"Phil won't leave his room" - A Doctor Who Production History

Part 5
"It was a strange sensation, leaving Doctor Who. I'd never been in one place for so long as an actor. 5 years as the lead wasn't something I'd experienced before. I hadn't realized how attached to it all I'd become. I think my main regret was not getting to do more with Jenny. She was a lovely contrast to Gabrielle and it would have been nice to explore the different relationship Doctor Who had with Kay as opposed to Jo."

- Roger Delgado, Commentary track Army Of Hate DVD
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"It's ridiculous that people are complaining that the current series is 'too political'. Have they forgotten Army Of Hate? The 3rd Doctor is destroyed because of racism, no two ways about it."

- Twitter status, November 2010
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"Ironic, really. I'm an alien. I'm from a different planet entirely, but those people hate me because I look like a human, just not the right kind of human."

- The Doctor, Army Of Hate Episode 5, BBC1 June 1st 1974
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"Both Paddy and Roger were concerned that the story shouldn't become a Play For Today with The Doctor plonked in the middle. I knew where they were coming from. A couple of times as script editor, I'd had to remind writers that this was going to go out in a Saturday teatime slot.

"More than once I've had fans say how powerful it would have been to have had Brigadier Knight be possessed by The Hate. That ignores the type of show Doctor Who is. Even as you talk about real life evils, the children had to have a little bit of certainty.

"That's also why the script doesn't use the word 'racism', but talks about 'looking different'. Make it a straightforward idea that the younger viewers can let roll around their minds without the sense that the news headlines have parked themselves in the middle of their escapist show."

- PJ Hammond, DVD Extra, Army Of Hate
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"I directed Roger's last story and everything went very smoothly. I think the only problem was that Roger is something like 5'8" tall and Iain is 6'4". We ended up going a tiny but over budget making a replica of Roger's white suit that would fit Iain.

"Have I mentioned how intelligent Iain is? He is. His father was a famous scientist and Iain himself has degrees in modern languages. Roger knew this, they'd probably worked together before. Anyway, Roger, who'd had a Belgian mother and Spanish father, decided to start swearing at Iain in French and Spanish to see if he could make him corpse. Things got a little end-of-term and Roger has that kind of sense of humour."

- Paddy Russell interview, Doctor Who Magazine, 1996
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"I did have a nice little speech planned for The Doctor before he regenerated, but Roger decided he'd had a better idea and I'm not going to say he was wrong."

- PJ Hammond, DVD Extra, Army Of Hate
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"Kismet."

- The Doctor's last word, Army Of Hate Episode 6, BBC1 June 8th 1974
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Feted as it is, The Adventures of Gabriel Baine is a fluke in terms of British television exports. It bypasses the problems British companies have with American networks by going straight to the syndication market and its status as a co-production is driven more by its creator, Terry Nation, than by the BBC. We can't look to the Corporation for a new generation of British exports.

- Martin Aldenham, The Guardian, November 12th 1973 [1]
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"Gabriel Baine was a lovely expensive-looking series that was an overseas hit and even splitting the money three ways, it generated a nice income for the BBC. But the BBC is always damned if it does and damned if it doesn't. When it makes big popular hits, the industry says 'private companies should be doing that'. When it makes specialized, niche programmes, the industry says 'why should we subsidize this elitist stuff?'. Of course, the whole point of the BBC is to strike a balance.

"Some people had been expecting, hoping maybe, that this would bring about a strand of BBC filmed action series, but apart from Quiller a couple of years later, the thinking at the BBC was that it was best to channel the money back into prestige productions. Too many shows like Baine and the 'unfair competition' argument would have raised its head. It fell to the ITV companies to pick up where Baine left off."

- Barry Letts, The Cult Of Gabriel Baine, BBC4 2006
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Insufferable, arrogant, brilliant! Doctor Thorndyke is a new 13 part film series from London Weekend Television starring Roy Marsden as Dr. Thorndyke and David Swift as his friend Dr. Jervis as they solve the most perplexing crimes 19th Century London has to offer!

