SPACE

Above Earth, a large warship turns its g*n on the planet. In all fairness, a warning is given.

SPEAKER: People of Earth, you stand alone.

A series of expl*si*n occur throughout the ship.

SPEAKER: Intruder alert, intruder alert. Intruder alert.

INT. SPACESHIP, CORRIDOR

The DOCTOR runs along the corridor, the expl*si*n following. He falls and looks behind him at the flames before standing and continuing to run down the corridor, aiming his sonic screwdriver at a closed door. The door opens just in time and the DOCTOR runs in. He then turns with the screwdriver to close the door. Another large expl*si*n takes away a section of the ship, the section where the DOCTOR is. We see he is clinging to exposed wires as he tries to climb back into the ship. He sees an empty spacesuit lying on the floor and reaches out for it.

DOCTOR: Come here, spacesuit. Come to Doctor.

There is another expl*si*n and the spacesuit flies into space, heading towards Earth. With a scream, the DOCTOR lets go and the blast propels him after the suit. He grabs it by the foot with a manic laugh.

DOCTOR: Got it!

As he plummets towards the planet, the DOCTOR hurriedly tries to get into the suit.

Matt Smith

Claire Skinner

DOCTOR WHO

"The Doctor, The Widow and the Wardrobe"

By

Steven Moffat

PRODUCER

Marcus Wilson

DIRECTOR

Farren Blackbourne

EXT. COUNTRY ROAD, NIGHT

A woman, MADGE, is riding a bicycle down the road, a headlight and basket attached to the handlebars. We hear a prolonged scream and there is a bright light followed by a crash. MADGE falls off her bike into a bush. She slowly stands and makes her way into the field and the smoking crater. At the bottom is the DOCTOR lying face-down in the spacesuit.

MADGE: Hello? Hello? Hello? Are you all right? Are you hurt? (climbs into the crater) Did you fall? (looks up at the sky) Where did you fall FROM?

DOCTOR: (groans) The helmet...

MADGE: All right. Just... Just let me... I don't want to hurt you. (opens both visors) Oh!

We see the back of the DOCTOR'S head.

DOCTOR: I can't see! I'm blind!

MADGE: Oh, no, love. No. I think you've just got your helmet on backwards. How did you manage that?

DOCTOR: I got dressed in a hurry.

INT. HOUSE, NIGHT

A young boy is looking up at the night sky through a telescope. A Christmas tree is in the room behind him. MADGE enters the house and sees him.

MADGE: Cyril, what are you doing awake? (begins searching husband's jacket pockets as it rests on a chair)

CYRIL'S older sister LILY enters the room, also in her pajamas.

LILY: It's the moon's fault, apparently. It's too interesting.

CYRIL: It's astronomy. 

LILY: Don't make up words. He's always making up things and breathing.

MADGE: Where's your father?

CYRIL: In the garden.

MADGE: What's he doing in the garden? (walks towards the window)

CYRIL: Agriculture.

LILY: You're not fooling anyone!

MADGE: 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: All right. 

MADGE: Good boy!

MADGE kisses CYRIL on the head before leaving. CYRIL turns back to the telescope. Barely seconds later, REG, MADGE'S husband, enters the room. 

REG: Was that your mother? Where's she going?

CYRIL: Out.

EXT. COUNTRY ROAD, NIGHT

MADGE is driving a convertible – rather poorly – through the street. Ahead of them is a police box. MADGE pulls off to the side of the road and as she goes to put it in park, it jerks forward, hitting a small post.

DOCTOR: Did we just... bump into something?

MADGE: No, no.

DOCTOR: We seemed to bump into quite a lot of things.

MADGE: Well, a lot of things get in the way. It's hardly my fault. You need to take that silly thing off. (gets out of the car and walks around to the passenger side)

DOCTOR: Can't. Impact suit. It's still repairing me.

MADGE: Repairing you? (opens the door and helps the DOCTOR out)

DOCTOR: Yeah. Well, I mean, that's the idea.

MADGE: Won't it repair you all back to front? (walks with him down the street)

DOCTOR: (feels his body nervously) No, no. 

MADGE: Well, that's good!

The DOCTOR walks into a streetlamp.

MADGE: There's a streetlamp.

DOCTOR: Yes. I got that impression.

MADGE: Round this way. (walks him to the front of the police box) Don't you want me to take you to hospital or something? Or you're welcome to come to our house.

DOCTOR: No, no, no. I'm fine. (searches pockets) I just need to find the... the key... 

MADGE: Oooh, (pulls out a hairpin) do you want me to do it with a pin? I'm good with a pin. (sets to work on the lock)

DOCTOR: Multi-dimensional, triple-encoded temporal interface. Not really susceptible to pointy things. (goes to lean on the box but misses and nearly falls over)

MADGE: Got it!

DOCTOR: OK. (scratches the top of the helmet) Suddenly the last 900 years of time travel seem that bit less secure. (holds out his hand to where he thinks MADGE is standing) Thank you for taking care of me. You didn't have to, you know. You've been very kind.

MADGE: Don't be silly. It's Christmas Eve. No-one should be alone at Christmas.

DOCTOR: What did you say your name was?

MADGE: Madge. Madge Arwell.

DOCTOR: If there's ever anything that I can do for you, let me know.

MADGE: How?

DOCTOR: I don't know. Make a wish, that usually works. 

MADGE: Does it?

DOCTOR: Well, it did for me. You're here, aren't you? Well, don't wait around here. Just... off you go home. I'll just go and, and wait inside here. (heads into the TARDIS and we hear a thud) Ow! (he is in a real police box) Wrong one. Do you think we could try again?

INT. HOUSE, NIGHT

REG is sitting reading the newspaper. The headline reads "w*r Looms". He looks up when MADGE enters.

REG: You were a long time. Been taking home strays, as usual?

