The Doctor, The Widow and the Wardrobe Final

THE DOCTOR, THE WIDOW AND THE WARDROBE Christmas Special

By STEVEN MOFFAT (TRANSCRIPT By ANDREW B)

STARRING:

THE DOCTOR- MATT SMITH

MADGE ARWELL- CLAIRE SKINNER

LILY ARWELL- HOLLY EARL

CYRIL ARWELL- MAURICE COLE

DORXIL- BILL BAILEY

REG ARWELL- ALEXANDER ARMSTRONG

BILLIS- ARABELLA WEIR

WOODEN QUEEN- PAUL KASEY

WOODEN KING- SPENCER WILDING

CO-PILOT- SAM STOCKMAN

AND AMY POND- KAREN GILLAN

RORY POND- ARTHUR DARVILL

Transcript completed on 31/12/11

EXT. OUTER SPACE

Begin with a WIDE SHOT of planet Earth, graceful and grand.

The top, bathing in sunshine; towards the middle, in

darkness with thousands of lights across the continents.

Hold on this for a few seconds, then;

A walloping, weighty spaceship glides into the shot, red and

blue lights flashing. It’s long on metallic. Pockets open

and a set of laser guns roll out, every single one pointing

towards Earth!

SPACESHIP INTERFACE

People of Earth, you stand alone.

But before anything else happens, a klaxon blares.

FX: Small explosions of fire burst from within the spaceship

from all over. Segments of the ship floating away, fire

blazing from them.

SPACESHIP INTERFACE (CONT’D)

Intruder alert, intruder alert.

INT. SPACESHIP - CORRIDOR

A man is running unsteadily down a long corridor, the walls

caving in behind him.

SPACESHIP INTERFACE (CONT’D)

Intruder alert.

The DOCTOR dodges large explosions of fire and rubble. WHAM!

A shake of the camera as he runs, and runs! Rubble bursting

into the air, the walls collapsing only a few feet away from

him.

Another shake of the camera. a stack of metal bins topple

over, fire still blazing and rubble still blasting into the

air behind him. Klaxons still blaring.

Then, BANG! A cracking explosion of fire and rubble, the

DOCTOR flings his arms into the air and falls to the ground

(slow motion as he falls).

He turns around and watches the walls cave in. He doesn’t

know what to do!

Out comes the screwdriver and he points it in the direction

he’s running. Fire blazing behind the silhouette of the

DOCTOR.

2.

INT. SPACESHIP - CONTROL ROOM

The circular doors open from the middle and the DOCTOR runs

in, away from the explosions. He turns and sonic’s the

doors, closing them just before a huge fireball reaches

them.

EXT. OUTER SPACE

A huge chunk of the spaceship breaks off, fire bursting from

every direction!

INT. SPACESHIP - CONTROL ROOM

ZOOM slowly onto the two hands of the DOCTOR, hanging on to

the edge of the spaceship. He strains, still hanging. His

hands slip! He grabs hold of a spiral of wires.

He looks to his left and spots a spacesuit lying on the

floor of the control room. He strains, thinking of his next

idea.

THE DOCTOR

Come here, spacesuit, come to

Doctor!

He reaches out but he’s not close enough! Just that little

bit more closer and he’d get it.

FX: A ball of fire explodes into the control room and the

spacesuit floats away behind the DOCTOR.

Then, he lets go of the wire and is blown away from the

exploding spaceship towards the suit.

The DOCTOR and the spacesuit are tumbling towards EARTH, the

spaceship behind him finally fully destroyed. The DOCTOR

tries swimming motions, but can’t get to the suit. But then,

he grabs hold of it!

THE DOCTOR

Got it! Ha-ha, ha-ha-ha!

He throws one arm through, then the other, reaching into the

costume as quick as he can! The camera stops as the DOCTOR

flies out of view, tumbling towards the beaming planet

before him- EARTH.

CUT TO OPENING TITLES

3.

EXT. DORSET - VILLAGE - NIGHT

CLOSE UP on the basket of a bicycle, a light at the front

glowing in the darkness, the wheels squeaking.

Then, move upwards to the driver of the bicycle: MADGE

ARWELL. Blonde, curly hair; fair skinned. She’s wearing a

scarf and a long coat over floral clothing. She’s minding

her own business, cycling along.

Then, a whistling noise grows and grows and suddenly there’s

a loud crash! MADGE jumps out of her life and loses control

of the bicycle, hurtling into a wall of bushes.

She gets up and walks over to the source of the noise. It’s

in the middle of a countryside field. MADGE walks around the

long gate and stands a few meters away from-

A gigantic, down-reaching trench. Smoke is moving through

the air away from the deep hole in the ground. Grass is

curled away from the fresh dirt which is heaped to the side,

with something right in the middle.

MADGE ARWELL

Hello? (pause) Hello?

She’s looking down into the trench. A spacesuit is lying

flat in the middle with someone inside.

MADGE ARWELL (CONT’D)

Hello? Are you alright?

The DOCTOR groans. Buttons on the spacesuit are bleeping

urgently.


Are you hurt?

She begins to slowly walk down the trench, careful not to

tumble down.


Did you fall?

She looks up into the night sky. Clear. Not a cloud in the

sky.


Where did you fall from?

The DOCTOR replies with another long groan.

(CONTINUED)

CONTINUED: 4.

THE DOCTOR

The helmet...

MADGE ARWELL

Alright, just...just let me, er...I

don’t want to hurt you.

She opens the spacesuit’s helmet, expecting the front of

someone’s head...but instead, it’s the back.

MADGE ARWELL

Oh!

THE DOCTOR

(groaning)

I can’t see. I’m blind!

MADGE ARWELL

Oh, no, love. No. I think you’ve

just got your helmet on backwards.

How did you manage that?

THE DOCTOR

I got dressed in a hurry.

INT. ARWELL HOUSE - DINING ROOM - NIGHT

Pointed to the camera is a telescope, and a boy is sat at

the other end, looking through greedily. He has thick,

ginger hair with wide golden-rimmed glasses. He’s in his

pjyama’s.

Behind him is a neatly set dining table with wooden chairs

and a cosy living room to the end of the room with a

beautifully decorated Christmas tree.

MADGE ARWELL

Cyril, what are you doing awake?

CYRIL turns, but before he can speak, another voice

interrupts.

LILY ARWELL

It’s the moon’s fault, apparently.

It’s too ’interesting’!

LILY has walked in, dressed in her pyjama’s. She’s holding a

glass of milk.

CYRIL ARWELL

It’s astronomy.

(CONTINUED)

CONTINUED: 5.

LILY ARWELL

Don’t make up words. He’s always

making up things and breathing.

MADGE ARWELL

(ignoring LILY)

Where’s your Father?

CYRIL ARWELL

In the garden.

MADGE ARWELL

What’s he doing in the garden?!

CYRIL ARWELL

Agriculture.

LILY ARWELL (V.O)

You’re not fooling anyone!

MADGE has hurried over to CYRIL.

MADGE ARWELL

Listen, Cyril. Tell him that I’ve

borrowed Mr Goldsmith’s car, that I

found a spaceman in a field-

possibly an angel- but he’s

injured, and I can’t get his helmet

off, so I’m taking him into town to

find a police telephone box. All

right?

CYRIL ARWELL

(pause)

Alright.

MADGE ARWELL

Good boy!

She hurries out of the dining room and CYRIL returns to his

telescope.

Then, just as she leaves, in comes their Father, REG. He has

short, black hair, dressed in a white shirt with a cream

over jacket.

REG ARWELL

Was that your Mother? Where’s she

going?

CYRIL ARWELL

(pause)

Out.

6.

EXT. DORSET - VILLAGE - NIGHT

A car flies past the camera. Inside is MADGE (driving) and

in the passenger seat, the DOCTOR. She drives down a road

and eventually slows down into a space. But then the car

jerks and she crashes into a post!

THE DOCTOR

Ow! (he coughs) Did we just...bump

into something?

MADGE ARWELL

No, no...

THE DOCTOR

We seemed to bump into quite a lot

of things.

MADGE ARWELL

Well, a lot of things get in the

way. It’s hardly my fault. You need

to take that silly thing off.

MADGE gets out of the car. The DOCTOR’s still sat down.

THE DOCTOR

Can’t. Impact suit. It’s still

repairing me.

MADGE ARWELL

(opening the door for the

Doctor)

Repairing you?

THE DOCTOR

Yeah. Well, I mean, that’s the

idea.

MADGE begins to guide the DOCTOR down the street, the

DOCTOR’s arms stretched out in front of him.

MADGE ARWELL

Won’t it repair you back to front?

THE DOCTOR

No, no.

MADGE ARWELL

Well, that’s good!

The DOCTOR walks straight into a streetlamp, his helmet

crashing into it. He groans loudly.

(CONTINUED)

CONTINUED: 7.

MADGE ARWELL

Oh! That’s a streetlamp!

THE DOCTOR

Yes. I got that impression!

MADGE ARWELL

Round this way.

She guides him slowly towards the police box parked on the

village square lawn.


Don’t you want me to take you to

hospital or something? Or you’re

welcome to come to our house.

THE DOCTOR

No, no, no. I’m fine. I just need

to find the...er...the key...

MADGE ARWELL

Oooh, do you want me to do it with

a pin? I’m good with a pin!

She starts picking at the police box’s keyhole

THE DOCTOR

Multi-dimensional, triple-encoded

temporal interface. Not really

susceptible to pointy things.

He stumbles but grabs hold of the police box. MADGE finishes

picking the lock and gives it one push- the door clicks out

of place.

MADGE ARWELL

Got it!

THE DOCTOR

OK. Suddenly the last 900 years of

time travel seem that bit less

secure. Thank you for taking care

of me!

He points his arm into the air, ready to shake her hand, but

in the wrong direction. She shakes his hand gleefully.

THE DOCTOR

You didn’t have to, you know.

You’ve been very kind.

(CONTINUED)

CONTINUED: 8.

MADGE ARWELL

Don’t be silly. It’s Christmas Eve.

No-one should be alone at

Christmas.

THE DOCTOR

What did you say your name was?

MADGE ARWELL

Madge, Madge Arwell.

THE DOCTOR

If there’s every anything that I

can do for you, let me know.

MADGE ARWELL

How?

THE DOCTOR

I don’t know. Make a wish, that

usually works.

