List of unmade Doctor Who serials and films

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During the long history of the British science fiction television program Doctor Who, a number of stories were proposed but never fully produced. Below is a list of unmade serials submitted by recognized professionals. Although the BBC intended to produce the series, they were not made. Many have since been the subjects of features in Doctor Who Magazine or other professional periodicals and books devoted to the television show.

Such series existed during the tenure of each of the previous thirteen incarnations of the Doctor. The reasons for the series being incomplete include strike action (which caused the partially filmed Shada to be abandoned), actors leaving roles (The Final Game, which was cancelled after Roger Delgado's death), and the series being put on hiatus twice—once in 1985 and again in 1989—causing the following series to be shelved.^[1]

The plots of the unmade series also vary. The theme of a civilization in which women are dominant was proposed twice—for The Hidden Planet and The Prison in Space. In some cases, elements of an unmade series was adapted or moved from one project to another. For example, Song of the Space Whale was intended to be the introduction of Vislor Turlough until it was repeatedly set back, causing Mawdryn Undead to be Turlough's first appearance.

Some unused stories have been adapted for other media. Shada was animated and several unmade series compiled into an audio series released by Big Finish called The Lost Stories.

First Doctor

Submitted for season 1

The Giants

The first serial of the series, The Giants, was originally to be written by C. E. Webber, the first episode being titled "Nothing at the End of the Lane",^[2] and would concern the four main characters (at that point named as the Doctor, Cliff, Lola, and Biddy) being shrunk to a "miniature size" and attacked by giant animals.^[3]

The serial established the Doctor's original backstory, revealing that the

Around early September 1963, the idea was given to Robert Gould to develop, referred to as the "minuscule" storyline, which was anticipated to be the fourth serial of the season, but this story was later dropped from this slot in January 1964^[5] and Gould abandoned work on the story altogether a month later.^[6] In March 1964, the story idea was offered to writer Louis Marks and eventually became Planet of Giants.^[7]

The Masters of Luxor

The Masters of Luxor, originally titled The Robots, was a six-part story submitted by Anthony Coburn while he was part of the BBC Script Department

The Hidden Planet by Malcolm Hulke was commissioned in December 1963 and at one point was to be the fourth serial^[13] and then later the fifth serial of Series 1^[14] after the insertion of The Edge of Destruction into the production block. It would further be deferred in January 1964 when it was realised that substantial rewrites would need to be undertaken.^[14] The story would have concerned a planet in an orbit opposite Earth's, with a parallel but in some ways opposite society to ours; for example, women were to be the dominant sex and all clovers would have four leaves. The original script was sent back for rewrites, and, due to a pay dispute, the rewrites were not made until after Susan had left the series; this necessitated further rewriting. A third submission was similarly rejected as Ian and Barbara were due to leave, and the script was dropped. The story was the subject of an April Fool's Day prank in 1983, when Doctor Who Magazine issue 76 claimed that one episode had been filmed and rediscovered and would be integrated into a twentieth anniversary special co-starring the Fifth Doctor entitled The Phoenix Rises.

Britain 408 AD

Written by Malcolm Hulke.^[15] The story involved the departure of the Romans from Britain around the start of the fifth century amid clashes against the Celts and the Saxons, culminating with the time travellers fleeing the indigenous savages back to the safety of the TARDIS. Britain 408 AD was first submitted on 2 September 1963. Story editor David Whitaker asked Hulke to revise his original storyline, as he felt that the plot—with its many opposing factions—was too complicated and that the serial's conclusion echoed that of An Unearthly Child too closely. It was hoped that an amended version of Britain 408 AD might occupy the sixth slot of Season One (Serial F), to be directed by Christopher Barry, but on 23 September it was decided that the production block did not need another historical story and Hulke's serial was abandoned. The spot in the schedule was ultimately occupied by The Aztecs, while Hulke began work on The Hidden Planet instead (see above). Following Whitaker's departure, Hulke resubmitted Britain 408 AD. It was rejected on 2 April 1965, by Whitaker's successor, Dennis Spooner, because the Romans had already featured in his own story The Romans.^[16]

The Red Fort

Commissioned 24 September 1963,

Written by Alan Wakeman. Wakeman was one of several writers contacted by David Whitaker in mid-1963. The story was commissioned on 31 July 1963. It involved a planet ruled by sentient rocks and trees, with the ability to control humans with an inaudible sound. A four-part episodic storyline breakdown of the story featured in the third volume of the magazine, Nothing at the End of the Lane. In this breakdown the following episode titles are quoted: "Airfish", "What Eats What", "The Living Planet" and "Just in Time". Note that in the script, Susan is referred to as Suzanne, and Barbara is referred to as Miss Canning.^[21]

Untitled storyline (Gould)

An idea suggested by Robert Gould when he abandoned work on the "minuscule" storyline in February 1964 that involved a planet where plants treated people the way people treat plants. This was rejected by Verity Lambert, who felt it too close to the book The Day of the Triffids.^[22]

Submitted for season 2

The Dark Planet

Written by Brian Hayles.^[23] This story was Hayles' first submission to the series. The story focuses on the Doctor, Ian, Barbara, and Vicki landing the TARDIS on the planet Numir, the sun of which is extinguished, and encountering the surface-dwelling 'light people' and the subterranean 'shadow people'.^[23] The story was rejected in favour of Bill Strutton's The Web Planet by story editor Dennis Spooner on 8 February 1965, because the story was too similar to Malcolm Hulke's The Hidden Planet.^[23] It was later adapted by Matt Fitton for Big Finish's The Lost Stories range in September 2013.