MADGE: Just the one. What have you been reading? Not the w*r again! People keep reading about the w*r, then it will actually happen. (sits in chair and pulls out knitting) And then where will you be?

THREE YEARS LATER

INT. b*mb, NIGHT

REG is piloting home a heavily damaged plane and one of the engines has just died. One of his crew joins him.

CREW: Sir, Anderson's in a bad way. Where are we?

REG: I don't know. Somewhere over the Channel.

CREW: What do I tell Anderson? 

REG: Tell him... Tell him... Tell him we're going home for Christmas.

CREW: Yes, sir. (leaves)

REG: (on verge of tears) I'm sorry, my love. (lightly caresses photo of MADGE tucked in the windscreen as he fights to keep the plane in the air)

INT. HOUSE, BEDROOM, DAY

MADGE wakes and sits up slowly. She looks over at her bedside table where a telegram lies open. "We regret to inform you…over the Channel…due to enemy action…deepest sympathy".

INT. HOUSE, PARLOR, DAY

MADGE looks out the window as LILY and CYRIL sit at the dining table. The house is decorated for Christmas.

CYRIL: When's Father coming back?

LILY: For Christmas, like he always does. (holds out the wishbone) Now, hurry up and think of something.

CYRIL: But we're going to Uncle Digby's house. Will he be there?

LILY: He will, won't he, Mother? Daddy WILL be there?

MADGE: (pastes on fake smile as she turns) Of course he will.

LILY: See? Now, have you thought of anything?

CYRIL: Yep.

LILY: Count of three, then. Make a wish. One, two, three.

As the children pull the wishbone, MADGE closes her eyes, seemingly making her own wish. We then zoom "through" the telescope to the TARDIS in space.

EXT. UNCLE DIGBY'S HOUSE, DAY

The house is large, the type that would have had a group of servants looking after it in its heyday. MADGE and the children arrive on Christmas Eve. MADGE sets down her suitcase and just looks at the house.

CYRIL: Is it haunted?

LILY: Is it draughty?

MADGE: This is no good. Where's Mr Cardew? He was supposed to be here. (walks to front door and knocks)

CYRIL: Maybe it's haunted by the ghost of Uncle Digby.

LILY: (looks at CYRIL) Uncle Digby is still alive. He's in a home in Battersea.

MADGE: (knocks on door) Mr Cardew!

CYRIL: But why do we have to come here?

LILY: Because of the b*mb, stupid.

CYRIL: I like the b*mb. It's exciting.

MADGE walks back to the children.

LILY: Will Father be here? He will, won't he? You said he'd meet us at the house.

MADGE: He'll be here, of course he will. You don't need to keep asking about it.

There is the sound of a door lock turning. The children run to the door.

CHILDREN: Father!

MAN: (muffled) Sorry! It's the door, it's developed a fault.

The door does not want to open fully, seemingly stuck.

MADGE: Hello? Mr Cardew?

The door falls inward and the sound echoes through the house. The DOCTOR sticks his head out from behind the other door.

DOCTOR: There we go! Well, come in, in you come. 

INT. HOUSE, FRONT HALL, DAY

MADGE and the children walk slowly into the front hall, the DOCTOR is behind them.

DOCTOR: Mind your step. Now, don't worry, the back door is still, broadly speaking, operational. (pushes the door back into place) Right, then, may I take your cases?

MADGE: Thank you. (sets case on floor)

LILY: Thank you. (sets case on floor)

CYRIL: Thank you. (sets case on floor)

DOCTOR: Lovely. Would you mind carrying them for me? I need to show you round. (walks past them and up the stairs)

MADGE: No, wait! Who are you?

DOCTOR: (stops and turns) I'm the caretaker.

MADGE: But you're not Mr Cardew.

DOCTOR: I agree. 

MADGE: But I don't understand. Are you the new caretaker?

DOCTOR: (walks back downstairs) Usually called the Doctor. Or the Caretaker. Or Get Off This Planet. Though, strictly speaking, that probably isn't a name. Hello, Madge Arwell. (shakes her hand)

MADGE: Hello. 

DOCTOR: And Cyril Arwell. And Lily Arwell. (shakes them by the hand) Now, come on, come on, lots to see. Whistle-stop tour. Take notes, there will be questions.

INT. HOUSE, SITTING ROOM, DAY

The DOCTOR opens a set of double doors with a flourish. The Arwells look on, overwhelmed by the "caretaker".

DOCTOR: Smaller sitting room. Just chairs. Bit pointless without a television, so I made some repairs. 

The DOCTOR flicks a switch on the wall and the chairs begin to move around like a ride at Disney. LILY and CYRIL are amazed.

DOCTOR: I know!

INT. HOUSE, KITCHEN, DAY

The DOCTOR walks into the kitchen and points out things.

DOCTOR: Kitchen! That's a cooker, probably. And these are taps. Hot, cold... lemonade.

CYRIL: Lemonade?

DOCTOR: I know!

LILY smiles.

INT. HOUSE, FRONT HALL, DAY

The DOCTOR steps on the bottom step expecting it to be an escalator and nearly stumbles when it doesn't move.

DOCTOR: Staircase. Seems to have broken down. We'll have to walk up.

INT. HOUSE, UPSTAIRS HALL, DAY

The DOCTOR continues the tour, pointing at different doors.

DOCTOR: I sleep up there, stay away. Beware of panthers.

MADGE: Panthers??

DOCTOR: They're terrifying! Have you never seen panthers?

CYRIL stays behind and looks up the stairway to the attic.

DOCTOR: Cyril!

CYRIL hurries to catch up.

INT. HOUSE, MASTER BEDROOM, DAY

The DOCTOR opens the door to reveal a room done in varying shades of blue with gold and brown. There is a half-canopy over the bed. There is also a small fireplace.