- London Weekend Television press release, 1973
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"Gabriel Baine didn't kick off the Victorian detective boom by itself. LWT had had to shut down its film series department, because it was wasting money[2]. Thames had started branching out with their Euston Films subsidiary, that probably bothered them a bit. But the BBC having this thing shot on 35mm, LWT weren't going to let that lie.

"Thorndyke was a good choice, the only problem was that Thames had already adapted two Dr. Thorndyke stories as part of their Rivals Of Sherlock Holmes series and at one point, LWT were wondering if they could maybe do something to stop the second one going out. In the end, they decided it wasn't worth the bad publicity, but it meant Thames had got wind of LWT's new project. Quite how R. Austin Freeman's estate managed to sell the rights twice over, I don't know and this was only a few years after the BBC had their own Thorndyke series.

"Anyway, Thorndyke was well received, Thames decided they're going to get Euston Films in the Victorian detective business. ATV sees what's happening and decide to bring back Sgt. Cork. In the end, we got the credit for it all and they later called 'the Baine Boom'."

- Terrance Dicks, outtake from The Cult Of Gabriel Baine, BBC4 2006
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"There was something of a backlash against Baine in the BBC. Gerald Savory [3] had an idea for a series of plays centred around Churchill's History of the English-Speaking Peoples. A real prestige production and all to be made on videotape in the studio. The BBC was eager for another big export hit like Elizabeth R or The Pallisers and they'd been studio-based shows.

"There was some disquiet in the Corporation at how much all this was going to cost, so Metromedia was asked if they were interested in co-producing, but they weren't interested. Once they said no, everyone else who might have co-financed it started to think 'What do Metromedia know that we don't, they've got a close relationship with the Beeb'. So that was the end of that. Shame really, I think it could have been a really interesting project. [4]

- Barry Letts, outtake from The Cult Of Gabriel Baine, BBC4 2006
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British TV is getting clogged up with Victorian geniuses. No sooner had Gabriel Baine chuffed off our screens in his private train than Dr. Thorndyke returned superbly embodied by Roy Marsden, he of the dark brown voice and imperious sneer (leavened with the occasional irresistible smirk). While they might appear to be cut from the same cloth (and LWT is probably hoping Baine's fans feel that way about Thorndyke) we're actually witnessing a dual between two different type of hero. We have the men of action on one side and the thinkers on the other.

Gabriel Baine, with his fancy togs and anachronistic kung fu, is something of an action man reaction to Doctor Who, played with charming stillness by Roger Delgado. Baine is a superb swordsman, boxer and marksman. If the good Doctor's ever in a fight, he has to resort to low cunning; holding off an attack with a rolled-up newspaper (or in the last series, a salami) just long enough for his clever trap to be sprung.

So after Baine we got Thorndyke, who saves the day by thinking, talking and driving his best friend Dr. Jervis to distraction. David Swift's bald pate accurately portrays that of Jervis, who must have torn his hair out at his best friends obtuseness.

Just as Thorndyke sounded the call for the intellectual adventurer, Sexton Blake has returned to make the case for the action hero. Blake, in the youthful form of Norman Eshley, appears to have caught Baine's propensity for overdressing, as he cuts a more dandified figure than previous versions of the character. It's left to Peter Duncan as the faithful sidekick Tinker to bring things down to Earth with his Cockney urchin charm.

I'm happy to say that like his fellows in the field, Eshley straddles the arrogant/likeable line with ease. However, if Sexton Blake isn't a hit, can I suggest that, with Edwin Richfield having departed for pastures new, Mr. Eshley become the new Master in Doctor Who? [5] With his piercing eyes and cavernous nostrils, Eshley could be king of the sneers.

- Owen Harbottle, My TV Week, Daily Mirror, Oct 22nd 1973 [6]

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BBC Memorandum
From: H.Serials D. Tel
Subject: GABRIEL BAINE CAST SUGGESTION
To: Producer, Gabriel Baine February 5th 1974
copy to: Ch. P. BBC 1., D.Tel., H. Drama Tel.
Had a letter from actor Tom Baker about getting some work out of us. Remind me to mention this at our next meeting, I think he'd fit in with Gabriel Baine's world.