The Slide

Written by Victor Pemberton. This story focuses on a sentient form of mud that tries to take over the minds of British townsfolk. Script editor for Doctor Who David Whittaker rejected it because it was derivative of the Quatermass serials of the 1950s. Pemberton later submitted it to BBC Radio after he removed the Doctor Who elements from it. The Slide was commissioned as a seven-part serial that aired on the BBC Light Programme, beginning on 13 February 1966. This ultimately inspired Pemberton to adapt "The Slide" as the Doctor Who story, Fury from the Deep, which aired in 1968.^[24]

Submitted for season 3

The New Armada

Written by David Whitaker as he planned to leave his position as story editor. He submitted The New Armada in late February 1964 for season 2 but was rejected in the wake of The Dalek Invasion of Earth.^[25] He resubmitted for season 3 in late 1965 but was rejected by story editor Gerry Davis on January 17, 1966.^[26] The story was to be a six-part story set in sixteenth-century Spain.^[27]

The Space Trap

Written by Robert Holmes and submitted to Story editor Donald Tosh on 25 April 1965. This four-part story idea involved the Doctor and his three companions arriving on an uninhabited planet to discover a spacecraft controlled by robots while its human occupants lie in suspended animation waiting for the additional crew members needed to once again operate their crashed ship. The Doctor and his companions are taken captive and trained up by the robots as the replacement crew members, however only three additional crew members are required, so the member of the Doctor's party that proves least useful is to be callously killed off by the human crew. This was Holmes's first story submission for the series and was primarily rejected due to the robots' role being similar to that of the Mechanoids in The Chase from the previous season.^[28] Holmes would later resubmit this story idea to producer Peter Bryant on 20 May 1968 which led to the commissioning of what would become The Krotons.^[29]

Untitled storyline (Lucarotti)

Written by John Lucarotti and was planned to be about

Written by Brian Hayles.[31] Hayles was commissioned to write a storyline for "The Nazis" on 8 March 1966. Shortly thereafter, however, he was engaged to write The Smugglers, which he was told should take a higher priority. "The Nazis" was ultimately abandoned on 15 June 1966, with the sentiment being that the events it portrayed were too close to the present day.^[32]

The Ocean Liner

Written by David Ellis, not much is known about it.^[33] This storyline was submitted by David Ellis as a spy thriller in January 1966 but ultimately rejected by Gerry Davis in April 1966.^[34][25][16]

The People Who Couldn't Remember

Written by David Ellis & Malcolm Hulke.^[33] The story was submitted to the production office in April 1966, but script editor Gerry Davis rejected it on June 15, 1966, as Davis wanted to avoid airing comedy serials on television in the wake of the poorly received story, The Gunfighters.^[25]

Second Doctor

Submitted for season 4

The Ants

Written by Roger Dixon, this story was submitted on 16 January 1967. The basic story idea had the TARDIS bring the Doctor and his companions to the Nevada Desert, where they discover they have been shrunk to a tenth of an inch in height. To make matters worse, they learn that the local ants have been made super-intelligent by atomic bomb tests and plan to take over the Earth.^[35]

The Big Store

Written by David Ellis & Malcolm Hulke, this story was submitted on 15 November 1966^[36] and would involve faceless aliens infiltrating department stores as display mannequins.^[36] Ellis & Hulke would reuse the faceless aliens for their successful script submission The Faceless Ones.^[35]

The Imps

Written by

Written by Barry Letts, this story outline, submitted around November 1966^[36] to story editor Gerry Davis,^[38] would involve a race of beings undergoing a cycle of mutations,^[36] akin to that of a butterfly, moving from one form to another via a chrysalis stage.^[38] Letts would later, as producer, have writers Bob Baker & Dave Martin use this as the basis of their script The Mutants for Season 9.

The New Machines

Written by Roger Dixon, this story was submitted in early 1967.^[35] A race of people was wiped out by powerful robots that they created. The robots then become so advanced that they are able to create a new race of people. The robots then fear that these new humans will dominate them, and when the Doctor arrives on their planet, they take this as proof of their fears.

The Return of the Neanderthal

Written by Roger Dixon, this storyline was about the TARDIS being dragged beneath the sands of Terunda^[35] to encounter people descended from Earth's Neanderthal Man who wish to return to Earth in 2016.^[35] These story elements are similar to the story arc of the Silurians, intelligent reptiles that lived on Earth millions of years ago, dwell underground and wish to one day return to the surface.

The Sleepwalkers

Written by Roger Dixon, this six-part story^[35] was submitted on 16 January 1967.^[35] The story involved the TARDIS crew arriving on an Earth of the far future where a community of youth depend on the unseen Elders who dwell in the mountains.^[35]

Twin World

Written by Roger Dixon, not much is known about it. This story was submitted in early 1967.^[35]

Untitled storyline (Letts)

Written by Barry Letts, this story, submitted around November 1966,^[36] was about a sinister organisation operating on Earth under the cover of an amusement park.^[36] Letts later partly reused this idea in the radio adventure The Paradise of Death.

Submitted for season 5

The King's Bedtime Story

Written by Roger Dixon, this story was submitted on 16 January 1967. The Doctor and his companions are forced to perpetually enact the King's favourite story without changing any aspect of it.^[35]

Operation Werewolf

Written by

Big finish adopted this storyline into an audio drama released July 2024[41]

The Queen of Time

Four-part adventure serial written by Brian Hayles.^[42] The story considered is about the Doctor encountering the evil Hecuba, the relative of the Celestial Toymaker.^[42] It was later adapted by Catherine Harvey for Big Finish's The Lost Stories range in October 2013.

Submitted for season 6

The Aliens in the Blood

Written by Robert Holmes, this story was pitched on 22 October 1968.^[43] The story was set in the 22nd Century and dealt with an outbreak of mutants with ESP powers that disrupt the functions of a spacelane.^[43] The plot was reused by Holmes in 1977 as the non-Doctor Who radio serial Aliens in the Mind.^{[citation needed]}

The Dreamspinner

Written by Paul Wheeler, not much is known about it. This four-part story^[44] was commissioned as a scene breakdown on 23 February 1968.^[44] It was dropped at a very late stage and replaced by The Space Pirates.

The Eye in Space

Written by Victor Pemberton. Concerning an omniscient octopoid eye in space which drew things toward it. Doctor Who producer Peter Bryant asked Pemberton to develop a new idea shortly after completing Fury from the Deep in late 1967. When Bryant left Doctor Who in early 1969, Pemberton decided not to pursue the story, and it was not formally commissioned.

The Harvesters

Written by William Emms, the serial was later redrafted in early 1970 as The Vampire Planet and was considered as the finale of season 7, but was soon dropped.^[45][46]

The Impersonators

Written by Malcolm Hulke, not much is known about it, this six-part story was commissioned on 5 July 1968.^[47] The serial was cancelled on 30 December 1968^[48] and its production budget was allocated to The War Games, which Hulke co-wrote with Terrance Dicks, allowing that story to be expanded to 10 episodes.^[43]

The Laird of McCrimmon

Written by

The Lords of the Red Planet

Written by Brian Hayles. The story would have been about the origins of the Ice Warriors. The story was initiated after the transmission of their debut story. This storyline was dropped around May 1968.^[49] It was later adapted by John Dorney for Big Finish's The Lost Stories range in November 2013. The idea of the Ice Warriors returning to the series inspired Hayles to begin scripting The Seeds of Death.