DOCTOR: Mum's bedroom, grown-up, your basic boring. (closes door)

INT. HOUSE, CHILDREN'S ROOM, DAY

The DOCTOR opens the door to the room and it looks more like a playroom than a bedroom with a myriad of toys and games with both children. He gets very excited, showing them the highlights

DOCTOR: Lily and Cyril's room! I'm going to be honest... masterpiece. The ultimate bedroom. A sciencey-wiencey workbench. A jungle! A maze! A window disguised as a mirror. A mirror disguised as a window! Torches for midnight feasts and secret reading. Zen garden, mysterious cupboard, zone of tranquility, rubber wall, dream t*nk, exact model of the rest of the house... not QUITE to scale, apologies... dolls with comical expressions, the Magna Carta, a foot spa, Cluedo, a yellow fort.

CYRIL: Where are the beds?

DOCTOR: I couldn't fit everything in. There had to be sacrifices. Anyway, who needs beds when you've got... (runs to the wall by the door and pulls a lever) hammocks?! (two hammocks fall from the ceiling on rope) (whispers) I know!

CYRIL tries to get on the hammock.

CYRIL: But how do you get on?

DOCTOR: Watch and learn, kid.

The DOCTOR makes a running leap but falls between the hammocks to the floor.

MADGE: For God's sake!

DOCTOR: (sits up, stunned) This hammock has developed a fault!

MADGE: Can you please stop talking? Can you please just stop?

DOCTOR: (chagrined) Sorry.

MADGE: Children, go downstairs.

LILY: Why? Are we leaving?

MADGE: Yes! No! I don't know. Just, please, go downstairs!

LILY: You don't need to shout.

LILY and CYRIL leave the room.

MADGE: Why are you doing all this?

DOCTOR: I'm just... trying to take care of things. I'm the caretaker.

MADGE: That's not what caretakers do.

DOCTOR: Then why are they called caretakers?

MADGE: Their father's d*ad.

DOCTOR: I'm sorry.

MADGE: Lily and Cyril's father... my husband... Is d*ad, 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... I don't know why I keep shouting at them.

DOCTOR: Because every time you see them happy, you remember how sad they're going to be, and it breaks your heart.

LILY: (muffled) Mother, come and see!

CYRIL: (muffled) Mother, you've got to see this. Come on!

DOCTOR: Because what's the point in them being happy now if they're going to be sad later?

LILY: (muffled) Mother! 

CYRIL: (muffled) Mother? Are you coming?

DOCTOR: The answer is, of course... because they are going to be sad later. Now, we'd better get downstairs. I think they may have found the main sitting room.

CYRIL: (muffled) Mother!

DOCTOR: (whispers) I repaired it.

MADGE precedes the DOCTOR out of the room. The DOCTOR gives a small laugh as he closes the door.

INT. HOUSE, MAIN SITTING ROOM, DAY

The room looks like something from a Christmas display in a store. There is a large tree in the center with model trains and planes circling it. Ribbons are draped from the ceiling. On the floor is a large present, almost as tall as CYRIL. The children turn in amazement as the adults enter.

DOCTOR: I know!

CYRIL and LILY walk closer to the tree and present now that MADGE and the DOCTOR were present.

CYRIL: Look at that present! (turns over the tag) It's for me!

LILY: (reads tag) It says it's for all of us.

CYRIL: I'm the youngest, I get to open it first!

LILY: Doesn't say who it's from. Mother, who left this here?

MADGE turns around to look at the DOCTOR only to see him disappear down the hall.

MADGE: That man is quite ridiculous. You must stay away from him.

LILY: I like him. 

CYRIL: I like him, too.

LILY: And it's a nice tree, isn't it?

CYRIL: It's the BEST tree in the world.

MADGE: Yes. Yes, I suppose it is.

CYRIL: Say it, mother. Go on, please. Say the thing you always say.

MADGE: This Christmas is going to be the best Christmas ever. (wraps them in a hug and kisses each on the forehead)

CYRIL looks past his mother and sees the present glow from inside.

INT. HOUSE, CHILDREN'S ROOM, NIGHT

The children are lying in the hammocks and CYRIL is having a hard time falling asleep.

CYRIL: Lily! Lily, can you sleep? Lily!

LILY: Shut up!

CYRIL: What do you think that present is? We could just sneak down and have a look.

LILY: Go to sleep!

INT. HOUSE, MAIN SITTING ROOM, NIGHT

The present glows from within.

INT. HOUSE, CHILDREN'S ROOM, NIGHT

LILY rolls over and tries to go to sleep.

INT. HOUSE, MASTER BEDROOM, NIGHT

MADGE is holding the telegram about REG as she tries to sleep. 

INT. HOUSE, HALL, NIGHT

LILY sneaks out of the room 

INT. HOUSE, CHILDREN'S ROOM, NIGHT

CYRIL is asleep.

INT. HOUSE, MAIN SITTING ROOM, NIGHT

The present glows from within.

INT. HOUSE, HALL, NIGHT 

LILY starts down the stairs until she hears the sonic. She then turns back and heads up the stairs to the attic. CYRIL sneaks out of the room.

INT. HOUSE, ATTIC, NIGHT

LILY creeps down the hall to the room where the sound is coming from.

INT. HOUSE, HALL, NIGHT

CYRIL heads downstairs to the main sitting room and sees the glowing present.

INT. HOUSE, ATTIC, NIGHT

LILY enters the room and sees the DOCTOR sitting at a desk working on something and the TARDIS is in the center of the room.

LILY: You were lying about the panthers.

DOCTOR: Famous last words. 

LILY: Why have you got a phone box in your room?

DOCTOR: It's not a phone box, it's my... wardrobe. I've just painted it to look like a phone box.

LILY: What are you doing? 

DOCTOR: Rewiring.

LILY: Why would you rewire a wardrobe?

DOCTOR: Have you seen the way I dress?

LILY smiles.