MADGE ARWELL

Does it?

THE DOCTOR

Well, it did for me. You’re here,

aren’t you?

MADGE ARWELL

(flattered)

Oh!

THE DOCTOR

Well, don’t wait around here.

Just...off you go home. I’ll just

go and, er, and wait inside here.

He turns to the police box and feels around for the door

with open arms. He opens the door and falls right through.

MADGE watches in curiosity- what is he doing?

The DOCTOR is standing- not in the TARDIS- but in an

ordinary police box!

THE DOCTOR

Wrong one. Do you think we could

try again?

9.

INT. ARWELL HOUSE - LIVING ROOM - NIGHT

REG is sat comfortably in his armchair reading the newspaper

when the door opens and closes. MADGE walks in, holding her

coat.

REG ARWELL

You were a long time. Been taking

home strays, as usual?

MADGE ARWELL

Just the one. What have you been

reading? Not the war again! People

keep reading about the war, then it

will actually happen. And then

where will you be?

Music turns more dramatic.

INT. COCKPIT - NIGHT

REG is sat at the controls, pulling with all his might,

flying through clouds of thick darkness.

EXT. PLANE - NIGHT

The words ’THREE YEARS LATER’ fade in and out.

The plane is tackling the wind and cloud, the propellers

spinning into a blur. Suddenly, the right propeller stops

spinning.


Another man crawls into the shot.

CO-PILOT

Sir, Andersen’s in a bad way. Where

are we?

REG ARWELL

I don’t know. Somewhere over the

Channel.

CO-PILOT

What do I tell Anderson?

REG ARWELL

Tell him...tell him...tell him

we’re going home for Christmas.

(CONTINUED)

CONTINUED: 10.

CO-PILOT

Yes, sir.

REG turns to something, staring at it with awe.

REG ARWELL

I’m sorry, my love.

ZOOM in on a photo of MADGE. It’s old and torn, but

sellotaped to the window of the plane. And he has a finger

on the photo, stroking it gently.

INT. ARWELL HOUSE - MADGE’S ROOM - NIGHT

The camera snapshots three times and focuses on MADGE’s

face, resting on a pillow, face up but eyes closed. Then,

they open wide...like she’s just had a bad dream.

WIDE VIEW of her bed. She sits up, looking into nowhere,

trying to remember her dream. Then, she looks down to the

draws aside the bed. On the surface is a crumpled telegraph

from the post office.

ZOOM IN on the words ’REGRET TO INFORM’, ’LOST OVER THE

CHANNEL’, ’DEEPEST SYMPATHY’.

EXT. ARWELL HOUSE - BACKYARD - NIGHT

WIDE SHOT of the ARWELL house. A bushy garden with a

flickering streetlamp at the end. On the back door, a wrath

of holly is tied to the top.

CYRIL ARWELL (V.O)

When’s Father coming back?

INT. ARWELL HOUSE - LIVING ROOM - MORNING

MADGE is stood next to the Christmas tree, staring out of

the window, mourning. Blurred in the b/g are CYRIL and LILY,

sat at the table.

LILY ARWELL

For Christmas, like he always does.

Now, hurry up and think of

something.

CYRIL ARWELL

But we’re going to uncle Digby’s

house. Will he be there?

(CONTINUED)

CONTINUED: 11.

LILY ARWELL

He will, won’t he, Mother? Daddy

will be there?

MADGE ARWELL

(smiling)

Of course he will.

LILY ARWELL

See? Now, have you thought of

anything?

CYRIL ARWELL

Erm...yep!

LILY ARWELL

Count of three, then. Make a wish.

One, two, three!

MADGE closes her eyes, too, but to herself. CYRIL & LILY

pull the cord, SNAP!

The camera quickly zooms into the telescope, focused on the

moon. But then, something else. A familiar noise. The sound

of the console. Then, a small, blue box flies past the

camera!

EXT. UNCLE DIGBY’S HOUSE - MORNING

Uncle Digby’s House; a gigantic, grand mansion with stained

glass windows and an arched doorway with a thick, wooden

door.

MADGE, CYRIL & LILY are stood in front of it, taking in all

it’s glory. They are holding a few suitcases, but not much.

’CHRISTMAS EVE’ fades in and out.

CYRIL ARWELL

Is it haunted?

LILY ARWELL

Is it draughty?

MADGE ARWELL

Oh, this is no good. Where’s Mr

Cardew? He was supposed to be here.

MADGE knocks on the door and waits.

(CONTINUED)

CONTINUED: 12.

CYRIL ARWELL

Maybe it’s haunted by the ghost of

Uncle Digby.

LILY ARWELL

Uncle Digby is still alive. He’s in

a home in Battersea.

MADGE continues knocking.

MADGE ARWELL

Mr Cardew!

CYRIL ARWELL

But why do we have to come here?

LILY ARWELL

Because of the bombing, stupid.

CYRIL ARWELL

I like the bombing. It’s exciting.

LILY ARWELL

Will Father be here? You said he’d

meet us at the house.

MADGE ARWELL

He’ll be here, of course he will.

You don’t need to keep asking about

it.

Suddenly, the door unlocks.

CYRIL & LILY

Father!

They run to the door.

THE DOCTOR (V.O)

Sorry! It’s the door, it’s

developed a fault.

The right door is being repeatedly pulled back but it won’t

open.

MADGE ARWELL

Oh, hello? Mr Cardew?

Suddenly, the door is pulled back and it falls inwards.

Then, out of nowhere, the DOCTOR pops out, smiling

excitedly.

(CONTINUED)

CONTINUED: 13.

THE DOCTOR

There we go! Well, come in, in you

come.

They all walk inside, wondering who this mad man is.

INT. UNCLE DIGBY’S HOUSE - HALL - MORNING

In front of them is a grand staircase leading left and

right. In every direction of the hall there are white sheets

over statues etc. It’s a little shady, but beautiful still.

THE DOCTOR

Mind your step.

(lifting the fallen door)

Now, don’t worry, the back door is

still, broadly speaking,

operational. (he turns) Right then,

may I take your cases?

MADGE ARWELL

Thank you.

CYRIL ARWELL

Thank you.

LILY ARWELL

Thank you.

THE DOCTOR

(walking past them)

Lovely. Would you mind carrying

them for me? I need to show you

round.

MADGE ARWELL

Oh, no, wait! Who are you?

THE DOCTOR

I’m the caretaker!

MADGE ARWELL

But you’re not Mr Cardew.

THE DOCTOR

I agree.

MADGE ARWELL

But I don’t understand. Are you the

new caretaker?

(CONTINUED)

CONTINUED: 14.

THE DOCTOR

Usually called the Doctor. Or the

Caretaker. Or Get Off This Planet.

Though, strictly speaking, that

probably isn’t a name.

He walks up MADGE and grins.

THE DOCTOR (CONT’D)

Hello, Madge Arwell.

MADGE ARWELL

(not impressed)

Hello.

THE DOCTOR

(shaking CYRIL’s hand)

And Cyril Arwell. And Lily Arwell

(shakes LILY’s hand).

He turns and heads to the stairs.


Now, come on, come on, lot’s to

see. Whistle-stop tour. Take notes,

there will be questions.

INT. UNCLE DIGBY’S HOUSE - SITTING ROOM - MORNING

The DOCTOR opens the two joining doors wide to reveal the

sitting room. In the corner is a large harp, opposite a

single armchair. On the walls are many portraits of nameless

people.

THE DOCTOR

Smaller sitting room. Just chairs.

Bit pointless without a television,

so I made some repairs.

He switches a button on the wall and suddenly all the chairs

begin to swirl and move about frantically, dancing around

the room. CYRIL and LILY watch, open mouthed.


(whispers)

I know!

15.

INT. UNCLE DIGBY’S HOUSE - KITCHEN - MORNING

They walk into the kitchen. It’s more compact and busy, pots

and pans on the walls, a dinner table in the center.

THE DOCTOR

Kitchen! That’s a cooker, probably.

And these are taps. Hot,

cold...Lemonade.

MADGE ARWELL

Lemonade?

THE DOCTOR

I know!

INT. UNCLE DIGBY’S HOUSE - HALL - MORNING

Back into the hall and the DOCTOR is at the bottom of the

stairs.

THE DOCTOR

Staircase.

He taps his feet but nothing happens.


Seems to have broken down. (turns)

We’ll have to walk up.

INT. UNCLE DIGBY’S HOUSE - LANDING- MORNING

They walk to the top of the stairs, walking down the

landing, MADGE trying to catch up with CYRIL & LILY.

THE DOCTOR

I sleep up there, stay away, beware

of panthers.

MADGE ARWELL

Panthers!?

THE DOCTOR

They’re terrifying! Have you seen

panthers? Cyril!

CYRIL catches up with them after looking into the DOCTOR’s

bedroom.

16.

INT. UNCLE DIGBY’S HOUSE - MADGE’S BEDROOM - MORNING

The DOCTOR opens a door to a floral wallpapered room.

THE DOCTOR

Mum’s bedroom, grown-up, your basic

boring.

He slams the door shut.

INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - MORNING

The DOCTOR opens the door to a more colourful bedroom.

THE DOCTOR

Lily and Cyril’s room! I’m going to

be honest...

The bedroom is full of toys! Jam-packed, totally and utterly

stacked with wonderful toys!


...masterpiece! The ultimate

bedroom. A sciencey-wiencey

workbench. A jungle! A maze! A

window disguised as a mirror! A

mirror disguised as a window!

Selection of torches for midnight

feasts and secret reading. Zen

garden, mysterious cupboard, zone

of tranquility! Rubber wall! Dream

tank! Exact model of the rest of

the house- not quite to scale,

apologies- Dolls! With comical

expressions! The Manga Carta, a

foot spa. Cluedo! A yellow fort!

CYRIL ARWELL

Where are the beds?

THE DOCTOR

I couldn’t fit everything in. There

had to be sacrifices. Anyway, who

needs beds when you’ve got...

He runs to the wall and pulls down a big lever which

triggers two hammocks to fall from the ceiling.


...hammocks?! (pause) I know!

CYRIL attempts to get on, but can’t reach.

(CONTINUED)

CONTINUED: 17.

CYRIL ARWELL

But how do you get on?

THE DOCTOR

Watch and learn, kid.