- Memorandum by BBC Head of Serials Bill Slater
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Next week a new series of The Adventures of Gabriel Baine starts and the dashing detective seems to have met his match in the criminal genius Lord St John Giordano!

- Radio Times, 1974
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Dear Paddy,

Sorry I was out when you called. I'm feeling fit as a fiddle, thanks for asking.

I've got another film job. This time I'm alongside Michael Caine and Sean Connery, no less! I have some more films lined up, maybe I'll be a movie star at last.

I got talking to Herbert Lom when we were doing the latest Pink Panther and he said he wouldn't mind doing a Doctor Who provided it didn't take too much time. He's busy, busy, busy!

Naturally, if you ever want Dr. Who 3 to stop by and meet Dr. Who 4, give me enough notice and I'd be happy to come back.

Love, Roger

- Letter to Paddy Russell, 1975
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[1] Original character but I based his comments on some things I read in an article in The Guardian February 26th 1971 by James Preston, former London Weekend Television executive. It detailed a downturn in opportunities for ITV companies to export to and import from US TV networks.

[2] Really happened in OTL, another James Preston article that gets to the bottom of that story was "LWT subsidiary was just a 'gravy train' for writers", The Stage, May 20th 1971

[3] Gerald Savory was a writer and producer who'd previously been the BBC TV's Head of Serials and was the one who spiked John Wiles and Donald Tosh's original plans for The Celestial Toymaker as a reference to Savory's play George And Margaret

[4] IOTL Churchill's People went ahead as a co-production with Universal TV and was made on videotape, in the studio and for 26 episodes. It was a disaster. https://en.wikipedia.org/wiki/Churchill's_People

[5] Like Roger Delgado IOTL, Richfield has found that people think he's in Doctor Who all the time and it's getting in the way of finding work. Also like Delgado, he's given the choice between slipping away quietly or going out with a bang. He's chosen to slip out quietly.

[6] Another original character, mainly because I would want to portray an OTL TV critic as writing quite so badly as that. Call it exposition-by-cliche.

Next time: a guest post about Terror Of The Autons in which my friend Andrew Hickey argues that Delgado's Third Doctor was most subversive under Barry Letts

Thanks to my friend Mark McMillan of TV Ark for doing the aging effect on the TV Times cover

I edited this part on May 9th 2021 to change the Twitter status from 2019 to 2010 to better fit in with where I see the show going in the 2010s
 
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Is Delgado going to be in Raiders?

I haven't given that any thought. I didn't even see Raiders until about 2 years ago, so it's not a touchstone for me like it is for other people.

How do you make those dvd covers?

A combination of Photoshop, Pexels and Public Domain Pictures for large, copyright free images, Fotor for making photos look like paintings and the Remini smartphone app for upscaling images that I want to use, but might be too small otherwise. There's also lots of tinkering with opacity, blending images and tons and tons of levels.
 
"I bumped into him after he'd done The Man Who Would Be King and I could tell he was half-delighted to be in a film with Sean Connery and Michael Caine and half-deflated that he'd got a part that an Indian actor had dropped out of.
So what role was Delgado doing ?
Are you saying that he replaced Saeed Jaffrey ?
 
I was thinking more Albert Moses. As nothing hinged on the specific role he was playing, just his presence in the film, I left the matter open.
 
I haven't given that any thought. I didn't even see Raiders until about 2 years ago, so it's not a touchstone for me like it is for other people.



A combination of Photoshop, Pexels and Public Domain Pictures for large, copyright free images, Fotor for making photos look like paintings and the Remini smartphone app for upscaling images that I want to use, but might be too small otherwise. There's also lots of tinkering with opacity, blending images and tons and tons of levels.
The reason I thoughtRaiders was Egypt. I could see him in the Tutte Lemkow part of the old Imam who translates
 
Part 6 - Guest Post
Guest post

THE IMPERIAL PHASE

by Andrew Hickey

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Tom Ewing, who writes, among other things, the wonderful blog Popular, talks about musicians having an Imperial Phase, a phrase he repurposed and expanded from a stray interview comment from Neil Tennant of the Pet Shop Boys.