INT. HOUSE, SITTING ROOM, NIGHT

CYRIL slowly walks towards the present.

INT. HOUSE, ATTIC, NIGHT

LILY: Who are you? REALLY, who are you?

DOCTOR: (a light blinks, concerning the DOCTOR) Your brother, where is he?

INT. HOUSE, SITTING ROOM, NIGHT

CYRIL unties the ribbon around the present. He then kneels down and opens the box. A bright light shines through and a breeze carries through snowflakes. CYRIL looks upstairs before crawling into the box. He pauses when he sees a winter forest. He backs up and sits on the floor, still looking at the box.

INT. HOUSE, CHILDREN'S ROOM, NIGHT

LILY peers into the room and sees what she believes to be CYRIL asleep on the hammock, buried under his blankets.

INT. HOUSE, SITTING ROOM, NIGHT

CYRIL looks backwards before going through the box again

INT. HOUSE, ATTIC, NIGHT

LILY returns to the attic and the DOCTOR looks up from his project.

LILY: Still in bed, asleep.

DOCTOR: OK. Faulty, then. (uses the sonic on the wires)

EXT. FOREST

CYRIL jumps down from the box into the snow. On one of the pines in front of him, teardrop icicles form, their base looking like Christmas ornaments. CYRIL slowly walks to the tree and pulls the silver ball free. It grows in his hand, like a balloon being blown up, and he drops it to the ground. It expands again, larger and larger, until it cracks. CYRIL runs back and slides through the box to the sitting room floor.

INT. HOUSE, ATTIC, NIGHT

LILY is sitting on a trunk across the room from the DOCTOR. The device beeps again and the DOCTOR looks at it before turning to LILY.

DOCTOR: You're sure he's still in bed?

EXT. FOREST

CYRIL crawls back through the box and pauses when he sees the ball has cracked open like an egg. He walks over and sees small footprints walking deeper into the forest.

INT. HOUSE, CHILDREN'S ROOM, NIGHT

LILY and the DOCTOR enter the room.

LILY: See?

The DOCTOR puts a finger to his lips shushing her before walking over to the hammock. He pulls down the blanket to reveal a teddy bear.

DOCTOR: Oh, he's good! The old bear and duvet? Classic.

The DOCTOR rushes from the room followed by LILY.

INT. HOUSE, SITTING ROOM, NIGHT

The DOCTOR and LILY arrive in time to see CYRIL'S hand reach back through the box to grab his flashlight. The DOCTOR and LILY run towards the box.

DOCTOR: Cyril!

The DOCTOR crawls into the box as LILY stops.

LILY: What's happening? I don't... What IS that?

DOCTOR: (reaches out a hand) With me, quickly, come on!

LILY takes the DOCTOR'S hand and he pulls her through.

EXT. FOREST, NIGHT

The DOCTOR lowers LILY to the ground.

DOCTOR: That's it. In you come. Brr! Bit cold. Never mind. (looks around and calls for CYRIL in a whisper) Cyril? Cyril? (examines the cracked shell)

LILY: (looks around in wonder) Where are we?

DOCTOR: In a forest in a box in a sitting room. Pay attention! He's about 20 minutes ahead of us. (stands and walks after CYRIL)

LILY: But we just saw him.

DOCTOR: (cuts through trees) Time moves differently across the dimensional planes. What do they teach you in schools these days? (heads off)

LILY: (follows) But I don't understand where we are!

DOCTOR: (stops and turns around) We've gone through a dimensional portal... thingy.

LILY: Well, what's that supposed to be? Where did it come from?

DOCTOR: It was a present. And it wasn't supposed to be opened till Christmas Day. Honestly, who opens their Christmas presents early? OK. Shut up. Everyone.

The DOCTOR and LILY follow the trail of footprints.

******

In another section of the forest, CYRIL keeps following the trail.

******

LILY and the DOCTOR continue to follow after CYRIL.

LILY: I don't understand. Is this place real? Is it fairyland?

DOCTOR: Fairyland?! Grow up, Lily! Fairyland looks completely different. (gets down on knee to examine prints) Now, these are Cyril's footprints, and these are the ones he was following. Notice anything?

LILY: The other footprints are getting bigger.

DOCTOR: Yes. Whatever your brother's following... it's growing.

******

CYRIL sees the overly-large prints and slows.

******

LILY: Well, then we have to get after him!

LILY runs ahead and brushes against a tree. Icicles drop and spheres form. She stops and stares, petrified.

DOCTOR: It's OK, you're fine. Don't worry.

LILY: Is that tree... alive?

DOCTOR: Of course it's alive, it's a TREE!

LILY: But is it dangerous?

DOCTOR: Well, every rose has its thorns.

They bend over to examine the spheres.

LILY: They're like Christmas tree decorations. 

DOCTOR: Yeah. Naturally occurring Christmas trees. (sniffs the pine) How cool is that?

LILY: I don't understand.

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. Do you know the difference between wind and trees talking to each other?

LILY: What?

The DOCTOR licks the index finger of his right hand and holds it up to test the wind at the same time placing the index finger of his left hand to his lips.

DOCTOR: (whispers) No wind. I've been here many times, but I've never heard the trees so active. Something's wrong. What are you doing? What are you up to? (looks into and ornament and his reflections morphs into that of a tree with a face) I'm sorry, Lily. I really am, (takes LILY'S hand as he reaches into a pocket for the sonic) but there is something very wrong in this forest, and your brother's right in the middle of it.

INT. HOUSE, SITTING ROOM, NIGHT

MADGE is downstairs looking for the children.

MADGE: Lily and Cyril Arwell, where are you?

MADGE sees the open present and gets on her hands and knees to look inside.

EXT. TOWER, NIGHT

CYRIL has followed the footprints to a large stone tower in the middle of the forest.

EXT. FOREST, NIGHT

MADGE is looking for her children.