The DOCTOR steady’s himself and runs to the nearest hammock

and leaps...but misses and collapses in between the two.

MADGE ARWELL

For God’s sake!

THE DOCTOR

(serious)

This hammock has developed a fault!

MADGE ARWELL

Can you please stop talking? Can

you please just stop?

THE DOCTOR

Sorry.

MADGE ARWELL

Children, go downstairs.

LILY ARWELL

Why?

CYRIL ARWELL

Are we leaving?

MADGE ARWELL

Yes! No. I don’t know. Just,

please, go downstairs!

LILY ARWELL

You don’t need to shout...

CYRIL & LILY walk out of the room, leaving the DOCTOR and

MADGE.

MADGE ARWELL

Why are you doing all this?

THE DOCTOR

I’m just...trying to take care of

things. I’m the Caretaker.

MADGE ARWELL

That’s not what Caretakers do.

(CONTINUED)

CONTINUED: 18.

THE DOCTOR

Then why are they called

Caretakers?

MADGE stutters to answer, but sighs.

MADGE ARWELL

Their Father’s dead.

THE DOCTOR

I’m sorry.

MADGE ARWELL

Lily and Cyril’s Father- my

husband- is dead, and they don’t

know yet. Because if I tell them

now, then Christmas will always be

what took their Father away from

them, and no-one should have to

live like that. Of course, when the

Christmas period is over, I

shall...

Music slows slightly.


I don’t know why I keep shouting at

them.

THE DOCTOR

Because every time you see them

happy, you remember how sad they’re

going to be, and it breaks your

heart.

LILY ARWELL (V.O)

Mother, come and see!

CYRIL ARWELL

Mother, you’ve got to see this!

Come on!

THE DOCTOR

Because what’s the point in them

being happy now if they’re going to

be sad later?

CYRIL ARWELL (V.O)

Mother!

LILY ARWELL (V.O)

Mother? Are you coming?

(CONTINUED)

CONTINUED: 19.

THE DOCTOR

The answer is, of course...because

they are going to be sad later.

MADGE stares at the DOCTOR, and for the first time, she

admires him. But only for a second.


Now, we’d better get downstairs. I

think they may have found the main

sitting room.

LILY ARWELL (V.O)

Mother!

THE DOCTOR

(whispers)

I repaired it!

MADGE shakes her head and walks out, leaving the DOCTOR to

stand alone. Then, he turns, smiles at the bedroom (’Ha.’)

and walks out.

INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - MORNING

A train toots as toys spin around a wonderfully enormous

Christmas tree on sticks reaching out. A toy train races

round the bottom on a track. CYRIL & LILY laugh playfully.

MADGE and the DOCTOR walk in, MADGE staring at the Christmas

tree in shock.

WIDE VIEW of the Christmas tree, full of flashing

decorations. CYRIL & LILY turn around.

THE DOCTOR

I know!

CYRIL ARWELL

Look at that present!

Placed next to the Christmas tree is a huge blue present

with a bow on the top. CYRIL and LILY grab the tag dangling

from the present.

CYRIL ARWELL

It’s for me!

LILY ARWELL

It says it’s for all of us.

(CONTINUED)

CONTINUED: 20.

CYRIL ARWELL

I’m the youngest, I get to open it

first!

LILY ARWELL

Doesn’t say who it’s from. Mother,

who left this here?

MADGE turns, about to speak to the DOCTOR, but he isn’t

there. He’s gone.

MADGE ARWELL

That man is quite ridiculous. You

must stay away from him.

LILY ARWELL

I like him.

CYRIL ARWELL

I like him, too.

LILY ARWELL

And it’s a nice tree, isn’t it?

CYRIL ARWELL

It’s the best tree in the world!

MADGE ARWELL

Yes. Yes, I suppose it is.

CYRIL ARWELL

Say it, Mother. Go on, please. Say

the thing you always say.

MADGE turns around and holds both CYRIL & LILY.

MADGE ARWELL

This Christmas is going to be the

best Christmas ever.

She kisses them both on the forehead. But when MADGE looks

away, there is sadness in her eyes.

Then, soft whispering voices echo from the present. CYRIL

hears them and stares at the present. It’s glowing slightly.

EXT. UNCLE DIGBY’S HOUSE - NIGHT

WIDE VIEW of the gran house from the front. It’s night. A

foxes howl can be heard in the distance.

21.

INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - NIGHT

It’s dark, with only the desk lamp on in the corner of the

room. CYRIL & LILY are in their hammocks, but CYRIL is wide

awake.

CYRIL ARWELL

Lily! Lily, can you sleep? Lily!

LILY ARWELL

Shut up!

CYRIL ARWELL

What do you think that present is?

We could just sneak down and have a

look.

LILY ARWELL

Go to sleep!

CYRIL sighs.

INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT

The present is glowing.

UP CLOSE, the present still throbbing with light, soft

whispering voices echoing from inside.


LILY turns to go to sleep, CYRIL facing the ceiling. From

another room, they can hear electronic sparking and the

familiar buzzing of the sonic screwdriver.

INT. UNCLE DIGBY’S HOUSE - MADGE’S BEDROOM - NIGHT

MADGE is lying in bed, also awake, the telegram clutched in

her hands. She’s staring into nowhere, deep in thought.

Electronic sparking still can be heard.

She looks to the door, wondering what it is.

INT. UNCLE DIGBY’S HOUSE - LANDING - NIGHT

The door slowly opens and LILY slips through, desperately

trying not to make a sound.

22.


CLOSE UP of CYRIL, presumably asleep.


Soft whispering voices still echoing from the present, and

still throbbing.


LILY walks two steps down the stairs, but is distracted by

the electronic sparking coming from the DOCTOR’s room. What

is it?

She turns and walks to the door to the second corridor. It’s

wide open.

INT. UNCLE DIGBY’S HOUSE - CORRIDOR - NIGHT

LILY slowly and carefully treads into the corridor with a

creak of a floorboard, and dissapears inside.

Then, the childrens bedroom opens and CYRIL top-toes out.


LILY walks down the long corridor. There a sudden flashes of

lights, and the sound of electronic sparking and the

whizzing of the sonic.


CYRIL, holding a torch, creeps back out of his bedroom and

walks down the landing. He begins to walk down the stairs.


Electronic sparking and whizzing of sonic.

LILY slowly walks up to the door of the DOCTOR’s bedroom,

listening.

A flash of light from inside.

23.


CYRIL walks into the sitting room, gazing up at the

Christmas tree. Soft whispering voices are echoing.

He looks down at the present- it’s glowing.

Music more dramatic!

INT. UNCLE DIGBY’S HOUSE - DOCTOR’S BEDROOM - NIGHT

Electronic sparking.

WIDE VIEW of the DOCTOR’s room. The roof proves it as an

attic- a triangle. The DOCTOR is sat at a desk concentrating

on something, the TARDIS placed in the middle of the room.

LILY folds her arms.

LILY ARWELL

You were lying about the panthers.

THE DOCTOR

Famous last words.

LILY ARWELL

Why have you got a phone box in

your room?

THE DOCTOR

It’s not a phone box, it’s

my...wardrobe. I’ve just painted it

to look like a phone box.

LILY ARWELL

What are you doing?

THE DOCTOR

Rewiring.

LILY ARWELL

Why would you rewire a wardrobe?

THE DOCTOR

Have you seen the way I dress?

LILY cant help smiling to herself.

24.


Soft whispering voices.

CYRIL walks towards the present, eyes and mouth wide open.

LILY ARWELL (V.O)

Who are you?


LILY ARWELL

Really, who are you?

Electronic beeping. The DOCTOR examines the wires.

THE DOCTOR

Your brother, where is he?


CYRIL is un-doing the bow on the present and unfolds the

front of the present.

Then, suddenly, a gust of wind blows from the present. CYRIL

gasps as snow blows from the present! He looks into the

present: it’s pure white, he can’t see what’s through it.

Then, he begins to crawl into the present.

Camera zooms through, closer and closer until the white

fades and reveals-

A FOREST! A beautiful, snowy forest with white, dusty pine

trees sprouting from the icy ground like wet paintbrushes!

The ground is white, the trees are white, even the sky is

white!

CLOSE UP on CYRIL’s face, in total awe of what he’s

experiencing.

He crawls back, into the sitting room, and looks at the

present. But it can’t be!


LILY looks into the room towards CYRIL’s hammock. It looks

occupied.

25.


CYRIL is looking into the present again.


He looks behind him- nobody there- and he turns back. Then,

he crawls through!

EXT. THE FOREST - NIGHT

In the middle of the air, a small cutout reveals CYRIL

crawling through, the normal world safe and waiting behind

him.

CYRIL stares, taking in what’s before his round glasses!


The door opens and LILY walks in.

LILY ARWELL

Still in bed, asleep.

THE DOCTOR

(analyzing wires)

OK. Faulty, then.


CYRIL climbs out of the small cutout and his feet press into

the crisp snow.

He looks up; thin particles of snow are floating in midair.

But there’s no breeze.

Suddenly, the pine tree closest to him glows, and from the

ends of the branches, long sticks of frost droop down, and

form baubles hanging at the ends. They crisp and click in

the cold, solid.

CYRIL walks forwards, closer to the tree, curiosity getting

the better of him. He reaches to the bauble and pulls at it.

Eventually, it drops into his hands.

Then, Squeak! The bauble expands in his hands and he drops

it with a sudden gasp.

Squeak! It grows larger on the ground.

(CONTINUED)

CONTINUED: 26.

Squeak! It grows a little bigger to the size of a bowling

ball.

And then, it shakes...and cracks...like it’s hatching!

CYRIL turns and darts towards the cutout in midair, jumps

through and crawls back into the normal world.


CYRIL crawls backwards, panting.


The wires beep once again.

THE DOCTOR

You sure he’s still in bed?


CYRIL overcomes his fear, and begins to crawl back into the

present.


Lying on the floor is the bauble, but now it looks more like

an egg shell. It’s on the floor in two pieces.

CYRIL looks out from the cutout. Nothing around. It’s safe.

He walks towards the bauble shell, looking down at it.


Then, he notices tiny little footprints in the snow,

beginning next to the egg shell and continuing through the

snow, into the trees.

The camera follows the visible footprints.


The DOCTOR opens the door.

LILY ARWELL

See?

(CONTINUED)

CONTINUED: 27.

