The Mind Robber

Oh no, I got it all wrong!

The Mind Robber was the first Second Doctor story I ever saw and I'm not sure I could have picked an odder story to expose myself to Second Doctor. It's completely unlike any of the standard "base under siege" or monster-type stories that litter the era. In fact, the story is more reminiscent of something from either The Twilight Zone or a significant drug trip. I actually would not discount the idea that Peter Ling might have been tripping when he wrote this one, although the most out there stuff (Episode One) was actually written by script editor Derrick Sherwin. Of course, he could have been spaced out then as well.

Plot Summary

With the Dominator's bomb having just set off the volcano, the Doctor, Jamie and Zoe rush back to the TARDIS to escape the lava flow. They attempt to take off but the fluid link malfunctions and the Doctor is forced to shut down to ensure the TARDIS isn't flooded with mercury vapor. Worried about the lava destroying the TARDIS, Jamie and Zoe urge the Doctor to activate the emergency relay which will displace the TARDIS out of all time and space. Reluctantly, the Doctor agrees.

The TARDIS dematerializes and then reemerges in a void of nothingness. The Doctor sets about repairing the TARDIS but Jamie and Zoe are mesmerized by images of their respective homes on the scanner. Curiosity gets the better of Zoe and she opens the doors, despite the Doctor's warnings not to and wanders into the mist. Concerned for her, Jamie runs out after her. The Doctor calls out for them to stop but is forced to focus himself on resisting a powerful mind coming against him.

In the mist, Jamie and Zoe are reunited. They wander about looking for the TARDIS but are again distracted by images of their homes. They each manage to snap the other one out of their trances and continue their search. As they do so, they are surrounded by robots who use hypnotic beams against them, forcing them to see themselves disappearing into the mist.

The Doctor manages to fight off the force and leaves the TARDIS just enough to summon Jamie and Zoe through the mist. Though they are partially under the alien force's control, the Doctor wills them along and back into the TARDIS where they snap back to their normal selves.

The Doctor tries to take off again but the alien force attacks again, forcing the Doctor to focus his mind once again. Power is drained from the TARDIS and it appears to burst apart. Jamie and Zoe cling to the console while the Doctor remains in his chair and both drift away into the misty void.
Jamie stumbles out of the mist where he runs into a redcoat. He attacks the soldier who fires at him,turning him into a paper figure. Zoe also wanders through the mist, getting hemmed in by thorn bushes. She walks through a door and falls forward into a pit.

The Doctor wakes to the sound of Jamie and Zoe's cries for help. He walks through a forest and finds Lemuel Gulliver. Gulliver briefly threatens the Doctor but walks away upon finding him of a sharp mind. The Doctor is then met with a group of children who pepper him with riddles. When he successfully solves them, they run off, leaving him with a dictionary.

The Doctor turns a corner to find the paper Jamie and several objects. The Doctor solves the message and finds Jamie's face missing. He replaces Jamie's face but gets the details wrong. Jamie returns but with a different face. He is still Jamie though and together they find Zoe trapped in a jar disguised as a door in a wall. The quickly free her and set off into the forest to find their way out.

Getting tired, they stop to rest. Jamie climbs to the top of the tree to find a way out of the forest and discovers that the tress are in fact letters. They make up common proverbs. He does spot what he thinks is the way out and climbs down. They continue their walk but run into Gulliver again. He is confused by their description of robots attacking them and cannot see a squad of tin soldiers who come and herd the trio into a cave. In the cave they see a unicorn about to charge them, much like in a dream Jamie had while they were back in the TARDIS. The Doctor urges Jamie and Zoe to declare that it doesn't exist and when they do, the unicorn freezes into a paper cutout.

They exit the cave and come across a cottage with the redcoat Jamie had met earlier. Jamie again charges him and again is turned into a paper cutout. This time, with Zoe's help, the Doctor reconstructs his face properly and Jamie is returned to normal.

They pass through the door and find themselves in another cave with a ball of twine nearby. The Doctor recognizes it as a maze and order Jamie to tie one end to the door so they can find their way out again. They continue along until the string runs out. Leaving Jamie with the string, the Doctor and Zoe walk forward into the center of the maze. In the center, the Doctor and Zoe find the Minotaur where they again stop it by denying its existence.