EXT. TOWER, NIGHT

CYRIL slowly climbs the steps and gently pushes open the door.

INT. TOWER, NIGHT

CYRIL closes the door and looks up to the dome at the top. He turns and sees a wooden statue of a man sitting in a wooden throne. It is the same as the image the DOCTOR saw in the sphere. He gasps and steps back. He then looks upwards once again and moves to the ramp that circles the inside of the tower. What he doesn't notice is that the footprints he had been following end at the throne. As CYRIL passes behind the statue, it blinks. It then turns its head to follow his progress.

EXT. FOREST, NIGHT

LILY and the DOCTOR have quickened their pace.

LILY: Why would you bring us to this place?

DOCTOR: It was supposed to be a treat. This is one of the safest planets I know. There's never anything dangerous here.

There is a loud thud and the ground shakes.

DOCTOR: There are sentences I should just keep away from.

INT. TOWER, NIGHT

CYRIL continues up the steps but pauses to look out a window. In the distance he sees a bright searchlight.

EXT. FOREST, NIGHT

There is another loud thud as the ground shakes. MADGE stops to look around. She changes directions and gasps as the ground shakes again. She heads towards the light cautiously but falls back on the ground when a large metal leg stomps down on the ground in front of her. A bright light shines down and she shades her eyes with her arm. A male voice speaks over an intercom.

VOICE: This tree farm is private property. You are trespassing.

A sliding door opens in the "leg" and three armed soldiers run out, g*n aimed at MADGE. She holds her hands up as one of the soldiers scans her.

MALE SOLDIER: (lifts visor) Unarmed, sir.

LEADER: What the hell are you doing here?

MALE SOLDIER: No, wait! (checks scanner) Armed! No, unarmed. Sorry, sir. She's wearing wool, sir. It's the natural fabrics, they interfere with...

LEADER: (lifts visor) Please say we can tell the difference between wool and side arms.

MALE SOLDIER: We can tell the difference, sir.

LEADER: Can we?

MALE SOLDIER: Not always, sir, no.

The third soldier lifts its visor and we see it's a woman. She shakes her head at them.

LEADER: (to MADGE) What are you doing here, and do you understand what is about to happen in this forest?

MADGE: I was just...

FEMALE SOLDIER:: (scans MADGE) Sir, I think she's a time traveller.

LEADER: And we're sure it's not her cardigan? 

MADGE: Who are you? (sobs) It was Christmas!

INT. TOWER, NIGHT

CYRIL reaches an open door and hesitantly steps through. The door closes behind him.

EXT. FOREST, NIGHT

LILY: It's just irresponsible! How can you do this to my brother?

DOCTOR: It was meant to be a supervised trip.

LILY: To the future? 

DOCTOR: The future, yes.

LILY: On a different planet?

DOCTOR: Yes, very different.

LILY: Where Christmas trees just happen.

DOCTOR: Well, sort of Christmas trees, they're not REALLY Christmas trees.

INT. TOWER, TOP ROOM, NIGHT

CYRIL arrives at the room on the top of the tower. Standing in the center is another wooden statue. This one is female, standing behind a throne, a circlet held in her hands, waiting to lay it on the head of whoever sits in the chair. CYRIL goes to look out one of the windows and does not see the statue move.

EXT. TOWER, NIGHT

The DOCTOR and LILY arrive at the tower.

DOCTOR: Oh, look at that!

The DOCTOR heads for the door and LILY follows.

LILY: What, are we going in?

DOCTOR: Well, Cyril did.

INT. TOWER, NIGHT

The DOCTOR enters the room first and sees the seated statue.

DOCTOR: Interesting... (looks around the rest of the room)

LILY: (slowly walks forward) What's that? What's that statue? What is it? It's like a king.

DOCTOR: A king, possibly, but not a statue. (whispers) Look at the floor. (sees the footprints) 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. Impressive. And so is this building! 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. Clever, I love. Clever, clever old forest. So, a forest grows 

a building. Why would it do that, Lily?

LILY: I don't know. 

DOCTOR: Why's there honey in a honey trap? 

LILY: Because it's a trap?

DOCTOR: Exactly. Thing about people, we can never resist a door.

LILY: So, this is a trap? We've just walked straight into a trap?

DOCTOR: A people trap. Question is... (whispers) why does a forest need people?

They both turn their heads to look at the statue.

LILY: (heads for the door) We should go! We have to get out of here. 

DOCTOR: (holds up a finger) Except?

LILY: Except Cyril's here.

The DOCTOR reaches his hand behind him and LILY takes it.

DOCTOR: So, let's find Cyril.

EXT. FOREST, NIGHT

MADGE is still crying.

LEADER: 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!

The MALE SOLDIER starts crying.

LEADER: Corporal Ven-Garr, are you...

VEN-GARR: (stops) I'm fine, sir.

LEADER: 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.

FEMALE SOLDIER: Sir, with regret, I'm going to have to lower my g*n.

LEADER: Why? 

FEMALE SOLDIER: She is a crying, unarmed female civilian. I'm thinking of the visual.

LEADER: Nobody's looking.

FEMALE SOLDIER: Doesn't mean there's no visual.

LEADER: That's exactly what "nobody's looking" means! It means there's no visual.

VEN-GARR has started crying again and the LEADER turns to look at him. 

VEN-GARR: I'm sorry, sir. It's under control. Do you want me to sh**t her, sir? (aims g*n at MADGE)

FEMALE SOLDIER: This visual's deteriorating, sir.

LEADER: Shut up!

The FEMALE SOLDIER sets her g*n down on the ground.

LEADER: What are you doing?

FEMALE SOLDIER: I am respecting her as a woman, sir. (looks at MADGE and nods)

LEADER: OK. We're putting our g*n on the ground. (puts g*n on ground as does VEN-GARR) OK? Happy now? We're stepping away from our g*n. Now can we interrogate you? (MADGE nods) We're from Androzani Major, the year is 5345, and we mean you no harm. Where are you from?