THE DOCTOR

Sh, sh!

He walks to CYRIL’s hammock, which looks occupied, then

flips it back to reveal a large teddy bear!


Oh, he’s good! The old bear and

duvet, eh? Classic.

Then, zoom! Off he goes, grabbing LILY’s arm and running out

of the bedroom (MUSIC DRAMATIC)


The DOCTOR runs towards the present and slips inside.

THE DOCTOR

Cyril!

LILY ARWELL

What’s happening? I don’t...what is

that?

THE DOCTOR

With me, quickly, come on!


THE DOCTOR

That’s it. In you come. Brr! Bit

cold. Never mind. Cyril? Cyril?

LILY hops down and stares up at the gigantic towering trees

before her.

LILY ARWELL

Where are we?

THE DOCTOR

In a forest in a box in a sitting

room. Pay attention! He’s about 20

minutes ahead of us.

LILY ARWELL

But we just saw him.

THE DOCTOR

Time moves differently across the

dimensional planes. What do they

teach you in schools these days?

(CONTINUED)

CONTINUED: 28.

LILY ARWELL

But I don’t understand where we

are!

THE DOCTOR

We’ve gone through a dimensional

portal...thingy.

LILY ARWELL

Well, what’s that supposed to be?

Where did it come from?

THE DOCTOR

It was a present. And it wasn’t

supposed to be opened till

Christmas Day. Honestly, who opens

their Christmas presents early?

LILY cant help throwing a guilty look.


OK. Shut up. Everyone.

The soft whispering voices return. Thin particles of snow

drift through the air, turning and swaying in front of the

trees. No breeze. The DOCTOR hurries off into the depths of

the forest, LILY tagging along behind.

EXT. THE FOREST - NIGHT (CONT’D)

OVERVIEW of the forest. Fly over the tops of the trees

through the misty air, snow covering the branches and fog

blocking out the view of the ground. The trees stand silent,

not moving or swaying. Silent. Like there’s no atmosphere at

all.


CYRIL treads through the snow, a musical crunch at every

step. He shines his torch to the alien world in front of

him, scared something might jump out.

He’s still following the footprints, and they’re getting

bigger!

LILY ARWELL (V.O)

I don’t understand.

29.


LILY ARWELL

Is this place real?

The DOCTOR and LILY are walking through the forest, the

DOCTOR shining his torch in front of him similar to CYRIL.

LILY ARWELL (CONT’D)

Is it fairyland?

THE DOCTOR

Fairyland?! Oh, grow up, Lily!

Fairyland looks completely

different. Now, these are Cyril’s

footprints, and these are the ones

he was following. Notice anything?

LILY ARWELL

The other footprints are getting

bigger.

THE DOCTOR

Yes. Whatever your brother’s

following...it’s growing.


PAN around CYRIL, his torch shining down on the footprints-

bigger every step- as he walks alongside them.

CREEPY music.


LILY ARWELL

Well, then we have to get after

him!

She sprints past a tree and brushes it slightly with her

dressing gown. Suddenly, from the branches, the tree sprouts

a couple of baubles, hanging from solid icicles.

THE DOCTOR

It’s OK, you’re fine. Don’t worry.

LILY ARWELL

Is that tree...alive?

(CONTINUED)

CONTINUED: 30.

THE DOCTOR

Of course it’s alive, it’s a tree!

LILY ARWELL

But is it dangerous?

THE DOCTOR

Well, every rose has it’s thorns.

LILY ARWELL

They’re like Christmas tree

decorations.

THE DOCTOR

(smiling)

Yeah! Naturally occurring Christmas

trees. (sniffs the tree) Oh, how

cool is that?

LILY ARWELL

I don’t understand.

THE DOCTOR

It’s a big universe. Everything

happens somewhere. Call it a

coincidence, call it an idea

echoing among the stars.

Personally, I call it a brilliant

idea for a Christmas trip. Or it

should’ve...been.

Soft whispering voices return as a cloud of snow drifts past

them, spinning and turning silently. No breeze at all, but

there’s voices...something spooky about the whole thing.


Do you know the difference between

wind and trees talking to each

other?

LILY ARWELL

What?

The DOCTOR lifts his finger and licks it, then points it in

the air and waits, his other finger on his lips.

THE DOCTOR

No wind. I’ve been here many times,

but I’ve never heard the trees so

active. Something’s wrong. (he

listens) What are you doing? What

are you up to?

(CONTINUED)

CONTINUED: 31.

He then crouches down to the hanging bauble and looks

through. Staring back is his reflection. But only for a

second, as the reflection shifts...and suddenly, facing him,

is something else. Another face. But not of any human. A

face, carved into a figure of wood. And it’s staring back.

The DOCTOR jumps back, astonished. What?


I’m sorry, Lily. I really am, but

there is something very wrong in

this forest, and your brother’s

right in the middle of it.


It’s still night back on the other side.

MADGE ARWELL (V.O)

Lily and Cyril Arwell, where are

you?

She enters the room quickly, then stops suddenly. She’s seen

the present, and it’s staring right back at her.

BEHIND VIEW of MADGE slowly walking towards the present,

interested...confused.

She bends down onto all fours, looking into the box.

Blinding light is glowing from inside, but she’s still

staring, totally and utterly confused.

And she crawls through.


CLOSE UP of the footprints, now very large. Move up to a

full shot of CYRIL, standing in front of-

- what looks like a giant lighthouse, reaching to the mist

in the skies. A single door is fixed at the bottom, other

than that just a tall tube soaring into the air. At the top,

a glass dome, similar to a golf ball.

CYRIL turns around. The soft whispering voices are back,

echoing in the night.

32.


Another similar shot of the treetops, soaring above them

(PRAC. and FX. shot) quickly.


MADGE is slowly walking through the forest, her bright torch

darting from tree to tree.


CYRIL’s feet are walking up the stone steps, towards the

wooden door in front of him.

VIEW from behind, of CYRIL walking into the lighthouse!

INT. LIGHTHOUSE - NIGHT

CYRIL enters, closing the door behind him. He raises his

torch to look around the lighthouse.

Close up of -

- THE WOODEN KING! A beautifully carved wooden creature,

it’s face fixed with eyebrows, a nose, a mouth and a long

mustache around. It’s just a little taller than a fully

grown adult, but towering over CYRIL. It’s sat in a throne

above CYRIL, looking down...but not moving.

CYRIL gasps, analyzing the WOODEN KING as nothing more than

a scary wooden statue!

BIRDS EYE VIEW of the towers EXT, brick floor and spirally

concrete walls. Nothing more in sight than CYRIL and the

WOODEN KING on it’s throne.

VERY SLOWLY ZOOM onto the WOODEN KING as CYRIL walks towards

the staircase spiraling around the walls, clomping upstairs

to the unknown.

CLOSE UP on the WOODEN KING’s face, not moving. It’s long

face looking straight ahead. But then, suddenly, it blinks

with a wooden thomp!

SIDE VIEW of the WOODEN KING’s head, slowly turning to the

camera with a long creak.

33.


The DOCTOR and LILY are hurrying through the snow, following

the growing footprints of the WOODEN KING.

LILY ARWELL

Why would you bring us to this

place?

THE DOCTOR

It was supposed to be a treat. This

is one of the safest planets I

know. There’s never anything

dangerous here.

Just as he says that, BANG! (CAMERA SHAKE) The ground

shakes. Both the DOCTOR and LILY stable themselves.

They look at each other, both confused and scared all the

same! LILY with a what where you saying about safe?

expression.

THE DOCTOR

There are sentences I should just

keep away from.


CYRIL is slowly walking up the concrete steps, the torch

darting to the steps and to what lies above. Suddenly, BANG!

The same noise the DOCTOR and LILY heard before. He looks

through a window, shining his torch to the beyond.

Something’s there!


MADGE is now walking through the forest, utterly terrified,

flinching at everything. Then, BANG! (CAMERA SHAKE) The same

bang. She shines her torch into the depths of the forest.

Then, BANG! (CAMERA SHAKE) She cried out in fright.

SHOT through the branches, MADGE pointing the torch directly

to the camera.

Back to close shot.

She’s shining her torch at every possible source of the

bang. And then, in front of her, a huge metallic pod lands

with a bang in front of her. She gasps, falling backwards,

staring at the new addition to the forest.

(CONTINUED)

CONTINUED: 34.

From the darkness of the sky, a large bright light switches

on directly over MADGE. She tries to block the light with

her hand.

INTERFACE

This tree farm is private property.

You are trespassing.

Then, the doors of the pod fly open, a gush of smoke escapes

from inside, and three figures in dirty yellow amour corner

MADGE, guns pointed directly at her. They are wearing round,

clumpy helmets. The first figure runs forward, pointing a

scanner at MADGE. The scanner whines. Then, the figure with

the scanner opens his helmet.

VEN-GARR

Unarmed, sir.

DROXIL

What the hell are you doing here?

VEN-GARR

No, wait! Armed! No, unarmed.

DROXIL pulls up his helmet, staring at VEN-GARR in disgust.

VEN-GARR (CONT’D)

Sorry, sir. She’s wearing wool,

Sir. It’s the natural fabrics, they

interfere with the-

DROXIL

-Please say we can tell the

difference between wool and side

arms.

VEN-GARR

We can tell the difference, sir.

DROXIL

Can we?

VEN-GARR

Not always, sir, no.

Finally, the third figures helmet lifts to reveal BILLIS.

She’s more civilized than the others, a bit more

warm-hearted.

DROXIL

What are you doing here, and do you

understand what is about to happen

in this forest?

(CONTINUED)

CONTINUED: 35.

MADGE ARWELL

(confused)

I was just...

BILLIS

Sir, I think she’s a time

traveller.

DROXIL

(sarcastic)

And we’re sure it’s not her

cardigan?

MADGE ARWELL

Who are you? It was Christmas!

MADGE suddenly begins to cry heavily, looking down in

disappointment. The others stare, quite confused why she’s

crying.


VERTICAL VIEW from the ground floor to the top of the

lighthouse, a slight glow from the top. Then, almost at the

top of the stairs, a small torch beams down.

INT. LIGHTHOUSE - NIGHT (CONT’D)

CYRIL is walking the final steps of the lighthouse, and has

now reached a wooden door wide open. He walks through, the

door closing behind him as it reveals a few more steps. He

watches the door close. There’s no way back!