A tin soldier tries to capture the waiting Jamie but he escapes. He exits the maze, chased by the soldiers. He climbs partway up and reaches a ledge where a coil of hair extends down. He climbs up to meet Rapunzel on the other end. Although he is not a prince, she reluctantly agrees to let him into the palace where she promptly disappears. Jamie discovers the palace is instead a futuristic building. He discovers a ticker-tape machine printing out words describing the Doctor and Zoe's adventure.

Finding Jamie gone, the Doctor and Zoe turn back into the main part of the cave where a stone statue of Medusa appears. The statue begins to come to life and advances on them. The Doctor again tries to get Zoe to deny it's existence but she cannot. A sword appears at the Doctor's feet but rather than fighting Medusa, he pulls out a mirror. Zoe looks at Medusa in the mirror and Medusa reverts to her statue form.

They walk out and into the same valley Jamie was in earlier. There, they are confronted by the Karkus, a character from comic strips of Zoe's youth. He engages them but Zoe is able to fight him off. Beaten, the Karkus submits to their will and Zoe orders him to take them to the citadel on the hill. There, they dismiss the Karkus and the Doctor disguises his voice as the Karkus to gain entry into the castle.

Inside, they find Jamie, who had been forced to hide due to accidentally setting off an internal alarm. The Doctor notes that they will have to see the ruler of this land of fiction, whom Gulliver had referred to as the Master, in order to reclaim the TARDIS. Zoe sets off the alarm and the Doctor surrenders to the robots who take the group to see the Master.

In the control room, they find a man who had been a writer of boy's adventure stories hooked up to a central computer. The human side of the writer is friendly and jovial, inviting the Doctor to take his place as he is getting old, having been taken by the alien power in 1926. Every once in a while, the computer interposes its will and the writer becomes dark and threatening. The Doctor distracts him, though constantly refusing his offer while Jamie and Zoe try to find an escape. The writer however is aware of their escape attempt and sends several robots who encase Jamie and Zoe in a book, rendering them into works of fiction.

Unable to help Jamie and Zoe at the moment, the Doctor dashes up bookcase and up on to the roof as the robots return for him. On the roof, he spots a typewriter through a skylight, controlling the master tape. He summons the Karkus who, with the help of Rapunzel, lowers him down into the room. The Doctor starts to write a different ending but stops, realizing that it's a trap as writing anything about himself will turn him into a work of fiction. He returns to the roof where he is met by Gulliver and the children from earlier.

The writer gives Jamie and Zoe new feelings toward the Doctor and they set a trap for him. He makes what appears to be the TARDIS reappear and Jamie and Zoe step out. Happy at it's return, the Doctor steps inside, only to discover himself trapped in a glass box. The box disappears and the Doctor finds himself back in the control room, this time fully integrated with the computer.

Due to his full integration, the Doctor realizes he can now make fiction reality as well and he summons forth Jamie and Zoe, urging them to escape their book. Jamie and Zoe then manage to extricate themselves from the book and cease to be works of fiction. The writer attempts to stop the Doctor by summoning the toy soldiers to seize Jamie and Zoe as they cross the roof. The Doctor counters by summoning the Karkus to shoot them down the soldiers. The writer attempts to step in and have the Karkus shoot them but the Doctor depletes his gun, rendering him useless. The writer calls forth Cyrano de Bergerac to attack them with a sword but the Doctor counters with D'Artagnan and the two characters fight on the roof, allowing Jamie and Zoe to run past. The writer changes Cyrano to Blackbeard and the Doctor changes D'Artagnan to Lancelot, each countering the other.

Fearing that the central brain will be overloaded, the writer ceases his attacks and instead summons the robots. The Doctor realizes he can't counter about himself as it would again turn him into a work of fiction. The robots pull the Doctor out of the machine and prepare to kill him. Jamie and Zoe rush in and activate every switch on the control board. The surge of power and information begins to overwhelm the computer and the robots are momentarily distracted. The Doctor rushes to the writer and pulls his harness off, freeing him of the control of the computer. With no new input, the robots obey their final instruction and begin to destroy everything in the control room, including the central brain of the computer.

The group flees just outside the castle where the TARDIS then reforms around the Doctor, Jamie and Zoe. The writer also disappears back into his own time.
Analysis

I really like this story, but I can also easily see how others would not. If The Macra Terror was a toe dip and lifting of ideas from The Prisoner, this story is a full on plunge into the world of surrealism. Of course, for all its surrealism, it still maintains a grounding in the form of a recognizable plotline and well written dialogue.