MADGE: England, 1941. (pulls out g*n and aims it at them) And there's a w*r on. Crying's ever so useful, isn't it?

LEADER: If you say so. But there's nothing you could say that would convince me you'd ever use that g*n.

MADGE: Really? Well, I'm looking for my children!

INT. TOWER, NIGHT

The DOCTOR and LILY come upon the closed door on the stairs.

DOCTOR: Cyril? Cyril? (gives LILY the flashlight and takes out the sonic) Can you hear me?

INT. TOWER, TOP ROOM, NIGHT

CYRIL turns around at the DOCTOR'S voice and gasps when he sees the statue standing there holding out the circlet.

DOCTOR: (V.O.) Cyril? Cyril? Cyril, can you hear me?

CYRIL backs away from the statue.

EXT. TOWER, NIGHT

DOCTOR: (slaps sonic) Of course, it's wood! It's rubbish at wood!

LILY: It doesn't LOOK like wood.

DOCTOR: It's disguised wood. Have you been listening?

LILY: How can trees grow into a building?

DOCTOR: Never underestimate a tree, Lily. I met the forest of Cheem once. She fancied me.

INT. TOWER, TOP ROOM, NIGHT

CYRIL backs away from the statue and falls into the chair as the statues advances on him.

EXT. TOWER, NIGHT

As the DOCTOR tries to get the sonic to work, LILY looks out the window.

LILY: Look at that! 

DOCTOR: Busy, actually. (to sonic) Yes, I know it's wood. Get over it!

LILY: But there are stars. There are stars coming out.

DOCTOR: (walks back to the door) That does happen, Lily. Cyril!

LILY: Yes. But out of the trees.

The DOCTOR does a double-take before coming to the window and looks out. What looks to be stars are indeed rising from the trees.

LILY: What is that?

DOCTOR: Life force. Pure life force, just... singing.

LILY: Beautiful. Doesn't it make you want to cry?

DOCTOR: Crying when you're happy. Good for you. (puts hands on LILY'S shoulders) That's so human.

A hissing sound, almost like something electrical, comes from behind the locked door. LILY and the DOCTOR rush to the door.

LILY: What's it? What is it? Tell me, what?! 

DOCTOR: Cyril! Can you hear me??

INT. TOWER, TOP ROOM, NIGHT

The statue sets the circlet on CYRIL'S head.

INT. TOWER, NIGHT

Downstairs, the male statue slowly stands and heads for the stairs. Outside the door, LILY and the DOCTOR turn at the sound of its steps.

LILY: (whispers) Oh, my God! Oh, my God!

INT. HARVESTING PLATFORM, NIGHT

The FEMALE SOLDIER ties the men to support poles as MADGE holds the g*n on them.

MADGE: What is all this? Is it some kind of cockpit? My husband's a pilot.

FEMALE SOLDIER: It drives the platform.

MADGE: I don't understand! How did I get here?

FEMALE SOLDIER: You tell us, ma'am.

MADGE: I'm looking for my children.

VEN-GARR: There's nobody else in this forest. There can't be.

FEMALE SOLDIER: Well, she found her way in. Maybe her kids did, too.

LEADER: Then God help them.

MADGE: Why do you say that?

FEMALE SOLDIER: We can do a scan for life forms. We can detect people, even though they're far away.

MADGE: Like RDF? Radar? 

FEMALE SOLDIER: Yes.

MADGE: Then please stop patronising me and get on with it!

FEMALE SOLDIER: Yes, ma'am. (goes to instruments)

MADGE: Why did you say, God help my children?

LEADER: This forest is about to be harvested.

MADGE: Harvested?

LEADER: Androzani trees. Greatest fuel source ever. The entire area is being melted down for battery fluid.

MADGE: Melted down? How do you melt a forest?

LEADER: Acid rain. The satellites are in position. Anyone still out there in five minutes... is going to burn.

EXT. TOWER, NIGHT

As the DOCTOR works on getting the door open, LILY sees the shadow of the statue getting closer.

LILY: Caretaker, it's coming. Open it!

DOCTOR: I'm trying!

LILY: Open it! 

DOCTOR: I'm trying!

The door unlocks with a loud click.

DOCTOR: (whispers) That wasn't me.

LILY: It doesn't matter!

INT. TOWER, TOP ROOM, NIGHT

LILY rushes into the room followed by the DOCTOR. The statue turns its head. CYRIL is unconscious in the chair. LILY runs to the throne and kneels in front of her brother.

LILY: What's wrong with him, Caretaker? Is he d*ad?

DOCTOR: (leans over and checks CYRIL'S pulse) It's OK, he's just unconscious. (stands and walks over to statue) So, what are you, then? Not a king, a queen! The Queen Bee of the forest.

LILY: Caretaker! Look!

They watch as the lights lift from the trees.

DOCTOR: It's like...

LILY: Like what? 

DOCTOR: Like the life force is leaving the forest.

The male statue arrives in the room and walks towards them.

LILY: What are they doing? Stop him!

The DOCTOR takes out his sonic and uses it on both the wood KING and QUEEN as they advance. It does nothing.

DOCTOR: Aliens made of wood! This was always going to happen, you know.

They stop, flanking the chair.

DOCTOR: It's OK. I think they just want to talk to us.

The wood couple look at CYRIL and the circlet lights up.

CYRIL: They're scared. Can't you hear them? The trees are screaming. Can't you hear?

LILY runs back to her brother. The DOCTOR uses the sonic on the circlet.

DOCTOR: No. But you can. You're connected to them.

INT. HARVESTING PLATFORM, NIGHT

The FEMALE SOLDIER is at the scanner.

FEMALE SOLDIER: OK, picking up life signs about half a mile away.