The DOCTOR, holding onto LILY’s hand, is hurrying a little

quicker through the forest, still following the bigger

footprints.

LILY ARWELL

It’s just irresponsible! How can

you do this to my brother?

THE DOCTOR

It was meant to be a supervised

trip.

LILY ARWELL

To the future?

(CONTINUED)

CONTINUED: 36.

THE DOCTOR

The future, yes.

LILY ARWELL

On a different planet.

THE DOCTOR

Oh, yes, very different.

LILY ARWELL

Where Christmas trees just happen.

THE DOCTOR

Well, sort of Christmas trees,

they’re not really Christmas

trees.


CYRIL is at the top of the steps. He finds himself at the

very top of the lighthouse, the walls and ceiling around and

above him is the golf ball-like dome at the top, but he

can’t see it- it’s misty glass.

CYRIL walks forward around the circular room where, standing

in the middle, is the WOODEN QUEEN! A female version,

crafted from a figure of wood with every detail of a woman

including the crown that is held out in her arms above a

wooden chair. It looks like she is ready to crown someone,

but nobody is sat on the seat, like she’s waiting for

someone particular.

CYRIL stares at the QUEEN, then turns around to analyze the

dome shaped roof.

CLOSE UP on the WOODEN QUEEN, not moving at all for a few

seconds, then...suddenly...it blinks with a thomp and turns

it head slowly with a creak.


The DOCTOR, still holding LILY, runs out of the mass of

trees and stops, staring at the lighthouse before their

eyes.

THE DOCTOR

Oh, look at that!

WIDE VIEW of the lighthouse, standing tall and glorious in

front of them.

(CONTINUED)

CONTINUED: 37.

CUT BACK, and the DOCTOR is now running towards the entrance

of the lighthouse.

LILY ARWELL

What, are we going in?

THE DOCTOR

Well, Cyril did.

He sonics the lighthouse as he runs in, trying to find some

information about the building before he enters.


They burst through the door, the DOCTOR instantly running up

to the WOODEN KING.

THE DOCTOR

(sonicing)

Interesting.

LILY ARWELL

What’s that? What’s that statue?

What is it? It’s like a king.

THE DOCTOR

A king, possibly, but not a statue.

Look at the floor.

His torch shines over footprints from the doors of the

lighthouse to the chair. The footprints are the WOODEN

KING’s. He was what was growing bigger!


This is what Cyril was following-

the growing thing. Hatched from a

bauble on a tree. Grew to this size

in less than an hour, I’d say.

Oooosh! Impressive. And so is this

building! (potters about) Yes. It’s

grown, see. This building, it isn’t

a building, it’s a group of trees

grown in the shape of a building,

disguised as a building. Ooh,

clever, I love. Clever, clever old

forest. So, a forest grows a

building. Why would it do that,

Lily?

LILY ARWELL

I don’t know.

(CONTINUED)

CONTINUED: 38.

THE DOCTOR

Why’s there honey in a honey trap?

LILY ARWELL

Because it’s a trap?

THE DOCTOR

Exactly. Thing about people, we can

never resist a door.

LILY ARWELL

So, this is a trap? We’ve just

walked straight into a trap?

THE DOCTOR

A people trap. Question is...why

does a forest need people?

LILY ARWELL

We should go! We have to get out of

here!

THE DOCTOR

Except?

LILY ARWELL

(realizing)

Except Cyril’s here.

THE DOCTOR

So, let’s find Cyril.


CONTINUE FROM LAST MATERIAL

MADGE is still weeping loudly.

DROXIL

Ma’am, please stop crying. I can’t

interrogate you while you’re

crying. This is a military

engagement! There’s no crying in

military engagements!

Then, VEN-GARR bursts into tears, too. DROXIL looks at him

in confusion. Not him as well.

DROXIL (CONT’D)

Corporal Ven-Garr, are you...

(CONTINUED)

CONTINUED: 39.

VEN-GARR

-I’m fine, sir.

DROXIL

What is wrong with you?

VEN-GARR

I have...Mother issues, sir. It’s

all on file. It won’t affect the

performance of my duties.

BILLIS

Sir, er, with regret, I’m going to

have to lower my gun.

DROXIL

Why?

BILLIS

She is a crying, unarmed female

civilian. I’m thinking of the

visual.

DROXIL

Nobody’s looking!

BILLIS

Doesn’t mean there’s no visual.

DROXIL

That’s exactly what ’nobody’s

looking’ means! It means there’s no

visual.

VEN-GARR sobs louder, DROXIL turns around.

VEN-GARR

I’m sorry, sir. It’s under control.

Do you want me to shoot her, sir?

BILLIS

(MADGE gasps)

Oh, this visual’s deteriorating,

sir.

DROXIL

Shut up!

BILLIS sighs, and with one hand she drops her gun to the

floor.

(CONTINUED)

CONTINUED: 40.

DROXIL

What are you doing?

BILLIS

I am respecting her as a woman,

sir.

DROXIL

Oh...OK. We’re putting our guns on

the ground. (does so) OK? Happy

now? We’re stepping away from our

guns. Now can we interrogate you?

MADGE weakly nods.

DROXIL (CONT’D)

We’re from Androzani Major, the

year is 5345, and we mean you no

harm. Where are you from?

MADGE ARWELL

England, 1941.

Then, suddenly, MADGE pulls out a gun, pointing it directly

at DROXIL. The determination in her eyes is obvious.


And there’s a war on.

DROXIL’s mouth opens, and he scolds BILLIS who also looks

quite shocked, too.


Oh, crying’s ever so useful, isn’t

it?

DROXIL

If you say so. But there’s nothing

you could say that would convince

me you’d ever use that gun.

MADGE ARWELL

Oh, really? Well, I’m looking for

my children!

CLOSE UP on MADGE, then end with a zoom onto DROXIL’s

slightly wary face.

41.


The DOCTOR and LILY are running up the wide spirally stairs.

THE DOCTOR

Cyril?

The DOCTOR hands LILY the torch and out comes his sonic. He

points it at the door, the electronic sound whizzing away,

trying to open the door.


Cyril? Can you hear me?


CYRIL is looking downwards towards the door the DOCTOR and

LILY are behind. But then, he swings around. Now in front of

him is the WOODEN QUEEN, the crown in her hands still- but

now, it’s glowing a fiery orange.

THE DOCTOR (V.O)

Cyril? Cyril?

The WOODEN QUEEN lowers the crown to CYRIL’s head, but he

jumps back and runs around the queen so he’s in front of the

wooden chair.

THE DOCTOR (V.O)

Cyril? Cyril can you hear me?

The WOODEN QUEEN spins around, now facing CYRIL once more.


The DOCTOR is sonicing the door.

THE DOCTOR

Oh, of course, it’s wood! It’s

rubbish at wood!

LILY ARWELL

It doesn’t look like wood.

THE DOCTOR

It’s disguised wood. Have you been

listening?

LILY ARWELL

How can trees grow into a building?

(CONTINUED)

CONTINUED: 42.

THE DOCTOR

Never underestimate a tree, Lily. I

met the forest of Cheem once. She

fancied me.


The WOODEN QUEEN shuffles forwards, the glowing crown still

in her hands. CYRIL hurries backwards and falls into the

wooden chair. The WOODEN QUEEN is moving forwards.


LILY has now turned to a window. She’s watching something

happening outside.

LILY ARWELL

Look at that!

THE DOCTOR

Busy, actually. (to the sonic) Yes,

I know it’s wood. Get over it!

LILY ARWELL

But there are stars. There are

stars coming out.

THE DOCTOR

That does happen, Lily. Cyril!

LILY ARWELL

Yes. But out of the trees.

The DOCTOR looks, looks back, then looks again. He walks up

to the window next to LILY.

WINDOW VIEW SHOT- the forest of trees all have small,

beautiful glowing stars at the tips of the trees. And

they’re glowing.

LILY ARWELL (V.O)

What is that?

CUT BACK.

THE DOCTOR

Life force. Pure life force,

just...

CUT BACK TO THE WINDOW VIEW.

(CONTINUED)

CONTINUED: 43.

THE DOCTOR (V.O)

...singing.

CUT BACK.

LILY ARWELL

(in awe)

Beautiful. (pause) Doesn’t it want

to make you cry?

THE DOCTOR

Crying when you’re happy. Ah, good

for you. That’s so human.

Then, woosh! The DOCTOR returns to the door. A light is

glowing around the sides of the door. Something is happening

inside the room.

LILY ARWELL

What’s it? What is it? Tell me,

what?!

THE DOCTOR

Cyril!


The WOODEN QUEEN is slowly placing the crown on CYRIL’s

head. The final phase.

THE DOCTOR (V.O)

Can you hear me?

The WOODEN QUEEN creaks as she bends slightly. Then, it

sit’s on CYRIL’s head.


CLOSE UP of the WOODEN KING’s face. It’s eyes open in a

flash, awoken by the placing of the crown.

ZOOM BACKWARDS as the WOODEN KING slowly stands to his feet,

creaking and groaning. (DRAMATIC MUSIC)

Then, his feet bang loudly against the brick floor as he

marches up the spiral staircase. Left! Right! Left! Right!

44.


The banging echoes. The DOCTOR and LILY stop, and slowly

turn around...listening.

LILY ARWELL

Oh my god! Oh my god!

They look downwards. The WOODEN KING is coming!!!


Wide shot of the harvesters pod. It’s taller than wider,

towering over the trees like a metal robot! Two giant

mechanical legs with a dome-shaped control room at the top.

MADGE ARWELL (V.O)

What is all this?

INT. HARVESTER POD - NIGHT

Inside the control room. Full of buttons and levers and

chairs and flashing lights, all for some sort of reason or

other. VEN-GARR and DROXIL are tied opposite to each other

against two poles. MADGE is still holding her gun. BILLIS is

in the stage of tieing DROXIL’s arms around the rusty pole.


Is it some kind of cockpit? My

husbands a pilot.

BILLIS

It drives the platform.

MADGE ARWELL

I don’t understand! How did I get

here?

BILLIS

You tell us, ma’am.

MADGE ARWELL

I’m looking for my children.

VEN-GARR

There can’t be anyone else in this

forest, there can’t be.

BILLIS

Well, she found her way in. Maybe

her kids did, too.