The Prison in Space

The Prison in Space by

Written by Derrick Sherwin, not much is known about it, apart from two things (according to The War Games' DVD information subtitles): it was going to be a studio-bound adventure and was to have ended with the exiled Doctor and Zoe stranded on Earth.

Third Doctor

Submitted for season 7

The Circles of Power

Written by Brian Hayles.^[55] This story would have focused on a faulty communications satellite which causes the release of robotic "sensorspheres" which induce amnesia on their victims. The incident would have almost ignited World War III.

The Mists of Madness

Written by Brian Wright.^[56] This story would have seen the Doctor discovering a community of artificially made humans. The storyline was submitted on 9 May 1969 and was commissioned by script editor Terrance Dicks. The story was scheduled to be the finale to Season 7 but due to Wright taking an academic writing post in Bristol, he was unable to write it so the story was abandoned.

The Shadow People

Written by Charlotte & Dennis Plimmer,^[56] this seven-part story was submitted to the production office on 10 November 1969. It was seriously considered as the final story of Season 7 after The Mists of Madness was cancelled, but a pay dispute with the writers saw the story being dropped. The story was replaced by Inferno.

Submitted for season 8

The Spare-Part People

Written by Jon Pertwee & Reed De Rouen and also known as The Brain Drain and The Labyrinth, this seven-part story was submitted to the production team in the summer of 1970. In the proposed storyline the Doctor poses as a Cambridge don to investigate a series of disappearances. He is then also kidnapped and taken to a civilization under Antarctica.

Untitled storyline (Camfield)

Written by Douglas Camfield, this story involved a hidden Amazon city and was submitted in late 1970.

Untitled storyline (Worth)

Written by Martin Worth, this story would involve plant life trying to take over the Earth. The season 8 opener, Terror of the Autons, featured the Master using plastic flowers to take over the Earth.

Submitted for season 9

The Brain-Dead

Written by Brian Hayles,^[57] this was submitted to the production office during the spring of 1971. The story involved an Ice Warrior's plan to invade the Earth using a 'Z' beam which freezes things it strikes to absolute zero. When used on humans, it turns them into zombie-like slaves. Script editor Dicks rejected the storyline, but the inclusion of the Ice Warriors inspired the development of The Curse of Peladon.

The Daleks in London

The Daleks in London, commissioned on 25 May 1971, was to be the final story of Season 9 in 1972, re-introducing the Daleks after a five-year absence. Little is known about the exact storyline of the six-part Robert Sloman serial, other than the fact that it would have had some similarities to The Dalek Invasion of Earth, except set in contemporary London.^[58] This similarity caused the production team some concern,^{[citation needed]} and producer Barry Letts eventually decided that he would rather start the season with a Dalek adventure instead of ending it with one.^{[citation needed]} An unrelated submission by Louis Marks was therefore rewritten into Day of the Daleks, and The Time Monster was then written and commissioned to replace the original series finale.

The Mega

Written by Bill Strutton,^[57] this four-part story was submitted to the production office on 25 September 1970 after Strutton had gained an interest in writing for the series again after scripting The Web Planet five years earlier. Despite Strutton working heavily on the project, it was ultimately discarded. It was later adapted by Simon Guerrier as a six-part story for Big Finish's The Lost Stories range in December 2013.

The Shape of Terror

Written by Brian Hayles,^[57] this story was submitted during the spring of 1971. This story would have seen an alien shape-shifting entity attacking a space station and attempting to merge itself with the Doctor, which unwittingly causes its own destruction. Hayles recycled elements from it, particularly its Agatha Christie mystery style in his script for The Curse of Peladon.

Submitted for season 10

Multiface

Written by Godfrey Harrison,^[59] this four-part story was commissioned by Letts on 19 July 1971. Feeling it was more fantastical than appropriate for Doctor Who, Letts dropped the story on 25 February 1972.

Submitted for season 11

The Automata

Written by Robert Holmes,^[60] this four-part story was commissioned on 16 January 1973. Letts and Dicks did not like the storyline and it was replaced by The Time Warrior.

The Final Game

The Third Doctor's final story was to be The Final Game by Robert Sloman and Barry Letts as an uncredited co-writer which was commissioned on 15 February 1973. The story was to end with the reveal that the Master and the Doctor were brothers or two different, opposing aspects of the same being (the Ego and the Id), and the Master dying in a manner that suggested that he sacrificed himself to save the Doctor's life. The actor who played the Master, Roger Delgado, was killed in a car accident in Turkey on 18 June 1973, forcing the scrapping of the story.^[61] The story was immediately replaced by Planet of the Spiders. The story's plot was later used for both fan-made and official media, in the form of a fan-made audio drama,^[62] and for the Tenth Doctor special, "The End of Time". However, "The End of Time" did alter the plot removing the revelation of the Doctor and the Master being siblings and altering the circumstances of the Masters sacrifice.^[61]

Fourth Doctor

Submitted for season 12

Space Station

Written by Christopher Langley,^[63] this storyline for a four-part story was submitted to the production office on 30 December 1973. The story involves the Doctor and Sarah arriving at a space station in the far future, a period when mankind no longer lives on Earth. It was subsequently commissioned for scripts on 24 January 1974 and planned as the second story of Season 12. It was dropped on 17 June 1974 and replaced by Lucarotti's The Ark in Space.^[64]

The Ark in Space (Lucarotti)

Written by John Lucarotti, this script came about after Space Station was rejected^[64] and Lucarotti was suggested by Terrance Dicks as a replacement writer on the strength of his Moonbase 3 script.^[64] The story would use the same space station setting as Space Station,^[63] the setting being dictated by the production office as a means of saving money by having it share sets with Revenge of the Cybermen.^[63] Commissioned in June 1974, Lucarotti devised the concept of the ark, a space station that housed a huge plot of countryside the size of Kent – a sort of Home Counties in space. His six-part story concerned the invasion of the ark by a species called the Delc, a spore-like fungus with separate heads and bodies. The final episode was to have the Doctor defeating the Delc leader by hitting it out into space with a golf club, and indeed Lucarotti planned to give each episode a frivolous title, citing Puffball as the title of an early episode and Golfball as the title of the final episode. When the draft scripts arrived from his home in Corsica, Holmes and Hinchcliffe felt they were far too ambitious and complicated to realise on the programme's budget and Lucarotti had over-conceptualised the story, which meant that it was inappropriate for the viewers.^[65] It was replaced by a different story with the same title by Robert Holmes, which shared only the setting with the previous version.^[63] Big Finish Productions has announced an audio adaptation of this story, written by Jonathan Morris for their Lost Stories range for release in March 2023. This adaptation will maintain the original episode titles, as written by Lucarotti.