MADGE: Can we go to them? Can we move this thing?

FEMALE SOLDIER: I'm not trained, ma'am. Those two are.

MADGE: I can't trust them. 

FEMALE SOLDIER: I can't drive the platform, ma'am.

MADGE: (looks around) It looks a little like a plane. My husband flies a plane. He took me up once.

FEMALE SOLDIER: It takes years of training! I'm scanning for an audio connection. We might be able to hear them.

COMPUTER: 'Acid rain alert, five-minute warning. Prepare for beam-out.'

FEMALE SOLDIER: (gets up and moves to the area between the other soldiers) I'm so sorry! You have to find a way out! 

COMPUTER: 'Evacuate.'

FEMALE SOLDIER: Acid fall is coming. You won't last two minutes!

COMPUTER: 'Evacuate.'

MADGE: Don't go! No, please wait! No! What am I going to do? I...

The three soldiers are teleported out of the platform leaving MADGE alone.

COMPUTER: 'Evacuate. Evacuate.'

MADGE: Where have you gone?

COMPUTER: 'Acid fall in five minutes. Unauthorised personnel will be incinerated.'

There is a crackling sound and LILY'S voice comes over the speakers.

LILY: 'Why have the stars left the trees?' 

CYRIL: ‘I think they're...'

DOCTOR: ‘Just concentrate. What are they doing?'

INT. TOWER, TOP ROOM, NIGHT

The DOCTOR is kneeling in front of CYRIL.

CYRIL: Evacuating. They're evacuating.

DOCTOR: Why?

CYRIL: They're... frightened of the rain. The rain that burns.

INT. HARVESTING PLATFORM, NIGHT

MADGE listens to the speaker.

LILY: 'Caretaker, please explain. I'm frightened.'

INT. TOWER, TOP ROOM, NIGHT

DOCTOR: Those stars. They're pure life force. Souls, if you like. And they're trying to escape because they think their home is going to burn.

LILY: Why can't they just float up into the sky?

DOCTOR: They need to travel inside a living thing. Inside Cyril. You see, this... (scans the circlet) It's not a crown, it's a relay. They're turning your brother into a lifeboat! (puts away sonic) That's what this place is for, then. It's an escape plan, is that it? 

The QUEEN reaches a hand towards CYRIL and wraps it gently around his neck.

DOCTOR: Don't you harm him. Do not touch that child!

The QUEEN speaks through CYRIL in a distorted voice.

QUEEN: Your coming was foretold.

LILY: My God, what is that? Why does he sound like that?

DOCTOR: Oh, hello! Are we lip-synching now?

QUEEN: We had faith. Your coming was foretold.

DOCTOR: There's no such thing as foretelling. Trust a time traveller.

QUEEN: We waited, and you came.

DOCTOR: So, you've got an escape plan. Why aren't you escaping?

QUEEN: The child is weak.

DOCTOR: You mean he's a child.

QUEEN: No, he is weak. The forest cannot live in him. But there are others.

DOCTOR: There certainly are, and the good thing is, I look great in a hat. So, let's get this thing off, eh? (reaches for the circlet)

QUEEN: You are also weak.

DOCTOR: I'm really not. Let's save a forest, Cyril?

QUEEN: You are not the one. You are weak.

DOCTOR: I'm really not.

The DOCTOR grabs the circlet off CYRIL'S head and it shines fiercely in his hands. It struggles against it, gasping, groaning, screaming.

LILY: Let go of it, just let go! Let go of it! Just let go! Please, just drop it!

DOCTOR: I can't!

LILY grabs the circlet from the DOCTOR and it glows softly in her hands. The DOCTOR pants heavily on his knees.

LILY: It's funny, isn't it? It's sort of... tingly.

DOCTOR: Tingly?!

QUEEN: (speaks through LILY) She is strong, but she is young.

LILY pulls away with a gasp, dropping the circlet.

DOCTOR: She's strong, I'm weak. Interesting.

CYRIL: Mummy?

LILY: (goes to CYRIL) Cyril, it's all right. It's me. Mummy isn't here, but we're going home to her right now. Aren't we, Caretaker?

DOCTOR: No. I don't think we are.

The rain has g*n falling outside.

DOCTOR: The rain that burns. Acid rain.

INT. HARVESTING PLATFORM, NIGHT

MADGE is sitting on the floor under the speaker.

DOCTOR: 'We have to get out of this forest, we're in terrible danger. This tower won't protect us for long.'

CYRIL: 'Where's Mummy?' 

LILY: ‘She's coming. You know she's coming, because...'

MADGE sniffles.

INT. TOWER, TOP ROOM, NIGHT

LILY: …because she always comes, doesn't she?

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.

CYRIL: (crosses arms) No. We wait for Mummy. Mummy always comes.

DOCTOR: Not this time, Cyril. I'm sorry, but not this time.

There is a loud thudding and the ground shakes. Through the window, they see the harvester.

LILY: What's that?

They go to the window.

DOCTOR: It's an Androzani Harvester, but...

LILY: You recognise that thing?

DOCTOR: More to the point... I think I recognise the driving!

CONTINUED, INTERCUT WITH –

- CUT TO:

INT. HARVESTING PLATFORM, NIGHT

MADGE is at the controls of the harvester as it heads for the tower. She can still hear the DOCTOR over the speakers.

DOCTOR: Madge has entered the forest! Come on, Madge, you can do it! You go, girl!

MADGE: Shut up, you ridiculous oaf!

DOCTOR: Come on. This way ... you can do it, you can do it! Excellent driving! Hello!

MADGE: Caretaker? 

DOCTOR: Yes!

MADGE: You're fired!

MADGE over-compensates and the harvester falls over sideways.

DOCTOR: It's OK, she's fine, don't worry. Stay here. Just stay here.

INT. TOWER, NIGHT

The DOCTOR runs down to the entrance.