(CONTINUED)

CONTINUED: 45.

DROXIL

Then God help them.

MADGE ARWELL

Why do you say that?

BILLIS

We can do a scan for life forms. We

can detect people, even though

they’re far away.

MADGE ARWELL

Like RDF? Radar?

BILLIS

Yes.

MADGE ARWELL

Then please stop patronizing me and

get on with it!

BILLIS

Yes, ma’am.

MADGE ARWELL

Why did you say, God help my

children?

DROXIL

This forest is about to be

harvested.

MADGE ARWELL

Harvested?

DROXIL

Androzani trees. Greatest fuel

source ever. The entire area is

being melted down for battery

fluid.

MADGE ARWELL

Melted down? How do you melt a

forest?

DROXIL

Acid rain. The satallities are in

position. Anyone still out there in

five minutes...is going to burn.

MADGE pants faster, her heart racing, all the hope she’d

kept drained from her.

46.


SHOT OF WALL, the shadow of the WOODEN KING.

BACK TO- The DOCTOR at the door, LILY behind him. The

clomping of the WOODEN KING growing.

LILY ARWELL

Caretaker, it’s coming! Open it!

THE DOCTOR

I’m trying.

LILY ARWELL

Open it!

THE DOCTOR

I’m trying!

Suddenly, click! The door is unlocked. The DOCTOR stares in

shock, the clomping of the WOODEN KING in the b/g.

THE DOCTOR

That wasn’t me.

LILY ARWELL

It doesn’t matter!


The doors burst open and the DOCTOR and LILY race up the

stairs. The WOODEN QUEEN’s head snaps round to see the faces

of the intruders. CYRIL is unconscious, the crown on his

head.

LILY sprints over to the wooden chair, ignoring the WOODEN

QUEEN.

LILY ARWELL

What’s wrong with him, Caretaker?

Is he dead?

THE DOCTOR

It’s OK, he’s just unconscious.

The WOODEN QUEEN’s eyebrows slant, she’s angry. The DOCTOR

walks over to her, leaving LILY aside CYRIL.


So what are you, then? Not a king,

a queen! The Queen Bee of the

forest.

(CONTINUED)

CONTINUED: 47.

LILY is staring at one of the empty panels of the dome

shaped wall/roof.

LILY ARWELL

Caretaker. Look!

He walks over to see.

THE DOCTOR

It’s like...

LILY ARWELL

Like what?

THE DOCTOR

Like the life force is leaving the

forest.


BIRDS EYE VIEW of the tree’s stars slowly rising from the

tips of the trees, glowing with life and strength.


Suddenly, thumping footsteps alert them and they turn to see

the WOODEN KING marching up the steps. He turns on the spot

and marches towards them.

LILY ARWELL

What are they doing? Stop him!

Both of them are marching towards them now. The DOCTOR

whizzes them with the sonic and growls in anger.

THE DOCTOR

Oh, aliens made of wood! This was

always going to happen, you know.

Um...

They stop marching, standing still.


It’s OK. I think they just want to

talk to us.

The WOODEN KING creaks his neck to look at CYRIL. They all

turn to see. CYRIL’s eyes open slowly through his rounded

glasses, the crown on his head now glowing the fiery orange

once more.

(CONTINUED)

CONTINUED: 48.

CYRIL ARWELL

They’re scared. Can’t you hear

them? The trees are screaming?

Can’t you hear?

The WOODEN KING gazes over at the DOCTOR.

THE DOCTOR

No. But you can. You’re connected

to them.


BILLIS

OK, picking up life signs about

half a mile away.

MADGE ARWELL

Can we got to them? Can we move

this thing?

BILLIS

I’m not trained, ma’am. Those two

are.

MADGE ARWELL

I can’t trust them.

BILLIS

I can’t drive the platform, ma’am.

MADGE ARWELL

It looks a little like a plane. My

husband flies a plane. He took me

up once.

BILLIS

It takes years of training! I’m

scanning for an audio connection-

we might be able to hear them.

INTERFACE

Acid rain alert, five-minute

warning. Prepare for beam-out.

BILLIS

I’m so sorry! You have to find a

way out!

INTERFACE

Evacuate.

(CONTINUED)

CONTINUED: 49.

BILLIS

Acid fall is coming. You won’t last

two minutes!

INTERFACE

Evacuate.

MADGE ARWELL

No, don’t go, no, wait! What am I

going to do? I...

With a beam of light, all three of them suddenly dissapear

into nowhere, transported to safety.

INTERFACE

Evacuate. Evacuate.

MADGE ARWELL

Where have you gone?

INTERFACE

Acid fall in five minutes.

Unauthorized personnel will be

incinerated.

There is suddenly a loud bleeping sound, and from the

speakers around the control room, the voices of LILY and

CYRIL. MADGE turns around, listening.

LILY ARWELL (V.O)

Why have all the stars left the

trees?

CYRIL ARWELL (V.O)

I think they’re...

THE DOCTOR (V.O)

Just concentrate. What are they

doing?


CYRIL is sat on his wooden throne, the crown still glowing

orange. The DOCTOR is knelt in front of him.

CYRIL ARWELL

Evacuating. They’re evacuating.

THE DOCTOR

Why?

(CONTINUED)

CONTINUED: 50.

CYRIL ARWELL

They’re...frightened of the rain.

The rain that burns.

The WOODEN KING lowers his head in agreement, the WOODEN

QUEEN blinks in reply.


WIDE VIEW of the Harvester pod.

LILY ARWELL (V.O)

Caretaker, please explain.


LILY ARWELL (V.O)

I’m frightened.

MADGE is listening to every word, confused.


The DOCTOR and LILY are looking out of the window, the

WOODEN KING & QUEEN behind them.

THE DOCTOR

Those stars. They’re pure life

forces. Souls, if you like. And

they’re trying to escape because

they think their home is going to

burn.

LILY ARWELL

Why can’t they just float up into

the sky?

THE DOCTOR

They need to travel inside a living

thing. Inside Cyril. You see,

this...

He walks over to CYRIL and sonic’s the crown. It’s not

glowing anymore.


...It’s not a crown, it’s a relay.

They’re turning your brother into a

lifeboat! That’s what this place is

for, then. It’s an escape plan, is

that it?

(CONTINUED)

CONTINUED: 51.

The WOODEN QUEEN’s hand lowers onto CYRIL’s shoulder slowly

and creakily.


Don’t you harm him. Do not touch

that child!

But when CYRIL speaks, it isn’t in his voice. It’s in a low

pitched, muffled voice:

CYRIL ARWELL

Your coming was foretold.

LILY ARWELL

Oh my god, what is that? Why does

he sound like that?

THE DOCTOR

Oh, hello! Are we lip-syncing now?

The WOODEN QUEEN’s head turns to the DOCTOR as CYRIL speaks:

CYRIL ARWELL

We had faith. Your coming was

foretold.

THE DOCTOR

There’s no such thing as

foretelling. Trust a time

traveller.

CYRIL ARWELL

We waited, and you came.

THE DOCTOR

So, you’ve got an escape plan. Why

aren’t you escaping?

CYRIL ARWELL

The child is weak.

THE DOCTOR

You mean he’s a child.

CYRIL ARWELL

No, he is weak. The forest cannot

live in him. But there are others.

THE DOCTOR

There are, and the good thing is, I

look great in a hat! So, let’s get

this thing off, eh?

(CONTINUED)

CONTINUED: 52.

CYRIL ARWELL

You are also weak.

THE DOCTOR

I’m really not. Let’s save a

forest, eh Cyril?

CYRIL ARWELL

You are not the one. You are weak.

THE DOCTOR

I’m really not!

And he lifts the crown off CYRIL’s head, grabbing it with

two hands. But the crown burns in his hands and he let’s out

a scream.

LILY ARWELL

Let go of it, just let go! Let go

of it! Let go! Please, just drop

it!

THE DOCTOR

I can’t!

LILY then acts quickly. She runs forwards and grabs the

crown herself. It instantly stops glowing with heat and

returns to it’s normal colour of orange.

LILY ARWELL

Oh. It’s funny, isn’t it? It’s sort

of...tingly.

THE DOCTOR

Tingly!?

The WOODEN QUEEN then places her arm on LILY’s chest and her

voice is then that of the WOODEN QUEEN’s:

LILY ARWELL

She is strong, but she is young.

LILY gasps, and runs away from the WOODEN QUEEN. The crown

rolls away with a clank. The WOODEN QUEEN blinks quickly

with creaks.

THE DOCTOR

She’s strong, I’m weak.

Interesting.

CYRIL ARWELL

(normal voice)

Mummy?

(CONTINUED)

CONTINUED: 53.

LILY ARWELL

Cyril, it’s alright. It’s me. Mummy

isn’t here, but we’re going to her

right now. Aren’t we, Caretaker?

There is a sudden rumble of thunder from outside. The DOCTOR

stares at the ceiling.

THE DOCTOR

No...I don’t think we are.

The sound of rain trickling down the sides of the dome can

be heard. The acid rain has begun.


The rain that burns. Acid rain.


MADGE is crouched on the floor whilst the speaker records

the DOCTOR’s voice. She’s silently crying to herself.

THE DOCTOR (V.O)

We have to get out of this forest,

we’re in terrible danger. This

tower won’t protect us for long.

CYRIL ARWELL (V.O)

Where’s Mummy?

LILY ARWELL (V.O)

She’s coming. You know she’s coming

because, because she always comes,

doesn’t she?


The DOCTOR walks over to CYRIL, still sat on the throne.

THE DOCTOR

Cyril, the way we came here, that

door won’t stay open for ever. Now,

I’m not even sure if I can get us

through the forest safely, but if

we’re going to have any chance at

all, we have to go now.

But CYRIL simply folds his arms.

(CONTINUED)

CONTINUED: 54.

CYRIL ARWELL

No. We wait for Mummy. Mummy always

comes.

THE DOCTOR

Not this time, Cyril. I’m sorry,

but not this time.

But suddenly, huge steps rumble the ground, like a giants

heading towards the lighthouse. But it’s not...it’s the

harvester pod!


The mighty harvester pod is clomping left and right through

the forest clumsily, but still getting there.


LILY ARWELL

What’s that?

THE DOCTOR

It’s an Androzani Harvester, but...

LILY ARWELL

You recognize that thing?