Untitled storyline (Adams)

Written by Douglas Adams, this story was submitted around the middle of 1974. It involved a spaceship leaving Earth and filled with the affluent but "useless" members of society. The story was rejected due to being too similar to The Ark in Space, which was also being developed around that time. Adams later adapted the material for the "B Ark" storyline of The Hitchhiker's Guide to the Galaxy.

Untitled Dalek storyline

Written by Terry Nation. It was rejected for being too similar to his previous Dalek stories. It was replaced with Genesis of the Daleks. Big Finish Productions has announced an audio adaptation of the script from the first episode of this story with additional material for the rest of the story adapted into an audiobook by Simon Guerrier. It was released in May 2023 as Doctor Who: Daleks! Genesis of Terror.^[66]

Return of the Cybermen

Written by Gerry Davis. This story was submitted to the production office, sometime in 1974 and commissioned soon after. The story was reworked by script editor Robert Holmes into Revenge of the Cybermen after the production crew had reservations about it, though Davis still received the full credit. It was later adapted by John Dorney for Big Finish's The Lost Stories in March 2021.

Submitted for season 13

The Angarath

Written by Eric Pringle.^[67] Pringle was commissioned on 11 August 1975 by producer Philip Hinchcliffe^[67] to write the first two episodes of the four-part story.^[67] Pringle submitted the final two episodes without commission on 10 March 1976,^[68] but the story was cancelled on 23 June 1976.^[68]

The Eyes of Nemesis

Written by Brian Hayles, this story was submitted to the production office on 15 May 1975.^[69] It would involve the Doctor and Sarah in a chase between the hunter Torr and his quarry Lakdem.^[69] Towards the end of the adventure, it is revealed that Torr works for the Celestial Toymaker.^[70]

Fires of the Starmind

Written by Marc Platt, this unsolicited story was submitted to script editor Robert Holmes in late 1975 and dealt with a sentient star using the Time Lord libraries as a means of invading Gallifrey. Holmes felt that it lacked action and drama and needed a proper antagonist. Even so, Robert Holmes thought that Fires of the Starmind had more potential than most of the other amateur submissions and he encouraged Marc Platt to continue writing. Fires of the Starmind was rejected on 15 December 1975.

The Haunting

Written by Terrance Dicks,^[71] this six-part story^[72] was submitted at the start of November 1974^[64] and was to have dealt with vampires. The storyline was commissioned on 11 December 1974 but was abandoned on 13 May 1975.^[67] Dicks later reused some of the material for his 1977 script The Vampire Mutations, the story that eventually evolved further and became State of Decay in 1980.

The Menday Fault

Written by David Wiltshire, this was an unsolicited script^[73] for a six-part story.^[73] The story revolves around a nuclear submarine diving into the 'Fault of Menday' and discovering a subterranean world.^[74] The 'sun' for this world is dying and the underground dwellers, Suranians led by Zorr, are planning to invade the surface world.^[74] Wiltshire was never commissioned to develop the storyline further.^[74]

The Nightmare Planet

Written by Dennis Spooner, this story centers around a planet where drugs in the food and water are used to control the populace. Punishment would be meted out by temporary withdrawal from the drugs which would cause people to see monsters all around them. The storyline for the four-part story^[72] was commissioned on 31 January 1975^[72] and the full scripts on 4 February 1975.

The Prisoner of Time

Written by Barry Letts,^[71] the storyline for this four-part story^[72] was commissioned on 21 January 1975.^[72] It was based on an audition piece for the role of Sarah Jane Smith that Letts had written in 1973^[72] and was initially known as Time Lord Story.^[72] Scripts were requested, but Hinchcliffe was unhappy with the draft of the first part and ultimately the story was dropped.

Pyramids of Mars (Greifer)

Written by Lewis Greifer, this story was commissioned in July 1974.^[64] The story would involve museum keepers being chased out of the British Museum by a mummy.^[75] It would turn out that a group was scaring people away to gain access to a sarcophagus that would contain wild rice from thousands of years ago.^[76] The group wanted to use the rice to seed Mars and make a fortune.^[76] It was replaced by Robert Holmes' Pyramids of Mars but under the pen name, Stephen Harris, when Griefer fell ill^[64] and the scripts came in late and were not what the production team wanted.^[76]

Return to Sukannan

Written by Terry Nation, this story was commissioned for a storyline on 13 February 1975.^[72] It was replaced by The Android Invasion.

The Silent Scream

Written by Chris Boucher, this story was an unsolicited submission sent to the production office in early 1975. Although only fifteen minutes worth of material was considered unsuitable for Doctor Who, script editor Robert Holmes brought in Chris Boucher to discuss ideas with himself and producer Philip Hinchcliffe. This led to unmade scripts for The Dreamers of Phados and The Mentor Conspiracy, before finally being commissioned as The Face of Evil.^[77]

Submitted for season 14

The Gaslight Murders

Written by Basil Dawson,^[78] this four-part story involves murders in Victorian London. Dawson, a veteran screenwriter, was approached by script editor Robert Holmes to develop a story that would introduce a new companion to replace Sarah Jane Smith following her departure. The new character was to be a Cockney girl whom the Doctor would take under his wing and educate, in the manner of Eliza Doolittle in the George Bernard Shaw play Pygmalion. This story was planned to be the fourth story of Season 14. The Gaslight Murders was quickly abandoned, however. Its spot in the schedule was ultimately filled by The Face of Evil with the Eliza Doolittle character being replaced with Leela, while Holmes reused the general framework in The Talons of Weng-Chiang.

The Foe from the Future

Written by

The Dreamers of Phados

Written by Chris Boucher^[81] and submitted at some point after The Silent Scream had been rejected in early 1975. It was based on a premise that Hinchcliffe and Holmes wanted to use in which people and machines are controlled by a computer that malfunctions.^[82] It was to be set on a spaceship that has been home to several generations of a civilization. Boucher recycled some elements in The Face of Evil.

