make and
185mb of hard disk space. 

I feel that the reconstructions do help in improving the enjoyment of the
audio. I also hope my non-telesnap reconstruction goes down well with the
fans. If someone feels they can do better, I hope my reconstruction gives
them some ideas, so they can try it themselves. As computers improve and
new programs for video come about, it will be interesting to see what can
be done in the future.
(ARTICLE BY HAROLD ACHATZ)
~~~~~~~~~~~~~~~

*** THE FUTURE ... ***
As reported last issue, the next "Change of Identity" reconstructions will
actually be enhancements of the first two stories - "Savages" and "Power of
the Daleks". Thanks to all those people who have been sending in comments -
even minor things like spelling mistakes are appreciated.

The improved versions should hopefully be completed and available by the
time of the next newsletter (ie in about 6 to 8 weeks time). For those of
you who already have copies of the existing reconstructions, arrangements
will be made if you wish to obtain copies of the improved versions.

Also reported last issue, was a description of the next three stories to be
reconstructed. It can now be confirmed that the next batch of stories will
be "Moonbase", "Abominable Snowmen" and "The Crusade". "Moonbase" will be
the next story to be reconstructed, however, it hasn't been exactly decided
as to order of completion for "Snowmen" and "Crusade". Quite a few people
have been asking for "Evil of the Daleks", but after completing "Marco
Polo", the seven-part stories aren't exactly on the agenda for the
immediate future ...

*** REVIEWS AND COMMENTS ***

Following are comments and reviews on "Savages" and "Power". Next issue
will see some "Marco Polo" reviews / comments. I am also hoping to publish
comments on other reconstructions, eg "Daleks Master Plan" 1 and Richard
Develyn's "Ice Warriors".

~~~~~~~~~~~~~~~~~~~~~~~~~
THE SAVAGES
~~~~~~~~~~~~~~~~~~~~~~~~~

The pictures and the sound are the best I've heard on a TR, except for the
"Underwater Menace" audio (however, the "Savages" pictures were a bit
clearer). I must, however, disagree with those who have written in praise
of the scripting. I find it very distracting and I feel that it detracts
from my enjoyment of the story. I feel that if the episode is supposed to
be a recreation, then it should be as close as possible to what one would
see if one could actually view the real episode.

Again, I liked the "Savages", but not for the script. Also, a main point
that I would like to make is that the 8mm clips should actually be included
in the story proper, rather than simply being put on the side. A lot of
fans, myself included, probably don't know exactly where a scene comes
from, and seeing it in its proper context helps a lot when viewing the
clips later out of context. Overall, I did enjoy the "Savages" ... too bad
the BBC can't do something like this.
(COMMENTS BY BRYAN GRUSZKA) 

I've always liked Season 3. When I want a break from the complexity of 90's
Who, I often turn to such favourites as "Celestial Toymaker", "The Ark",
"The Gunfighters", etc, for pure, unadulterated fun. "The Savages" was,
however, a story for which I hadn't been able to get an audio copy, so this
video reconstruction is delightfully "new".

Unlike other reconstruction projects, it seems that CI takes account of
those unfamiliar with the story, what with an introduction, on-screen
narration, and dialogue. This I appreciated greatly - some other
reconstructions had left me confused. The inclusion of the script (although
occasionally the captions are too brief) really keeps your attention to the
story, and should definitely be retained on future releases.

The clips were somewhat disconcertingly small, and of course, not exactly
synchronised, but I'm reluctant to criticize technological shortcomings
when so much effort is still evident in the rest of the video. Sheer
entertainment.
(REVIEW BY PHILLIP PASCOE)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE POWER OF THE DALEKS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The stills were, on the whole, well-used, but I'd have preferred to see a
few more non-telesnap stills included. The video footage was well
integrated ... I was glad to see that every snippet was put back in
(including the "Dalek production line" clip). 

Presentation is generally of a high standard.  I very much like the intros,
with a "teaser" line of dialogue (well chosen in both "Power" and
"Savages") and incidental music from the story.  The "next episode"  bit
was also a clever idea, although I don't think the disco version of the
theme sounded right at the end of "Power" (but that's a matter of taste!)
(COMMENTS BY DAVID MAY)

~~~~~~~~~~~~
The style is better than "The Savages" - particularly with regard to the
relative sizes of the telesnaps and the text.  The compromise in "Power" is
MUCH better than "The Savages" and I didn't have to sit two feet away from
the screen to watch the tape! In summary, I hoped you'd get better with
more practice, and you have.
(COMMENTS BY DOMINIC JACKSON)

~~~~~~~~~~~~~
I received a copy of your "Power of the Daleks" - I have to say, I'm very
impressed!  Last October, I saw the off-screen cine clips for the first
time at PanoptiCon 96. I was delighted when I heard that you had included
them in your reconstruction (for completism reasons, if nothing else) but I
did wonder how effective they would be, considering their brevity.  Seeing
them in their right place in the story and in context I now realise that
they fit in wonderfully and indeed, the  clips were the highlight (for me)
of the whole production. I became fascinated every time the pictures turned
blue indicating another video clip!

The script, I thought, worked wonderfully. It was clear and  understandable
and helped enormously during the non-dialogue sections. It also helped to
keep my attention fixed on what was happening.  An excellent job all round
- well done!
(COMMENTS BY RICHARD BIGNELL)