Most Doctor Who fans of a certain age would agree that the Delgado era of Doctor Who was, indeed, its imperial phase in the way that Ewing means it. Ewing describes it as a sense of command -- "the happy sensation of working hard and well and having the things you try resonate with your desired public", permission -- "a level of public interest, excitement, and goodwill towards your work", and a sense that the phase defines the rest of a career -- that anything after that point will be compared to the work done in the imperial phase.

Now, to my mind the first two aspects are clearly correct when it comes to Delgado-era Who. There are, of course, notable failures of craft that we can all point to and laugh at, those moments where the show's reach exceeded its grasp -- there was a long period in the nineties and early two thousands where it was impossible to turn on a TV without being assailed by a clip show in which various smug, self-satisfied commentators would say "what was that all about?" before showing a clip of Alpha Centauri on Peladon or the notorious scene from The Zarbi Invasion in which Jo Grant performs the kiss of life on Brigadier Knight and his false moustache comes off, while an uncomfortable Richard Briers stands behind them and tries to look imposing in an ill-fitting insect costume. But in the vast majority of cases, what defines a Delgado-era story is its feeling of competence. The production team at this point were not wild experimentalists or amateurs, but competent craftsmen who knew how to put together a piece of television that worked, and after its relative lack of audience response during the latter part of the Troughton era, the show became once again wildly popular.

I would argue, though, that the series at this point didn't define the show in the minds of most fans. It's seen by almost everyone nowadays as an outlier, an attempt to rework the show into another format, but an attempt that ultimately failed. When people think of seventies Doctor Who nowadays, they almost always think of Iain Cuthbertson dealing with creeping terrors from beyond time (most of which, of course, turned out to have Scooby Doo-level human explanations, not that anyone remembers that), not of Roger Delgado fighting the Master what seemed like every week.
But that, of course, brings me to the other way in which the series was in its imperial phase, and that really started with Terror of the Autons.

Now, there has been a tendency among some fans to interpret the Delgado era in the light of his final story, and the schoolchild politics therein. Peter Hammond is a fantastic writer, and I have no doubt at all that he was sincerely opposed to racism at the time. But when you look at his writing, there's an innate conservatism to it -- almost all his writing, whether it be in the science fiction/fantasy/horror genre he wrote in for Doctor Who, or the police procedurals and cosy mysteries he's spent so much of the rest of his career writing, has been based around the fairly common trope of something from outside disturbing a world that would otherwise have been fine until the outside influence messed everything up. Now, it's certainly possible to write that kind of story and not have it reinforce racist tropes, and I believe that's what Hammond has managed to do for the most part. But it's very difficult to write that story and have it actively oppose racism, and while Army of Evil certainly attempts it, it seems to posit racism itself as the disturbing Other coming from outside.

In retrospect, this seems rather like those people who reacted to the catastrophic political events of the last few years by saying "I want my country back! It never used to be like this!" and blaming Russian bots and propaganda, rather than acknowledging that that racism had always been there, and had indeed been encouraged by the very "moderate" politicians that the Very Nice Comfortable Politically Homeless people had pinned all their own hopes on. As a Tweet I just saw put it, "Why can't we go back to the time when all the very bad problems existed but I wasn't aware of them?"

Given that a generation grew up watching this stuff, is it too much to blame Peter Hammond and Paddy Russell for all the policy failures of centrism and fascism-appeasement that have led to the current world we're in? Yes, of course it is. But that mindset that racism is something that happens to other people is one that needs a lot more interrogation than it's had, either in the world at large or in the more comfortable world of Doctor Who. I remember when Elizabeth Sandifer made the fairly mild suggestion that The Curse of Baron Samedi from 1977 might not be worth trying to redeem critically, she was absolutely monstered.