The Lost Legion

Written by Douglas Camfield, this four-part story^[83] was commissioned on 22 January 1976.^[83] The story would involve the Doctor and Sarah arriving in North Africa at an isolated French Legion outpost.^[83] This has become the battleground for a fight between two alien races, the Skarkel and Khoorians.^[83] The story was planned to write out the character of Sarah and would see Sarah killed by one of the aliens.^[83] The first script was submitted on 9 February 1976 and removed from the series schedule in April 1976.^[68] Camfield would continue to work on the scripts, delivering the final part on 24 September 1976,^[79] but the production team was no longer interested in pursuing the story.

The Mentor Conspiracy

Written by Chris Boucher,^[81] this story was, like The Dreamer of Phados,^[82] written to an idea brief from Holmes and Hinchcliffe.^[82] It was to be set on a spaceship that has been home to several generations of a civilization. The script was turned down on 30 October 1975.^[84]

Submitted for season 15

The Vampire Mutations

Written by Terrance Dicks and script edited by Robert Holmes, this four-part story was scheduled to be the opening serial of Season 15, featuring the Fourth Doctor and Leela investigating three sinister vampires who malevolently controlled a medieval Earth village and had far grander intentions than first appeared. The serial was ready to be made until the BBC decided that they didn't want Doctor Who producing a story about vampires at the same time that they were doing a dramatisation of Bram Stoker's Count Dracula starring Louis Jourdan in the title role. The Vampire Mutations was therefore replaced by Horror of Fang Rock, also written by Terrance Dicks, after Robert Holmes told Dicks to write him a new story set on a lighthouse. The Vampire Mutations is a rarity among unmade Doctor Who serials in that its script was later changed, adapted and made into an actual televised serial for Season 18. Season 18's script editor, Christopher H. Bidmead, was looking through old scripts that had never been made for one reason or another and came across The Vampire Mutations, liked the script more than the others and then contacted Dicks. Bidmead and Dicks then worked alongside each other to develop what became the Season 18 serial State of Decay, with their ideas for the script often clashing.

Killers of the Dark

Following the successful realisation of the Doctor's home planet of Gallifrey on screen in The Deadly Assassin, producer Graham Williams wanted another Gallifrey story.^{[citation needed]} Script editor Anthony Read approached David Weir with whom he had worked before.^[85] Weir's script, a six-part story, was planned as the final story of Season 15^[80] and was commissioned on 18 July 1977. Weir's script had elements drawn from Asian cultures,^[80] and included a race of cat-people with links to Gallifrey.^[80] Scenes included a gladiatorial duel in a stadium filled with cat-people. Read and director Gerald Blake, upon reading the finished script, determined that the story would be impossible to shoot on Doctor Who's budget and the story was abandoned in mid-August 1977.^[86] With only two weeks to spare before filming, Read and Williams quickly co-wrote a replacement script in the form of The Invasion of Time.^[85] When asked about Weir's story at a fan convention years later, Williams could not recall its title and made up the name The Killer Cats of Geng Singh, by which title the story became widely known in fan circles.

The Divided

Written by Moris Farhi, this four-part story^[87] was officially commissioned by producer Graham Williams^[87] on 8 November 1977.^[87] The script was not produced and Farhi no longer recalls what it was about; the script itself is lost. It is unclear whether this was considered for either season 15 or season 16.^[87]

The Krikkitmen

Written by Douglas Adams, this was one of several ideas that Adams proposed to the production office around 1976. Adams had submitted

Written by Robert Holmes, this storyline was considered in the autumn of 1976 when it was assumed Hinchcliffe would still be producing Season 15. It was to have been inspired by Joseph Conrad's novel Heart of Darkness.

Submitted for season 16

The 1995 Doctor Who Magazine Summer Special ran a feature on a supposed lost Season 16 story titled The Lords of Misrule, purported to be by

Written by Ted Lewis,^[89] and also known as The Doppelgängers,^[90] The search for the fourth segment of the Key to Time takes the Doctor and Romana to Nottingham where they meet Robin Hood and discover that the alleged hero is actually a blackhearted villain.^[91] The scripts for the first two episodes of the four-part fourth serial of the season were delivered to the production office on 28 April 1978.^[91] Although a third script arrived on 12 May 1978, Lewis turned up inebriated to a meeting with Graham Williams and Anthony Read and the unsuitability of the submitted material meant the story was dropped and replaced by David Fisher's The Androids of Tara, which deliberately adopted the same swashbuckling genre as Lewis' storyline.^[91][92]

Untitled storyline (Boucher)

Written by Chris Boucher, this idea was submitted shortly after Boucher had completed Image of the Fendahl. The story involved a remote Earth outpost under attack.^[93] BBC Head of Drama Ronnie Marsh did not want writers working on both Doctor Who and Blake's 7 at the same time, and the story was consequently dropped.

Untitled storyline (Adams)

Proposed by Douglas Adams. It concerned the Time Lords mining a planet and using a machine that would sap the aggression out of the natives to make them peaceful. One Time Lord would become trapped in the statue and absorb all the aggression driving him insane. He planned to make the machine dematerialise, reform around Gallifrey and hollow Gallifrey out. Elements from this story were re-used by Adams in his script of The Pirate Planet.^[94]

Untitled storyline (Baker and Martin)

Proposed by Bob Baker and Dave Martin. It concerned two planets (Atrios and Zeos) at war over a catastrophic shift in their orbits. The war was being baited by a mysterious force. The Doctor was forced to fashion a Key to Time to temporarily freeze both planets' armies. The Shadow (the mysterious force who was provoking the war) was planning to use the powers of the Key to Time to pit the universe at war against everyone. His own shadow was the sixth segment. The Doctor thwarted the Shadow's plan by unfreezing both planets' armies and giving each the co-ordinates of the Shadow's planet which just so happened to be in between both planets. Many elements of this story were recycled to create The Armageddon Factor.^[95]

Submitted for season 17

The Gamble With Time

Written by David Fisher, The Gamble With Time was initially set in 1920s Las Vegas, which was later changed by Fisher to Paris and Monte Carlo in 1928, along with a 16th-century Florence timeline as well, and had The Doctor and Romana teaming up with a detective named Pug. Gambling was going to be a big focal point in the story, as well as an ancient alien race called the Sephiroth. The Gamble With Time evolved further into the Season 17 serial City of Death which was written by Douglas Adams and Graham Williams over a weekend at Williams' house, under the pen name of David Agnew.