~~~~~~~~~~~~~
After watching "Savages", it was difficult to believe this one would be
better. Well, it was! Even though the story is quite a basic run-around,
and somewhat overlong, we were kept watching by alternating between reading
the script and admiring the telesnaps. The clips, thankfully larger, were
also a treat : but isn't there any way at all that they could be slowed
down to the correct rate? We don't want to seem ungrateful, because the
video is great, but if the clips were synchronised with the sound (perhaps
for the updated version), it's be brilliant.

In any case, the story itself was well presented. We think it's good you
did a less well known story first, to get people used to the CI format. If
we'd seen this first, we'd have turned our preconceptions into criticisms.
"Marco Polo" next, hmm? We'll be looking forward to seeing how CI handles
non-telesnap stories.
(REVIEW BY BEN AND PHILLIP PASCOE)

*** LETTERS AND OPINIONS ***

The mailbox is a little fuller this issue ...

~~~~~~~~~~~
I just received your newsletter and it is great! I love the fact that there
are people out there who actually care about Dr. Who! Also, I'm anxiously
awaiting your next issue, and the eventual episodes guide you plan to do.
(BRYAN GRUSZKA)

~~~~~~~~~~~
Latest issue was very interesting - the telesnaps feature was very good and
something I'd been curious about for a while (I'd always wanted to know
exactly what stories telesnaps were known to exist from).  Similarly the
focus on Richard Develyn's work was most interesting. (DOMINIC JACKSON)

~~~~~~~~~~~
My suggestion for a forthcoming TR? I'd choose "The Smugglers". This is a
superb story, full of excellent characters and one that is sadly
underrated. The audio is clear and understandable without pictures, so I
long to see what you do with it! (RICHARD BIGNELL)

~~~~~~~~~~~
A question : in CI Issue #3, you said that "Marco Polo" and "Mission to the
Unknown" were the only stories to have no televisual material. If so, what,
if anything, exists from the "Massacre"? (PHIL AND BEN PASCOE)

[You are right in stating that no televisual material exists from "The
Massacre". My mistake!]

~~~~~~~~~~~
[referring to the old "Power of the Daleks" reconstruction] Yes, it was
created by Richard Landen, one-time editor of Doctor Who Weekly / Monthly.
The fact that he used a caption camera which could pan and zoom on the
images makes this still one of the better reconstructions. (STEVE ROBERTS)

*** WEB PAGE UPDATE ***
Last issue it was mentioned that very little progress had been made on the
"Change of Identity" web-page. Well ... things haven't changed all that
much. However, now that "Marco Polo" has been completed, more time can be
devoted to the web-page. Hopefully, the next newsletter should announce the
URL for the "Change of Identity" page ...

*** SEASON-BY-SEASON GUIDE ***
Unfortunately, the season-by-season guide will not commence this issue. The
task of gathering information has proven to be more time-consuming than
originally thought. However, I hope to commence the Season Guide next issue
with the first four stories of Season 1 (ie "An Unearthly Child", "The
Daleks", "Edge of Destruction" and "Marco Polo"). Apologies for the delay.

*** REQUESTS ***
Kevin Guhl is after Target novelisations of the Hartnell and Troughton era
(as well as a couple of the "missing Season 23" Colin Baker stories). If
you think you can help, contact Kevin on  <kjg0003@ibm.net>.

The BTS (Behind-The-Sofa) Script Page is finally up-and-running, after a
long absence due to technical problems. The new co-ordinator of the page,
Richard Tinsley <rt4986@Bristol.ac.uk> would like all people who currently
have scripts in their possession, to forward them to the BTS page. 

This one's mainly for the Australian fans, but overseas people may also be
interested. CSO - Convention of the Sunshine CapitOl is planned for
Brisbane from 24 to 26 April. Guests include Caroline John, Geoffrey
Beevers (the Master in "Keeper of Traken"), and Keff McCullough. Please
write if you're interested in further details about the con (including
available merchandise). With your support, there is a greater chance of
future conventions taking place, and who knows what guests we may be able
to invite next time. In particular, there will be items on the agenda about
the missing episodes / reconstructions. Stay tuned for more details! The
NEW convention homepage is :

http://www.cth.com.au/usr/timelord/cso.htm

*** ACKNOWLEDGEMENTS ***
Thanks to the following people who provided assistance in the compilation
of this issue - Robert Franks, Damian Shanahan, Brian Pearce, Harold
Achatz, Richard Bignell, Neil Hogan (and Data Extract), and of course, all
the people who sent in reviews and comments.

*** BORING STUFF ***
Doctor Who is copyright the BBC and worldwide affiliates. "A Change of
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Bruce Robinson   robinsba@ozemail.com.au