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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.
MADGE ARWELL (CONT’D)
Are you hurt?
She begins to slowly walk down the trench, careful not to
tumble down.
MADGE ARWELL (CONT’D)
Did you fall?
She looks up into the night sky. Clear. Not a cloud in the
sky.
MADGE ARWELL (CONT’D)
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.
MADGE ARWELL (CONT’D)
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.
INT. COCKPIT - NIGHT
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.
THE DOCTOR (CONT’D)
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.
THE DOCTOR (CONT’D)
(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.
THE DOCTOR (CONT’D)
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!
THE DOCTOR (CONT’D)
...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.
THE DOCTOR (CONT’D)
...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.
MADGE ARWELL (CONT’D)
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.
THE DOCTOR (CONT’D)
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.
INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - NIGHT
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.
INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - NIGHT
CLOSE UP of CYRIL, presumably asleep.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
Soft whispering voices still echoing from the present, and
still throbbing.
INT. UNCLE DIGBY’S HOUSE - LANDING - NIGHT
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.
INT. UNCLE DIGBY’S HOUSE - CORRIDOR - NIGHT
LILY walks down the long corridor. There a sudden flashes of
lights, and the sound of electronic sparking and the
whizzing of the sonic.
INT. UNCLE DIGBY’S HOUSE - LANDING - NIGHT
CYRIL, holding a torch, creeps back out of his bedroom and
walks down the landing. He begins to walk down the stairs.
INT. UNCLE DIGBY’S HOUSE - CORRIDOR - NIGHT
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.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
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.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
Soft whispering voices.
CYRIL walks towards the present, eyes and mouth wide open.
LILY ARWELL (V.O)
Who are you?
INT. UNCLE DIGBY’S HOUSE - DOCTOR’S BEDROOM - NIGHT
LILY ARWELL
Really, who are you?
Electronic beeping. The DOCTOR examines the wires.
THE DOCTOR
Your brother, where is he?
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
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!
INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - NIGHT
LILY looks into the room towards CYRIL’s hammock. It looks
occupied.
25.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
CYRIL is looking into the present again.
Soft whispering voices.
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!
INT. UNCLE DIGBY’S HOUSE - DOCTOR’S BEDROOM - NIGHT
The door opens and LILY walks in.
LILY ARWELL
Still in bed, asleep.
THE DOCTOR
(analyzing wires)
OK. Faulty, then.
EXT. THE FOREST - NIGHT
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.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
CYRIL crawls backwards, panting.
INT. UNCLE DIGBY’S HOUSE - DOCTOR’S BEDROOM - NIGHT
The wires beep once again.
THE DOCTOR
You sure he’s still in bed?
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
CYRIL overcomes his fear, and begins to crawl back into the
present.
EXT. THE FOREST - NIGHT
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.
Soft whispering voices.
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.
INT. UNCLE DIGBY’S HOUSE - CHILDRENS BEDROOM - NIGHT
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!
THE DOCTOR (CONT’D)
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)
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
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!
EXT. THE FOREST - NIGHT
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.
THE DOCTOR (CONT’D)
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.
EXT. THE FOREST - NIGHT (CONT’D)
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.
EXT. THE FOREST - NIGHT (CONT’D)
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.
EXT. THE FOREST - NIGHT (CONT’D)
PAN around CYRIL, his torch shining down on the footprints-
bigger every step- as he walks alongside them.
CREEPY music.
EXT. THE FOREST - NIGHT (CONT’D)
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.
THE DOCTOR (CONT’D)
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?
THE DOCTOR (CONT’D)
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.
INT. UNCLE DIGBY’S HOUSE - MAIN SITTING ROOM - NIGHT
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.
EXT. THE FOREST - NIGHT (CONT’D)
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.
EXT. THE FOREST - NIGHT (CONT’D)
Another similar shot of the treetops, soaring above them
(PRAC. and FX. shot) quickly.
EXT. THE FOREST - NIGHT (CONT’D)
MADGE is slowly walking through the forest, her bright torch
darting from tree to tree.
EXT. THE FOREST - NIGHT (CONT’D)
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.