Shada

Shada was a six-part serial written by Douglas Adams that was scheduled to conclude Season 17 and be broadcast from 19 January - 23 February 1980.^[96] Production was halted during studio recordings due to a strike, with the remaining studio scenes never being recorded, and the serial never transmitted.^[97] A reconstruction of the serial using the Fourth Doctor's narration and existing footage was later released on VHS in 1992. The story was later adapted by Big Finish in 2003 as a webcast production featuring Paul McGann's Eighth Doctor (and later released as an audio story that same year), while Adams himself reused elements from the serial for his first Dirk Gently novel Dirk Gently's Holistic Detective Agency. The story was novelised by Gareth Roberts in 2012, and completed with animation in 2017, with most of the original cast returning to play their original roles.

Child Prodigy

Written by Alistair Beaton & Sarah Dunant, this four-part story^[98] was commissioned on 12 December 1978.^[98] The scripts were delivered on 5 January 1979^[98] and rejected four days later as unacceptable.^[98]

The Doomsday Contract

For Season 17,

Written by Pennant Roberts, this four-part story was commissioned on 10 January 1979 as Dragons of Fear.^[101] The adventure would involve the planet Erinella^[98] and two men fighting over a princess.^[98] The Doctor would become involved in his own timeline^[92] by arriving at the wrong time^[92] and becoming accused of being a poisoner.^[92] Roberts resubmitted the story in the mid-1980s to script editor Eric Saward but nothing came of the submission.

The Secret of Cassius

Written by

Written by Allen Drury, the scripts were commissioned on 2 April 1979^[101] for this four-part story.^[74] The story was set in the Victorian era^[74] and the entire action would take place in and around a vicarage.^[74] The vicar has recently died and fake spiritualists are exploiting the widow.^[74] The first episode would open with a seance during which the TARDIS would arrive.^[74] On 19 September 1979,^[105] the story was accepted subject to alterations.^[105]

Valley of the Lost

Written by Philip Hinchcliffe, this story involved the Doctor and Romana encountering an alien Luron called Godrin who crash-landed in a

Written by Douglas Adams,[102] this story would involve the Doctor going into retirement but being constantly called upon to solve various problems. It was considered as the final story of Series 17 until Williams dismissed the idea. It was replaced by Shada.

Untitled storyline (Mills & Wagner)

Written by

Written by Jack Gardner, a scene breakdown for this four-part story was commissioned on 29 March 1980[108] and the scripts on 11 August 1980.^[108] It was still under consideration in April 1981, when Jack Gardner was asked to expand "The Dogs of Darkness" into full scripts for the Fifth Doctor for Season 19.^[105]

Farer Nohan

Written by Andrew Stephenson, a scene breakdown for this four-part story was commissioned on 18 March 1980.^[109]

Into the Comet

Written by James Follett, this involved monsters attacking a race of beings who live inside Halley's Comet, unaware that there is anything beyond it they believe that their world is the sum and total of the universe.^[105] Into the Comet would have used the companions of Romana and K9. Follett was a novelist who pitched this idea to script editor Douglas Adams circa September 1979 when they met up and discussed the forthcoming return of Halley's Comet. Though the storyline was rejected by Adams, Follett resubmitted Into the Comet to new script editor Christopher H. Bidmead around May 1980, but once again the storyline was not pursued.^[105]

Invasion of the Veridians

Written by

Written by Keith Miles, a story outline for this four-part story was commissioned on 14 March 1980.^[109]

Mouth of Grath

Written by

Written by David Fisher,[108] this story was discussed with Script Editor Douglas Adams in late 1979, shortly before Adams left Doctor Who. New producer Nathan-Turner was not interested and instead, The Leisure Hive was developed as the season opener.^[105]

Romanoids

Written by Geoff Lowe, this spec outline arrived at the production office in the summer of 1980. It was passed on to Nathan-Turner on 9 December 1980.^[112]

Sealed Orders

Written by

Soldar and the Plastoids

Written by John Bennett, a scene breakdown for this four-part story was commissioned on 10 April 1980.^[108]

Song of the Space Whale

Space-Whale

Untitled storyline (Brosnan)

Written by

Written by Christopher Priest, the opportunity to write this four-part story[120] was offered to Priest after his previous script, Sealed Orders, had been cancelled.^[120] The scene breakdown was commissioned on 5 December 1980^[121] and the scripts on 6 February 1981.^[121] Priest's story idea dealt with the 'secret' of what actually powered the TARDIS,^[120] in this case fear. Somewhere hidden inside the TARDIS was the one being the Doctor feared above all others, and the psychic tension between the two of them produced the energy to move through space and time. The story involved the Doctor having to confront and ultimately defeat this fear^[114] and was designed to write out the character of Adric.^[120] After hearing nothing from the production office about his completed scripts or his payment from them, Priest made contact with John Nathan-Turner.^[120] He was told that the scripts were unusable and that he would not be paid.^[122] After a bitter dispute, Priest was paid and both Nathan-Turner and Eric Saward were forced to pen a letter of apology over their treatment of the writer.^[122] The script was replaced by Saward's script Earthshock.

Genesis of the Cybermen

Written by

Written by Rod Beacham, a scene breakdown for this four-part story was commissioned on 5 December 1980.^[121]

Project Zeta Sigma

The Fifth Doctor's first story was originally intended to be the four-part Project Zeta Sigma, written by

Written by Terence Greer, a scene breakdown for this four-part story was commissioned on 13 June 1980.^[121] It was finally rejected sometime after April 1981 and was originally submitted featuring the Fourth Doctor. It is not known if the idea's development extended to the point that Greer would have had to modify it to include the Fifth Doctor.

The Torson Triumvirate

Written by Andrew Smith, a scene breakdown for this four-part story set on present-day Earth was commissioned on 25 November 1980.^[121] The story was still under consideration in April 1981.

Submitted for season 20

Parasites

Written by Bill Lyons and also known as The Parasites, a scene breakdown was commissioned on 22 September 1981,^[115] with the scripts commissioned on 16 February & 23 April 1982^[115] by which point it was being considered for Season 21.^[126]

Way Down Yonder

Written by Lesley Elizabeth Thomas, a scene breakdown for this four-part story was commissioned on 23 April 1981.^[115] The story was abandoned at some point after November 1981.