THE DOCTOR

More to the point...I think I

recognize the driving!

THE DOCTOR

Ha-ha! Madge had entered the

forest!


CAMERA SHAKE as MADGE pulls the lever to the left then the

lever to the right.

THE DOCTOR (V.O)

Come on, Madge, you can do it! You

go, girl!

MADGE ARWELL

Shut up, you ridiculous oaf!

55.


WIDE VIEW of the harvester clunking it’s way to the

lighthouse, groaning and whining mechanically.

THE DOCTOR (V.O)

Come on. This way, whoa! You can do

it, you can do it!


THE DOCTOR (V.O)

Excellent driving! Hello!

MADGE ARWELL

Caretaker?

THE DOCTOR (V.O)

Yes?

MADGE ARWELL

You’re fired!


THE DOCTOR

Oh...

LILY giggles.


MADGE pulls the left control, then the right, then the left

again, struggling to keep the harvester stable.


The harvester, towering over the trees, clomping through the

forest towards the lighthouse.


They watch as the harvester clomps left and right. Suddenly,

they hear MADGE wail and the whole harvester crashes to the

ground.

(CONTINUED)

CONTINUED: 56.

THE DOCTOR

It’s OK, she’s fine. Don’t worry.

Stay here. Just stay here.

He rushes out of the room, leaving CYRIL & LILY staring at

each other...


The DOCTOR, running down the stairs hysterically.

THE DOCTOR

Madge! Madge!

MADGE opens the wooden door and runs inside, her hood above

her head. Her coat has holes, still sizzling, from the acid

rain.


You OK?

MADGE ARWELL

Stay inside, the rain is frightful!

Lily? Cyril?

She runs up the stairs to find CYRIL & LILY.

The DOCTOR runs to the door.


The DOCTOR stands at the door, looking at the acid rain

pouring down from the clouds.


MADGE runs into the room where she finds CYRIL & LILY.

MADGE ARWELL

Cyril!

LILLY ARWELL

Mum!

MADGE ARWELL

Lily!

(hugs them)

Ah! What are you doing? How dare

you leave the house?! Cyril, what

have I told you about opening your

presents early?!

(CONTINUED)

CONTINUED: 57.

CYRIL ARWELL

Sorry, Mummy.

MADGE ARWEL

Something like this was bound to

happen!

LILY gasps as the WOODEN KING & QUEEN march over to them.

They all step backwards.


Oh, what are those?

LILLY ARWELL

Stay away from it, you have to stay

back.

MADGE ARWEL

That’s beautiful isn’t it?

CYRIL ARWELL

Mummy?

The WOODEN QUEEN is lowering the crown on her head, MADGE

mesmerized by the glow.

MADGE ARWEL

See how it shines.


The DOCTOR runs to the door of the lighthouse and looks up.

He sonics the harvester.

THE DOCTOR

Nice one, Madge. A complete

write-off!

WIDE VIEW from ground, the thousands of stars now twinkling

in formation, all funneling into the dome of the lighthouse.


All of the stars are streaming into the chair’s occupant:

not CYRIL, but MADGE! All of the tree’s souls shooting

straight into her head.

The DOCTOR sprints in.

(CONTINUED)

CONTINUED: 58.

LILY ARWELL

The stars are going inside her.

She’s taking the whole forest!

MADGE ARWELL

Oh, this is marvelous! This is

really quite wonderful.

Then, the stars stop entering MADGE. The DOCTOR stares at

MADGE in shock, not too sure what to say.

THE DOCTOR

Madge! Are you alright? Talk to me.

Madge, can you hear me?

MADGE ARWELL

Yes, I can hear you. I’m perfectly

fine, thank you.

She’s glowing and speaking similar to if she was drunk.

THE DOCTOR

Fine?! You’ve got a whole word

inside your head?

MADGE ARWELL

I know! It’s funny, isn’t it? One

can’t imagine being a forest, then

suddenly one can! How remarkable.

THE DOCTOR

You’re OK? She’s OK?

The WOODEN KING touches MADGE on the shoulder.

MADGE ARWELL

She is strong. (now herself) Ooh!

That wasn’t me. Oh, this is all

really rather clever, isn’t it?

THE DOCTOR

She’s strong? She’s strong? Ooh!

Stupid me! Stupid old Doctor! Do

you get it, Cyril?

CYRIL ARWELL

No.

THE DOCTOR

Lily, you do, don’t you?

(CONTINUED)

CONTINUED: 59.

LILY ARWELL

No.

THE DOCTOR

Course you do! Think about it! Weak

and strong, it’s a translation.

Translated from the base code of

nature itself. You and I, Cyril,

we’re weak. But she’s female! More

than female. She’s Mum. How else

does life ever travel? The Mother

ship!


Suddenly, the camera shakes. The dome on the top of the

lighthouse is shifting, rocking out of place...like a golf

ball! It lifts into the air, up, up, up!


LILY ARWELL

What’s happening?

THE DOCTOR

No idea. Do what I do- hold tight

and pretend it’s a plan.

Everybody braces themselves. The DOCTOR launches himself

into the air and grabs hold of a dome panel.


The dome hovers for a split second, then soars off into the

sky in a blur!

EXT. TIME VORTEX

FX: The golf ball flying into the vortex!


THE DOCTOR

This is...amazing.

Out of the windows, they can see the time vortex rippling

and spinning in clouds of blue and purple.

(CONTINUED)

CONTINUED: 60.

CYRIL ARWELL

Where are we?

THE DOCTOR

Technically, we’re not anywhere.

We’ve flown into the time vortex.

You’ve got what you wanted- those

idiots down there can burn you old

home and you’ll be safe out here.

But these people helped you, and

they’re in my protection. Now help

them. How do we get home?

The WOODEN QUEEN reaches over and touches MADGE.

MADGE ARWELL

Think.

THE DOCTOR

(confused)

Sorry, what?

MADGE ARWELL

She must only think.

THE DOCTOR

Madge, did you hear that? You said

it, but did you hear it? You’ve got

to think.

MADGE ARWELL

Think...what?

THE DOCTOR

Think of home, just picture it.

Feel it! You have to really real

it. Can you do that? Your mind is

controlling this vessel. You can

fly us all back for Christmas!

MADGE ARWELL

My head is full of trees,

Caretaker. Can’t you fly us home?

THE DOCTOR

I don’t have a home to think of.

And, between you and me, I’m older

than I look, and I can’t feel the

way you do, not any more. And you

really need to feel it, Madge.

Everything about home you miss,

till you can’t bear it, till you

almost burst.

(CONTINUED)

CONTINUED: 61.

MADGE ARWELL

Till it hurts? Is that what you

mean, Caretaker? Till it hurts?

THE DOCTOR

Yes.

Her arm slowly finds something in her pocket, and she takes

it out and clenches it in her hand. The DOCOTR looks and

stares...it’s the telegram.

MADGE ARWELL

Well, then...home in time for

Christmas!

She gasps and moans loudly, her mind on fire inside, blue

light flashing inside and outside the vessel.

EXT. TIME VORTEX

A blue stream of light follows the vessel as it hurtles

through time and space.


MADGE is weeping, white light still flashing.

LILY ARWELL

What’s happening? Where are we

going?

THE DOCTOR

Show them! Show them!

The front of the dome is replaced with a window, showing the

time vortex spinning and turning. But then it transforms

into another picture. The sounds of planes in the b/g echo

in the room, the WOODEN QUEEN points her hand towards the

screen.


Ha! The time vortex. Your Mother is

flying a forest through the time

vortex! Be a little impressed! What

are you going home for? What’s

pulling you there? Please, try.

Please, think.

Then, the time vortex dissapears and snapshots of REG

appear. One holding a baby; one in his suit, smiling;

(CONTINUED)

CONTINUED: 62.

MADGE ARWELL

Reg!

CYRIL ARWELL

Daddy!

MADGE ARWELL

My Reg!

The image changes and MADGE and REG are laughing with CYRIL

as a baby; of REG and LILY in the kitchen;

THE DOCTOR

That’s it. Focus on Reg. Be

careful, but focus on him.

MADGE ARWELL

I don’t know...

THE DOCTOR

How did you meet? You and Reg, tell

me how you met.

MADGE ARWELL

He followed me home. I worked in

the dairy, he always used to follow

me home.

Short clip of REG & MADGE many years ago, REG behind her and

MADGE laughing at him.

LILY ARWELL

Look at Father. He looks so young!

MADGE ARWELL

He said he’d keep on following me

til I married him! Didn’t like to

make a scene!

THE DOCTOR

Just stay focused. Think of home.

This thing, it works psychically-

it’ll find a signal and lock on.

He sonics her and pulls it back.

But then, the image changes into a darker scene. A plane,

fighting through the clouds, dodging other planes.

MADGE ARWELL

No. No, please, don’t show me that!

Please, don’t show me that!

(CONTINUED)

CONTINUED: 63.

CYRIL ARWELL

Is that Daddy’s plane?

MADGE ARWELL

Please, I don’t want to see that!

Please, no!

THE DOCTOR

No, no, no, Madge. We can’t break

the signal now, I’m sorry!

MADGE ARWELL

Not the night he died! I don’t want

to see him die! (cries out loud)

LILY looks up at MADGE, in total confusion of what her

Mother’s just said.

LILY ARWELL

What do you mean...the night he

died?

MADGE ARWELL

Oh, please don’t make me watch him

die!

CYRIL ARWELL

Mummy? Is Daddy dead?

MADGE bursts out, screaming and crying, terrified she might

see REG die in front of her eyes.

CYRIL ARWELL (CONT’D)

Mummy!

REPEAT SC.12 with REG in the cockpit over the channel.

NEW MATERIAL:

A bright light illuminates REG and the cockpit. He doesn’t

know what it is, but it’s helping him. A guardian angel.

MADGE ARWELL (V.O)

Goodbye, my love. Goodbye!


She gasps and sobs, leant back in her throne.

64.

EXT. TIME VORTEX

The vessel, spinning through time.

INT. LIGHTHOUSE - MORNING

FADE TO WHITE.

SLOWLY FADE BACK.

Everybody is on the floor. Smoke is billowing from the roof

and the DOCTOR is helping everyone up.

THE DOCTOR

Cyril! Lily! Are you alright?

LILLY ARWELL

Yeah.