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But people read that back into the rest of the Delgado years, and see the politics in them as being naive centrism -- not helped by the fact that Barry Letts was a well-known supporter of the Liberal Party, and many people assume that that meant he was a liberal-in-the-US-sense, a moderate centrist, when in fact he was a radical liberal. And so they see, for example, Delgado's white suit as being a nod to the Alec Guinness film The Man in the White Suit, in which both the unions and the bosses are just as bad as each other, and thus see Delgado wearing it as a sort of subliminal both-sidesism.

But in fact the politics of the Letts/Dicks years of the show are very different from those of the Russell/Hammond years (and it's only as I type this sentence that I've wondered for the first time if the name of the guitarist from Almost Famous was a nod to that production team. I assume not, but one never knows).

And this is where we get back to imperial phases, because the first four years of the Delgado Doctor are the show's attempt to grapple -- in an admittedly ham-fisted way -- with the legacy of Empire. Once you accept that the Delgado Doctor is deliberately coded as ethnically other, you start to notice other things -- like the fact that while the suit was modeled after that of Mark Twain, when worn by Delgado it couldn't help but evoke in British minds the image of people from the Indian subcontinent and Middle East wearing white shalwar kameez. And then you start to think about how this is the only era of Doctor Who in which alien invasions played a prominent part, and about how the ur-invasion story, War of the Worlds, was intended as a none-too-subtle attack on imperialism.

And then you remember that Letts was a radical internationalist Liberal, that Malcolm Hulke was a member of the Communist Party, and that Bob Holmes' career almost paralleled that of Orwell, right down to serving in the Imperial forces in Burma (and that the only regular writers from the Letts/Dicks eras to continue writing much for the new regime were Bob Baker and Dave Martin, the only ones whose stories didn't engage with politics even slightly).

Suddenly the Letts/Dicks/Delgado period, ignoring as far as possible our knowledge of how Delgado's tenure ended, looks a lot different. While UNIT were clearly originally intended by the Sherwin regime to be to all intents and purposes the British Army by another name, under Letts' direction they become a properly international force, with constant reminders that they're governed from Geneva, not London. The militarism of the stories, often cited by fans as a right-wing element of the story, falls into place when you see a Doctor of colour fighting the invaders.

These are stories about the empire. The Daleks, the Axons, the Zarbi, aren't generic foreigners as they're usually parsed. They're *us*, invading the rest of the world, and the Doctor is every freedom fighter who fought against the Empire. At a time when the British Empire was finally, officially, over for good, Doctor Who was trying to show kids why it had to end. You see those Daleks? That's you that is.

That's not so evident in season seven, with its run of stories which just consist of some big industrial facility being threatened by the monster of the month, but those stories were mostly conceived of under the previous production team -- and while Terrance Dicks was great at making sure scripts worked on the story level, he had no strong political opinions at all.

So it's when we turn to the first story wholly commissioned and created under Letts, Terror of the Autons from the start of season eight, that we see the era's concerns come into sharp focus. The way the Autons use the plastics factory, creating useless things which people think they need but which will eventually kill them, mirrors the way that the British Empire and the East India Company used opium to weaken the defences of countries they wanted to overpower. The plastics factory itself presents the illusion of progress, which in the view of this era of the series is used as an excuse for invasion. The police are revealed, under their masks, to be yet another arm of the capitalist-imperialist force, out to destroy dissent rather than to bring about justice.

And who is behind all of this? Who, in fact, turns out to be behind every single story in season eight? The Master -- and the echoes of "master race" in the name are undoubtedly not a coincidence. A character whose first appearance is written by Holmes, and whose casting was suggested by Hulke, and who is the epitome of the English gentleman, the Imperial bureaucrat who talks of civility while casually committing mass murder. The kind of person who would consider using the wrong fork at dinner to be a hanging offence, while the genocide of a few hundred thousand "savages" was a matter for polite debate.

