Presumably sometime during the previous episode Anne decided to swop her mini-skirt and boots for a trouser suit, since that’s what see her wearing as the moving pictures start again. Given all that’s going on it seems a little strange that she was such a slave to fashion. She might be an independent young woman, making her way in a man’s world, but it’s possibly not too much of a surprise to find her portrayed as something of a clothes horse (a sign of those times).
When the Doctor and the others find her, she’s in a highly distressed state, which is pretty understandable since the Yeti have abducted her father. Tina Packer rather overplays here, although given the situation Anne finds herself in that’s not too surprising.
Troughton continues to underplay though, which is notable in the early scene where Evans asks the Doctor if he believes that the Yeti have taken Travers. The Doctor’s dialled-down, abstracted air makes it plain that he’s considering multiple possibilities, none of them good. When the Doctor later outlines what he knows about the Intelligence, it’s yet another wonderfully delivered few lines from Troughton. “Well, I wish I could give you a precise answer. Perhaps the best way to describe it is a sort of formless, shapeless thing floating about in space like a cloud of mist, only with a mind and will”.
Jack Woolgar continues to impress as well. Look for the moment when Arnold tells Lethbridge-Stewart that Weams and the others are dead – Arnold’s voice cracks for a split-second, just enough to show the pain he feels at the loss of his men. That Arnold later turns out to be the agent of the Intelligence, rather than the more obvious Chorley, is a cruel blow, possibly one of the cruellest of the story.
But red herrings continue to be spread about, since the Colonel doesn’t seem to remember meeting Evans (he was apparently his driver). Does this mean that Lethbridge-Stewart is the agent or is Evans possibly the rotten apple? No to both questions, but they’re nice misdirects.
Anne operates in this episode as pretty much a proto Zoe or Liz. Like them, she’s able to speak to the Doctor on a similar scientific level (something that Jamie and Victoria were unable to do) which enables the Doctor to have a confidant who can also act as a sounding board for his theories.
One of the reasons why the Yeti work so well is that they’re not seen very often. Keep them on screen for too long and their shortcomings become obvious. But a few brief glimpses here and there, ideally lurking in the shadows, and they’re the stuff of nightmares.
But this episode sees them head out and about as they tangle with Lethbridge-Stewart and the others at Covent Garden. This film sequence shouldn’t work at all – Yeti in the cold light of day sounds like a very bad idea – but Camfield pulls it off in a pulsating action scene that’s an obvious story highlight.
It’s interesting that Lethbridge-Stewart mounts the mission to Covent Garden for one reason only – to locate the TARDIS which will enable them all to escape. The Brigadier would surely have remained and fought to the very last man, but the Colonel is much more of a pragmatist, keen to find an escape route.
During the scene you can play spot the stuntman – Terry Walsh, Derek Martin and Derek Ware should all be instantly recognisable and the minute they pop up you know that a spot of action is imminent. It does seem a little odd that a very familiar piece of stock music (associated with the Cybermen) is used here, but maybe Camfield was unaware it had been used before or possibly it was felt that it didn’t matter that it had previously featured.
Favourite moment during this scene is Yeti who clutches his eyes before falling over. Since we know that John Levene was playing one of the Yeti, I like to think that he was the one here who decided to go extra-dramatic. Corporal Blake’s rather horrible death – mainly due to Richardson Morgan’s blood-curdling screams – is something which lingers long in the memory.
Knight and the Doctor head up to ground level to look for some vital electronic spares. Alas, Knight doesn’t make it as he’s mown down by the Yeti. The last shot we have of Knight – his lifeless body slumped across a table – is yet another unsettling choice from Camfield and Knight’s sudden, unexpected death helps to raise the stakes. If Knight, one of those characters you’d have assumed would make it to the end, can be killed then no-one is safe.
This is also borne out when every member of the Covent Garden party – except the Colonel – is killed. And with Knight also dead and Arnold missing, Lethbridge-Stewart is pushed to breaking point. The cliffhanger – showing the arrival of the Yeti together with a catatonic Travers – ratchets up the tension several more notches.