EXT. THE FOREST - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT
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!
EXT. THE FOREST - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT
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!
EXT. THE FOREST - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT
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.
EXT. THE FOREST - NIGHT
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.
INT. LIGHTHOUSE - NIGHT
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!
THE DOCTOR (CONT’D)
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.
EXT. THE FOREST - NIGHT
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.
MADGE ARWELL (CONT’D)
And there’s a war on.
DROXIL’s mouth opens, and he scolds BILLIS who also looks
quite shocked, too.
MADGE ARWELL (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT
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.
THE DOCTOR (CONT’D)
Cyril? Can you hear me?
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT (CONT’D)
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!
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT (CONT’D)
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!!!
EXT. THE FOREST - NIGHT
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.
MADGE ARWELL (CONT’D)
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.
INT. LIGHTHOUSE - NIGHT
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!
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
THE DOCTOR (CONT’D)
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.
EXT. THE FOREST - NIGHT
BIRDS EYE VIEW of the tree’s stars slowly rising from the
tips of the trees, glowing with life and strength.
INT. LIGHTHOUSE - NIGHT
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.
THE DOCTOR (CONT’D)
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.
INT. HARVESTER POD - NIGHT
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?
INT. LIGHTHOUSE - NIGHT
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.
EXT. THE FOREST - NIGHT
WIDE VIEW of the Harvester pod.
LILY ARWELL (V.O)
Caretaker, please explain.
INT. HARVESTER POD - NIGHT
LILY ARWELL (V.O)
I’m frightened.
MADGE is listening to every word, confused.
INT. LIGHTHOUSE - NIGHT
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.
THE DOCTOR (CONT’D)
...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.
THE DOCTOR (CONT’D)
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 DOCTOR (CONT’D)
The rain that burns. Acid rain.
INT. HARVESTER POD - NIGHT
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?
INT. LIGHTHOUSE - NIGHT
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!
EXT. THE FOREST - NIGHT
The mighty harvester pod is clomping left and right through
the forest clumsily, but still getting there.
INT. LIGHTHOUSE - NIGHT
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!
INT. HARVESTER POD - NIGHT
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.
EXT. THE FOREST - NIGHT
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!
INT. HARVESTER POD - NIGHT
THE DOCTOR (V.O)
Excellent driving! Hello!
MADGE ARWELL
Caretaker?
THE DOCTOR (V.O)
Yes?
MADGE ARWELL
You’re fired!
INT. LIGHTHOUSE - NIGHT
THE DOCTOR
Oh...
LILY giggles.
INT. HARVESTER POD - NIGHT
MADGE pulls the left control, then the right, then the left
again, struggling to keep the harvester stable.
EXT. THE FOREST - NIGHT
The harvester, towering over the trees, clomping through the
forest towards the lighthouse.
INT. LIGHTHOUSE - NIGHT
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...
INT. LIGHTHOUSE - NIGHT (CONT’D)
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.
THE DOCTOR (CONT’D)
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.
EXT. THE FOREST - NIGHT
The DOCTOR stands at the door, looking at the acid rain
pouring down from the clouds.
INT. LIGHTHOUSE - NIGHT
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.
MADGE ARWELL (CONT’D)
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.
EXT. THE FOREST - NIGHT
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.
INT. LIGHTHOUSE - NIGHT
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!
EXT. THE FOREST - NIGHT
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!
INT. LIGHTHOUSE - NIGHT
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.
EXT. THE FOREST - NIGHT
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!
INT. LIGHTHOUSE - NIGHT
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.
INT. LIGHTHOUSE - NIGHT
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.
THE DOCTOR (CONT’D)
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!
INT. LIGHTHOUSE - NIGHT
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.
MADGE ARWELL (CONT’D)
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.
MADGE ARWELL (CONT’D)
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.
EXT. ARWELL HOUSE - MORNING
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.
INT. COCKPIT - NIGHT
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.
EXT. ARWELL HOUSE - MORNING
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.
THE DOCTOR (CONT’D)
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.
THE DOCTOR (CONT’D)
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