Untitled storyline (Lee)

Written by Tanith Lee, the scripts for this four-part story were commissioned on 6 February 1981.^[115]

Submitted for 20th anniversary special

The Six Doctors

Written by Robert Holmes,^[127] this story was planned as the 20th anniversary special. The 90-minute single-part story was commissioned on 2 August 1982 and would involve the various Doctors and companions drawn to the planet Maladoom where they are trapped by the Master who is working for the Cybermen. The Cybermen want to isolate the genetic material that permits Time Lords to time travel freely so that they can incorporate that information into their own biology. The First Doctor would be revealed as an android called "Doctor Bill", hence the title being The Six Doctors. Holmes made little headway with the script and withdrew from the project on 13 October 1982.

Submitted for season 21

Children of Seth

After completing

Written by Ben Aaronovitch. It is unknown why it was dropped, but it was replaced by Remembrance of the Daleks.^[151] Aaronovitch later adapted Transit as a novel for the Virgin New Adventures series.

Submitted for season 26

Alixion

Written by Robin Mukherjee, this three-part story^[122] had been considered for season 26 as the "spare" script^[164] should another planned story become no longer suitable. The adventure was to take place on a monastic planet^[164] inhabited by humans and large beetles.^[122] The humans were monks who worked to provide a special elixir that enhanced intelligence.^[122] This elixir would be produced by the beetles feeding on intelligent beings. The abbot of the monastery wants to feed the Doctor to the beetles to produce a more potent elixir for himself.^[122] The script was not completed beyond a partial storyline.^[122] Mukherjee was unsure how events would have been resolved beyond a contest of wills between the Doctor and the abbot.^[122] It was also up for consideration as the final serial of Season 27 where it would have also included the Doctor playing a series of deadly games and would likely have led to the Seventh Doctor's regeneration and Sylvester McCoy's departure.

In an interesting historical footnote, Mukherjee would've been the first person of colour writer to work on the programme (something later accomplished by Malorie Blackman 29 years later, with the episode Rosa.)^[165]

Avatar

Written by David A. McIntee, this was a four-part^[166] Lovecraftian horror story^[139] set in Arkham, New England^[166] in 1927,^[139] although McIntee later began a rewrite to shift the action to Cornwall.^[166] The story involved alien bodysnatchers who could only inhabit the bodies of the dead.^[166] The villain of the piece would discover the remains of a Silurian god and try and clone a new body from the fossilized body to inhabit.^[166]

Illegal Alien

Written by

Written by Marc Platt.[139] The story was to feature the Doctor and Ace, who arrive at the former's ancestral home on the planet Gallifrey and meet his relatives. However, Platt and Andrew Cartmel agreed that the storyline didn't work for TV, and it was replaced by Platt's late script, Ghost Light, which ultimately had to be refocused to revealing more of Ace's back story due to producer John Nathan-Turner arguing that the script was "too revealing" of the Doctor's origins. Platt later adapted the story as a novel for the Virgin New Adventures range in March 1997.

Shrine

In 1988^[167] writer Marc Platt discussed with script editor Andrew Cartmel an idea inspired by Leo Tolstoy's War and Peace, concerning stone-headed aliens^[139] looking for their God-King in Tsarist 19th Century Russia.^[167]

Under consideration for season 27

Before the original Doctor Who series reached its conclusion, some tentative plans had been made for a proposed 27th season under the assumption that it would maintain the then-current pattern of two four-part and two three-part stories. As noted in each entry, Big Finish Productions produced audio adaptations of several scripts as part of their The Lost Stories releases. The

Written by Neil Penswick, this was a three-part^[176] futuristic thriller in which a group of soldiers are hunting down two shape-changing criminals called Butler and Swarfe.^[176] The cliffhanger to part one had Swarfe changing into a monster who then went on the hunt in part two.^[176] Penswick later adapted some material from this for his Virgin New Adventures novel The Pit in March 1993.

Night Thoughts

Written by Edward Young, this is a horror story set in an isolated house.

A School for Glory

Written by Tony Etchells & an unidentified writer, this was to be set during the Great War.^[166] The narrative was planned to alternate between the trenches and a British country house doubling as an army academy.^[166]

Other Lesser Known Submissions

In a 2024 interview, Steven Moffat revealed that he and Russell T Davies had both been in talks over scripts for Season 27. He implied that they were writing separately for separate slots. He did not reveal what the stories would be about, though did admit, at another point in the same interview, that he has probably done all his ideas at least twice over the years.

Submitted for 30th anniversary special

Destination: Holocaust

Written by David Roden, this story involved the Doctor meeting with the Brigadier Lethbridge-Stewart fighting against Cybermen in a church. This story was dropped in favor of Dimensions in Time.

Endgame

Written by David Roden, this two-part story would feature the Doctor and the Brigadier trying to save the Doctor's previous reincarnations from the powers of the Celestial Toymaker. Michael Gough turned down the role, and the story was replaced by Dimensions in Time.

Lost in the Dark Dimension

The first time the idea of a special video-only anniversary special was mooted was in a memo Nathan-Turner wrote to Head of Video Production

The future? The Earth is dying under the onslaught of industry, the polar caps are melting, the ozone layer is nearly destroyed ... To save the planet, the Doctor must overcome the combined forces of some of the most feared of his old adversaries. But he must also confront a far greater enemy – one that has already reverted him to his Fourth Incarnation – in order to save both the past and future Doctors before they are taken out of time and cease to exist.^[189]

Eighth Doctor

1990s US reboot – Leekley bible

Early in the process that was to lead to the

• The Talons of Weng-Chiang, set in New York City^[192]
• Cybermen)^[192]
• Horror of Fang Rock^[192]
• The Celestial Toymaker, who was to have been under the control of the Master.^[193]
• Don't Shoot, I'm the Doctor, a more historically accurate^[194] remake of The Gunfighters^[195]
• Tomb of the Cybs, a remake of The Tomb of the Cybermen in which the Cybs are awoken by the Master^[195]
• The Yeti, a remake of
  Sir Edmund Hillary^[195]
• The Ark in Space^[195]

; although, it did not feature the Doctor himself.