Granted you don't have a lot of choices with the Second Doctor, but I think this story could be one of the best ones to demonstrate what the Second Doctor is like. He is his usual blustery, slightly over-the-top self who is a bit back on his heels most of the time. But he is also the thinking and conniving Doctor. He understands a bit more that he ever lets on, especially after he really starts to guess the rules of the game in Episode Two. At no point when you are with the Doctor do you feel like nothing interesting is going on. He's just fun to be with on multiple levels in this story.

Jamie and Zoe are also good in this story, although I feel like Jamie stands out a bit more. This story is rather famous for having a replacement Jamie for Episode Two due to Frazer Hines contracting chicken pox from his nephews. But Hamish Wilson does a fine job as a stand-in Jamie and what's more, the mechanics of how the replacement Jamie came about is very creative and adds to the surrealistic atmosphere of the story. Jamie goes one further by getting a portion of the story to himself, climbing up Rapunzel's hair and having a few moments with Gulliver in avoiding the robots. It develops Jamie nicely in the story.

Zoe does well but does not get a stand out moment in this story like she does in say The Krotons. This sort of makes sense as Zoe is highly conditioned with logic and logic is probably the absolute last thing that is going to help in a story like this. So she ends up being more of either a comic foil or the Doctor's sounding board to explain the particulars of the plot. She also gets to scream a lot at the various traps she falls in to. She does at least get to defeat the Karkus with some nice judo moves which played nicely on screen, despite Wendy Padbury being unhappy with that take.

Of course, she also gets the take away point of the whole story as the other thing besides the replacement Jamie that people remember from this story is Zoe laying on the TARDIS console in a sparkling cat-suit with her derriere framed nicely for viewing. Apparently the zipper had busted on the front of her suit as well so she's leaning forward to make sure she didn't expose herself in the front and ruin the take.

All the various secondary characters did well but I think special attention to be played to the writer (or Master as he is credited). I personally try to avoid using "the Master" as it has a very different connotation now. Anyway, this part was played and written very well. You could see the glee and enthusiasm for writing that the writer had and how he was fundamentally a good person. But you could also see the dark, sinister side when the computer mind took over and the contrast portrayed between the two was quite impressive. I also loved the fact that the villain never got up but acted through surrogates to the point that it became a literal battle of the minds. It was a villain that emphasized that the Doctor had to think his way out of the problem rather than rely on some aspect of force to solve the problem.

Before going into the set and direction of the rest of the story, I think special attention must be paid to Episode One. This came about because the powers that be decided to cut down The Dominators from six to five episodes (with good reason). However, The Mind Robber as written did not lend itself to the kind of padding normally used (which is partially why the flow of the narrative is so good in my opinion). So they lifted the barest bit of the introduction and set about to expand that, while having no additional budget for sets. That forced the action to be confined to the TARDIS and a white soundstage with robots they had intended to use later in the story. It is very weird but it works in its offputting way. In many ways, it reminds me a bit of Episode One of The Edge of Destruction where you have stuff happening that makes no sense whatsoever but has a bit of an edge that is both creepy and enjoyable. It does stick out a bit because there is such a contrast of style between Episode One and the rest but at the same time, it also works within the context. It really is an excellent bit of improvisation.

If there is a complaint to be made about this story other than the "out there"-ness of the storyline, it is the limitations to the set and costumes. If you're used to that sixties, trying but still looks fake effect, this story won't bother you. But it would be remiss not to mention it. The forest of letters does look like a sound stage, Medusa is clearly a stop-motion effect and the Karkus is clearing wearing a rubber muscle suit. The robots and tin soldiers are also of the large, clunky costumed men-in-suits that are hallmarks of the Second Doctor era. Still, for me, I don't see anything that I'm not used to and some of the effects are actually pretty good with what was available at the time. I also find that for whatever reason, I have a higher tolerance and more forgiveness for these type of practical effects attempts than I do for things in the Eighties. I think that has to do with the quality of the cameras which make things too obvious in their fakery whereas the Sixties cameras hid the limitations better.

I am not an overwhelming literary personality, but I do love the intricacy of puzzles and "what is reality" stories. This storyline, whether fueled by "additional substances" or not, hits all the right spots for my enjoyment. It is weird but not so weird as to be unintelligible. It is well acted and fairly well directed. The sets and costumes, while limited, do their job well enough not to detract from the overall story. I can understand that some people wouldn't like this story and it might go over the head of younger viewers, but this is just a grand bit of entertainment for me and I'd happily pull this off the shelf to watch a third or fourth time if given the chance.

Overall personal score: 5 out of 5