The DOCTOR is sonicing the WOODEN KING & QUEEN, their

lifeless figures on the floor.


Are they dead?

THE DOCTOR

No. They’re just wood now. They’ve

been...emptied. The forest has gone

from your head too, hasn’t it?

MADGE ARWELL

But where is it now?

THE DOCTOR

The life force of the whole forest

has transmuted itself into a

sub-etheric waveband of light,

which can exist as

a...The...the...the...souls of the

trees are out among the stars, and

they’re shining, very happy. And

you got them there. Well done,

Madge.

MADGE ARWELL

And where are we?

THE DOCTOR

Home! Christmas morning! We’ve

taken a bit of a short cut. Haven’t

you always wanted to do that?

(CONTINUED)

CONTINUED: 65.

LILLY ARWELL

Mother?

MADGE ARWELL

Oh, look at you. You’ve been so

brave. You...

She walks towards them but they back off, scared.


Look, we’re home again, see?

LILLY ARWELL

What did you mean, watch him die?

Where’s Father? Where is he?

Where’s Daddy? Why are you holding

a telegram? Well, what does it say?

CYRIL ARWELL

Please, just tell us!

LILLY ARWELL

Tell us!

THE DOCTOR

I imagine you’d prefer to be alone.

MADGE ARWELL

I don’t believe anyone would prefer

that. Stay close, Caretaker.

THE DOCTOR

I’ll be right outside.

The DOCTOR walks down the steps and outdoors.

MADGE ARWELL

Lily...Cyril...

EXT. ARWELL HOUSE - MORNING

The vessel is parked outside the Arwell house. The Doctor

walks out of the door and stops, and stares.

MADGE ARWELL (V.O)

A few nights ago, your Father, who,

as you know, was the best of men

and the bravest of pilots...

66.

INT. LIGHTHOUSE - MORNING

MADGE ARWELL

...was flying home for Christmas.

His plane was badly damaged, and

his instruments failed him.

Unfortunately, he was flying on a

night there was no moon, and

because it was very cloudy, there

were no stars...there were no stars

to light his way.

CYRIL ARWELL

Did he get lost?

MADGE ARWELL

Yes, Cyril. He got so very lost.

THE DOCTOR

Um...sorry to interrupt. You might

want to pop out here for a moment.

MADGE ARWELL

Caretaker, I’m talking to my

children!

THE DOCTOR

I know, and before you go any

further, I think you’d better come

and look.


CLOSE UP of the DOCTOR, adjusting his bow tie, impressed

with what he’s done.

WIDE VIEW of MADGE, CYRIL & LILY walking down the field to

the DOCTOR, staring at something we can’t see.

THE DOCTOR

No stars to light the way, Madge?

There was one.


FLASH WHITE and fade into the cockpit again, a memory. REG

is pulling at the handles, desperate to find some sort of

help.

(CONTINUED)

CONTINUED: 67.

THE DOCTOR (V.O)

There was you.

A blinding light illuminates the cockpit, REG squinting.

What is that?

ZOOM slowly onto the picture of MADGE, stuck onto the window

of the plane.

The co-pilot crawls through, also squinting.

CO-PILOT

What is it?

REG ARWELL

I don’t know...but it’s all we’ve

got. We can follow it!

REG’s face beams with happiness and determination. He’s

going to survive! He’s going home for Christmas.

EXT. TIME VORTEX

The familiar blue and purple clouds of the time vortex,

spinning away. But then, something else. REG’s plane! He’s

hurtling it through time and space itself, following the

light...the vessel.


THE DOCTOR

Madge, Arwell, who flew a whole

forest through the time

vortex...plus one husband! He did

it again, Madge. He followed you

home.

MADGE is staring, utterly perplexed. Standing less then

thirty feet away is her husband...alive! And REG is now

walking from the plane, his goggles above his head, staring

around, wondering where he is. CYRIL & LILY smile and laugh.


Look what you can do! Mother

Christmas!

REG ARWELL

Madge! What am I doing here?

(CONTINUED)

CONTINUED: 68.

MADGE ARWELL

It’s Christmas Day, my love! Where

else would you be?

REG ARWELL

Christmas Day? How?

MADGE ARWELL

We took a short cut!

And MADGE, CYRIL & LILY sprint over to REG, jumping on top

of him, enjoying another moment with her husband and their

Father.

CYRIL & LILY

Daddy!

The DOCTOR watches from afar, smiling to himself. Beaming.

He’s done it again.

THE DOCTOR

Happy crying. Humany-wumany.

INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - MORNING

MUSIC: Silent Night.

REG, MADGE, CYRIL & LILY are on the floor around a small

table, playing a game. REG’s arm is around MADGE.

CUT TO the DOCTOR, watching through a slightly open door.

He’s watching happily, not wanting to ruin the moment of

this family.

INT. UNCLE DIGBY’S HOUSE - DOCTOR’S BEDROOM - MORNING

The attic door opens slowly and MADGE walks in. In front of

her is the TARDIS, placed in the middle of the attic, a beam

of light casting across the blue box.

The door opens and the DOCTOR walks out.

THE DOCTOR

Ahh...

MADGE ARWELL

Of course! It’s you, isn’t it? My

spaceman angel, with his head on

backwards!

(CONTINUED)

CONTINUED: 69.

THE DOCTOR

How do I look the right way round?

MADGE ARWELL

Funnier.

THE DOCTOR

OK...

MADGE ARWELL

So, you came back.

THE DOCTOR

Well, you we’re there for me when I

had a bad day. Always like to

return a favor. Got a bit glitchy

in the middle there, but it sort of

worked out in the end. Story of my

life.

MADGE opens her arms and they share a hug.

MADGE ARWELL

Thank you.

THE DOCTOR

Oh, you did it all yourself, Madge

Arwell. But thanks for thanking me.

MADGE ARWELL

Now, the last time I saw you, I

went back the next day, the police

box had gone.

THE DOCTOR

(smiling)

Yeah. You want to see how it’s

done?

MADGE ARWELL

No. I want you to stay for

Christmas, please.

THE DOCTOR

Ah. Well, you see, things to do,

people to see.

MADGE ARWELL

Of course, yes. Family of your own.

THE DOCTOR

Well...no, actually...

(CONTINUED)

CONTINUED: 70.

MADGE ARWELL

Oh! Yes, yes, you said no family.

But there must be people who love

you. Friends...

THE DOCTOR

No. Well, yes. But...it’s a long

story...but they all think I’m

dead. Never mind. Anyway, watch my

box do it’s thing. It’s really

cool, you’ll love it!

MADGE ARWELL

No, no-one should be alone at

Christmas.

THE DOCTOR

I’m fine, I don’t mind. I’m really

very good at-

MADGE ARWELL

I’m not talking about you, I’m

talking about your friends! You

can’t let them think that you’re

dead! Not at Christmas!

THE DOCTOR

(scratching his head)

It’s complicated, very complicated.

it’s far too complicated-

MADGE ARWELL

You must tell them. At once. Off

you go.

THE DOCTOR

Yes, Mum. I’ll think about it.

They smile at each other, then the DOCTOR kisses MADGE on

the cheek and runs back to the TARDIS.


Now, eyes on the box.

MADGE ARWELL

Oh, Caretaker? What if I require

you again?

THE DOCTOR

Make a wish!

(CONTINUED)

CONTINUED: 71.

Then, the DOCTOR closes the TARDIS door behind him.

(FAMILIAR ACTION MUSIC) MADGE is watching, not moving her

eyes. The TARDIS throbs with light. MADGE takes a few steps

back as papers fly around the attic. Just as it’s

dissapearing, REG walks in and stands beside MADGE.

REG ARWELL

What the hell was that?

MADGE ARWELL

Oh, it was just the Caretaker

returning to the time vortex. It’s

a lovely place. I’ve been there

myself! Shall we go downstairs?

EXT. AMY AND RORY POND’S HOUSE - AFTERNOON

On the blue door. A hand knocks three times and lowers.

AMY (V.O)

Ughhh! If that is more carol

singers, I have my water pistol!

You don’t want to be all wet on a

night like this.

AMY opens the door and points a water pistol at the DOCTOR.

Her face drops, and she stares.

CUT TO the DOCTOR, standing at the doorstep, a face that

proves he’s not too sure what he’s doing there. It’s gently

snowing in the b/g.

THE DOCTOR

Not absolutely sure...how long...

AMY

Two years?

She squirts the water in is face, again and again. The

DOCTOR flinches, wiping it off him.

THE DOCTOR

OK. Fair point.

AMY

So. You’re not dead.

THE DOCTOR

And a happy New Year!

(CONTINUED)

CONTINUED: 72.

AMY

River told us.

THE DOCTOR

Well, of course she did.

AMY

She’s a good girl. (pause) Well,

I’m not going to hug first.

THE DOCTOR

Nor am I.

The DOCTOR looks around awkwardly, not looking at AMY.

AMY fiddles with her watergun, not looking at the DOCTOR.

The DOCTOR looks back, then away once more. His eyes meet

AMY.

She looks, then away once again.

They both meet eyes, staring. The DOCTOR smiles slowly.

They both laugh together, and hug tightly. A long, happy,

and laughing hug.

AMY

Ohh! Mr Pond! Guess who’s coming

for dinner!

RORY walks into the hall, wrapping his fleece around him.

RORY

Ooooh! Not dead, then.

AMY

We’ve done that.

RORY

Oh.

AMY

We’re about to have Christmas

dinner. Joining us?

THE DOCTOR

If it’s no trouble.

RORY

There’s a place set for you.

(CONTINUED)

CONTINUED: 73.

THE DOCTOR

But you didn’t know I was coming.

Why would you set me a place-

AMY

Oh, because we always do. It’s

Christmas you moron.

The DOCTOR stares at them both, the sadness in his eyes.

They’re always thinking of him, even when he’s not there.

RORY

Come on.

RORY and AMY walk off into the kitchen, but the DOCTOR stays

where he is. He’s upset, but happy at the same time. He

stares into the house, deep in thought.

Then, he walks into the hall, the door still open. He turns

to close the door, but before he does, he brings his hand to

his eye...and slowly...pushes away a small tear in the

corner of his eye.

He looks down at his finger, smiles to himself, or so to the

camera, and then slowly closes the door.

CUT TO CLOSING TITLES

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The Doctor, The Widow and the Wardrobe Final