Nelvana cartoon series

In 1990, following the cancellation of the live-action series, the BBC approached the Canadian animation house Nelvana to propose an animated continuation of the show. The cartoon series was to feature an unspecified new Doctor, incorporating elements of various BBC series Doctors. It was not to be more oriented toward a young audience than the live-action series; rather, it was intended to be a continuation of the cancelled series in animated form to save costs, with design elements that would promote merchandise sales.^[219]

According to Nelvana's Ted Bastien: "We went through a lot of development on it, then we were scripting and storyboarding it and about four scripts had been written. It happened really fast".^[219]

Concept art was prepared to depict several possible versions of the Doctor based on actors such as

The Master was to be "half-man, half-robot with a cybernetic bird accessory and a face modeled after Sean Connery".^[219] The show was also to feature female companions from Earth and space battles which the BBC would not have been able to afford for the live-action series.^[219]

The series would have been Nelvana's biggest show to date. According to Bastien, "it was pulled out from under us" after a British animation studio told the BBC that it could do what Nelvana intended for a much lower price.[219] The project did not proceed further and no pilot was produced.^[220]

K-9 and Company

Main article: K-9 and Company

BBC1 as a Christmas special on 28 December 1981, but the series was not taken up. The basic premise of a series centered on Sarah Jane Smith was reused by Big Finish with the Sarah Jane Smith

audio series and in the TV Series The Sarah Jane Adventures just over 25 years later.

Rose Tyler: Earth Defence

When it was decided that

Bank Holiday event. The special would have picked up from Rose's departure in Doomsday, in which Rose joins the Torchwood Institute of a parallel Earth. The special was officially commissioned by Peter Fincham, the Controller of BBC One, and assigned a production budget. Davies changed his mind while filming Piper's final scenes for Series 2 of Doctor Who. He would later call Earth Defence "a spin-off too far" and decided that for the audience to be able to see Rose, when the Doctor could not, would spoil the ending of Doomsday. The production was cancelled. Davies said Piper had been told about the idea, but the project ended before she was formally approached about starring in it.^[222] The plot element of Rose working with an alternative Earth's Torchwood would be revisited in "The Stolen Earth" and "Journey's End".^[223]

Proposed films

In the mid-1960s, two motion pictures starring Peter Cushing as the non-canon "Dr. Who" (a human in the films) were produced, based on the television stories The Daleks and The Dalek Invasion of Earth. Since then, there have been periodic further attempts to adapt Doctor Who as a feature film.

Marco Polo adaptation

Walt Disney Productions had expressed interest in a remake of the Doctor Who serial Marco Polo as a straight historical adventure film with the element of the Doctor and his companions removed.^[224]

Third Dalek film

Plans to adapt the Dalek serial The Chase were shelved after the poor box office reception of Daleks' Invasion Earth 2150 A.D..^[225]

Doctor Who Meets Scratchman

During spare time in filming,

the Devil (who called himself Harry Scratch or Scratchman), the Daleks, robots known as Cybors, scarecrows made from bones and, briefly, the Greek god Pan.^[226] At times Vincent Price and Twiggy were associated with the production. Price would have played the villain Harry Scratch and Twiggy a replacement female companion after Elisabeth Sladen had left the TV series.^[227]

The finale of the film was to have taken place on a giant pinball table, with the Doctor, Harry and Sarah dodging balls as well as battling Daleks on the board. Up until the late 1970s, Baker repeatedly tried to attract funding for the film. In an interview in 1975, Baker had referred to the flaws of the two Peter Cushing Dalek films in the 1960s, saying "There have been two Doctor Who films in the past, both rather poor... There are many dangers in transporting a television series onto the big screen... a lot of things that you could get away with on the small screen wouldn't wash in the cinema."[228] At one point, he received substantial donations from fans, but after taking legal advice was forced to return them. The plans were dropped. With the release of Star Wars, it also seemed futile for a movie of this kind to even try to compete.^[227]

In late January 2019, BBC Books released a novelization of the screenplay by Tom Baker himself, co-written with James Goss.^[229]

Dr Who's Greatest Adventure

In 1984, after failing to find success in financing King Crab, a horror film based on Guy N. Smith's Night of the Crabs, Milton Subtosky, who had produced the 1960s Dalek films, adapted the screenplay into a Doctor Who film featuring two Doctors. He envisioned either Jon Pertwee or Tom Baker in the role of an older Doctor, and a new actor in the role of a younger one. At first the working title was The Lossiemouth Affair and later it became Dr Who's Greatest Adventure. Subotsky pursued production of the film until 1991 when he died.^[230]

Lacuna film proposals (1987–1994)

As the original Doctor Who series was nearing its end and continuing during the first interregnum (1989–1996), numerous attempts were made to adapt the series for the big screen for the first time since the Peter Cushing films of the 1960s.

Robert DeLaurentis, Adrian Rigelsford, John Leekley, Mark Ezra and Denny Martin Flinn.^[231] The title "Last of the Time Lords" would later be used by Russell T Davies for an episode

in 2007.

Other related works

Radio series

During the late sixties, a radio series starring Peter Cushing, who had played a human version of Doctor called "Dr. Who" in feature films featuring the Daleks, had been planned to be produced. A collaboration between Stanmark Productions and Watermill Productions, a pilot had been recorded and a further 52 episodes were to be produced. The pilot story titled "Journey into Time"' featured The Doctor and his granddaughter travel to the time of the American Revolution. The script was written by future Doctor Who television series writer Malcolm Hulke. The recording remains lost.^[232] A full transcript of the first episode appears in the magazine Nothing at the End of the Lane, Issue 3.

War World

Proposed

The Ultimate Adventure

.

Doctor Who webcast

In 2003, the BBC announced the return of Doctor Who, as a series of webcasts to air on BBC.com.

Russell T. Davies as its showrunner and as a result production was permanently halted. The synopsis: "A blend of adventure, drama and humour. The Doctor arrives to find a world full of intelligent, sensitive robots that have been abandoned by their human owners, who are too squeamish to 'kill' them when they're obsolete. Now ruthless salvage squads are hunting the robots in order to make room for human settlers forced to migrate from their dangerously over-crowded home planet."^[233][234]

A detailed episode breakdown of "Blood of the Robots" was published in the book "Scream of the Shalka" by Jon Arnold, released by Observe Books in 2017 as part of The Black Archive series of Doctor Who books.

See also

• Doctor Who: The Lost Stories

References

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6. ^ Wright 2016, p. 106
7. ^ Wright 2016, p. 107
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