Of course, the political implications of having Edwin Richfield play the antagonist while Roger Delgado was the hero were never explicitly stated -- but they didn't need to be. Anyone watching could see exactly what was meant by having a superficially charming but deeply brutish upper-class villain face off against an ambiguously "other" hero, one who couldn't rely on easy charm and knowledge of the social niceties to grease his way through the world, but who radiated basic decency and humanity from every pore.

Of course, this isn't the only framing through which one can see the Letts/Dicks/Delgado years. The Delgado Doctor is also clearly linked in with the hippie counterculture in the minds of the producers. Again, he "looks a bit Indian", and the Beatles had of course famously worn white shalwar kameez in Rishikesh, when they were meditating with the Maharishi, and so the vague suggestion of sitars and flowers hangs over much of the series -- something accentuated by the accidental coincidence that Delgado was in the production of King Lear that was mixed into the fade of "I Am the Walrus" by the Beatles. The production team were delighted when they discovered this, and inserted a reference to the song in The Three Doctors.

But when one looks at the Master, engaging in every trope of the Sinister Oriental, including hypnotising the beautiful white girl and putting her under his control, but doing so in a business suit, with a cut-glass accent and an Etonian sneer, and being defeated by a small dark-skinned man, the overriding message of the series during the early seventies becomes utterly clear. We are the Daleks, the Yeti, the Zarbi. We are the invading monsters motivated by the desire to make everything like us, to control everyone else or exterminate them if they're different enough from us.
The series would, sadly, never again be as radical as in those years, the ones now looked back to with nostalgia by the very people they were fighting against.

Andrew Hickey is the author of (among other things) the Doctor Who book Fifty Stories For Fifty Years and writer and presenter of the podcast A History Of Rock Music In 500 Songs

Next time: a rehearsal room argument causes a crossover
 
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A couple of things that you'll notice in current and future images and that won't get mentioned in the text because they're not really part of the story, just personal prejudice.

1. The 1970 logo is never replaced
2. A little more money is spent on mid-70s TARDIS prop to make it sturdier and have it more closely resembling an actual Police Call Box
 
It only runs for two series. If you're wondering what happens to the script editor, yes, he'll be arriving at the Doctor Who production office soon.
 
Yes. He might be the first one to the get the accent exactly right. It's the part he was half-born to play (on his mother's side).
 
More of your covers.
I like the little cast differences.
Is Delgado going to be playing a famous Belgian on his trip to Egypt?
Yes. He might be the first one to the get the accent exactly right. It's the part he was half-born to play (on his mother's side).

Wait..........

ROGER DELGADO.......... AS HERCULE POIROT?????????????????
l-4594-now-i-can-do-my-happy-dance.jpg

(BTW, this is my first comment as a user on AH.com!! I love your timeline and am completely enthralled by your creativity and originality. :) Incidentally, would you mind telling me where the image of Cuthbertson is from?)

EDIT: I just had to make this:
Delgado.png

Not great I know, but still.
 
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Also I've just realised Delgado would make a superb Moriarty!
"'You have less frontal development that I should have expected'.....'It is a dangerous habit to finger loaded firearms in the pocket of one's dressing-gown.'
 
When the Poirot chapter goes up (it'll be a guest post by Mark Edward of this parish) there'll be an image not a million miles away from yours.

The Cuthbertson is from a still from the Railway Children, but I added a hairpiece and changed the colour of his cravat.

A bit of background. This came about when I started a watchalong of Doctor Who (63-89) with my wife and, this is a terrible confession, neither of us really liked any of the Doctors after Troughton (except for one). So we started discussing alternate castings and I did what I usually do in such situations, I Photoshopped some stuff up. This timeline is actually just a home for my Photoshops. So far, only the Britbox image and the DVD cover are new to this TL (Edited to add: and the Gabriel Baine and Sexton Blake images). All the others have been sitting on my harddrive for nearly three years.

Doc4b.jpg
 
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"When the Poirot chapter goes up (it'll be a guest post by Mark Edward of this parish) there'll be an image not a million miles away from yours."
It'll probably be better though. Thanks for getting back to me. It's much appreciated. Also would you mind if on occasion I posted my own images for your timeline?
 
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