DOCTOR: Madge, Madge! You OK?

MADGE enters, hood over her head and there are burn marks on her coat.

MADGE: (flips back hood) Stay inside, the rain is frightful! Lily? Cyril? (runs upstairs)

The DOCTOR looks out the door at the harvester.

INT. TOWER, TOP ROOM, NIGHT

MADGE: Cyril! (hurries to her children)

LILY: Mum!

MADGE: Lily! (hugs them) What are you doing? How dare you leave the house?! Cyril, what have I told you about opening your presents early?

CYRIL: Sorry, Mummy.

MADGE: Something like this was bound to happen.

LILY pulls CYRIL away with a gasp as the QUEEN comes up behind MADGE holding the circlet.

MADGE: What are those?

LILY: Stay away from it. You have to stay back.

MADGE: (mesmerized by glowing circlet) That's beautiful, isn't it?

CYRIL: Mummy?

MADGE: See how it shines!

The QUEEN sets the circlet on MADGE'S head.

INT. TOWER, NIGHT

The DOCTOR scans the harvester from the safety of the doorway.

DOCTOR: Nice one, Madge. A complete write-off!

He looks up at the sky at sees the "stars" converging on the tower. He rushes inside and upstairs.

INT. TOWER, TOP ROOM, NIGHT

The DOCTOR arrives to see the "stars" absorbed by MADGE sitting on the throne wearing the circlet.

LILY: The stars are going inside her. She's taking the whole forest!

MADGE: Oh, this is marvellous. Oh, this is really quite wonderful.

When she has absorbed them all, the DOCTOR and her children stare at MADGE, shocked.

DOCTOR: Madge! Are you all right? Talk to me. Madge, can you hear me?

MADGE: Yes, I can hear you. I'm perfectly fine, thank you.

DOCTOR: Fine?! You've got a whole world inside your head!

MADGE: I know. It's funny, isn't it? One can't imagine being a forest, then suddenly one can. How remarkable!

DOCTOR: You're OK? She's OK?

The QUEEN puts a hand on MADGE'S shoulder.

QUEEN: She is strong.

MADGE: That wasn't me. This is all really rather clever, isn't it?

DOCTOR: She's strong? She's strong? (realizes) Stupid me! Stupid old Doctor! Do you get it, Cyril?

CYRIL: No.

DOCTOR: Lily, you do, don't you? 

LILY: No.

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!

The room disengages from the rest of the tower, powered by rockets at its base.

LILY: What's happening? 

DOCTOR: No idea. Do what I do: hold tight and pretend it's a plan.

They hold tight to the sides as the ship zooms off through the vortex. Once things have smoothed out, the DOCTOR moves to the window.

DOCTOR: This is... amazing.

CYRIL: Where are we?

DOCTOR: Technically, we're not anywhere. We've flown into the time vortex. (to QUEEN) You've got what you wanted... those idiots down there can burn your 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?

QUEEN: (through MADGE) Think.

DOCTOR: Sorry, what?

QUEEN: She must only think.

DOCTOR: Madge, did you hear that? (kneels in front of the chair) You said it, but did you hear it? You've got to think.

MADGE: Think... what?

DOCTOR: Think of home, just picture it. Feel it! You have to really feel it. Can you do that? (goes to window) Your mind is controlling this vessel. You can fly us all back for Christmas!

CYRIL: My head is full of trees, Caretaker. Can't YOU fly us home?

DOCTOR: (kneels) 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.

MADGE: Till it hurts? Is that what you mean, Caretaker? Till it hurts?

DOCTOR: Yes. Yes.

MADGE reaches into her pocket and pulls out the telegram. She grips it tightly in both hands.

MADGE: (deep breath) Well, then... home in time for Christmas!

MADGE moans and the others grip the throne as they go through the vortex.

LILY: What's happening? Where are we going?

DOCTOR: Show them! Show them!

The QUEEN raises her hand and some of the translucent panes clear to make it easier to view what's outside.

DOCTOR: 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.

A memory of REG holding one of the children as a baby flashes in front of them before changing to him in uniform waving goodbye.

MADGE: Reg! 

CYRIL: Daddy!

More scenes of REG and the children appears before them.

MADGE: My Reg!

DOCTOR: That's it. Focus on Reg. Be careful, but focus on him.

MADGE: I don't know...

DOCTOR: How did you meet? You and Reg, tell me how you met.

MADGE: He followed me home. (the screen shows MADGE'S memory)I worked in the dairy, he always used to follow me home.

LILY: Look at Father. He looks so young!

MADGE: He said he'd keep on following me till I married him! Didn't like to make a scene!

DOCTOR: Just stay focused. Think of home. This thing, it works psychically... it'll find a signal and lock on. (uses sonic on her)

REG'S ship appears on the screen.

MADGE: (tearfully) No. No, please, don't show me that! Please, don't show me that!

CYRIL: Is that Daddy's plane?

MADGE: Please, I don't want to see that!

DOCTOR: Please, no! No, no, no, Madge. We can't break the signal now, I'm sorry!

MADGE: Not the night he died! I don't want to see him die!

The DOCTOR grips her arm as CYRIL and LILY look up at her.

LILY: What do you mean...the night he died?

MADGE: Please don't make me watch him die! 

CYRIL: Mummy? Is Daddy d*ad? Mummy!

MADGE gasps as she thinks of REG and the telegram.

INT. b*mb, NIGHT

REG is piloting home a heavily damaged plane and one of the engines has just died. One of his crew joins him.

CREW: Sir, Anderson's in a bad way. Where are we?

REG: I don't know. Somewhere over the Channel.

CREW: What do I tell Anderson? 

REG: Tell him... Tell him... Tell him we're going home for Christmas.

CREW: Yes, sir. (leaves)

REG: (on verge of tears) I'm sorry, my love. (lightly caresses photo of MADGE tucked in the windscreen as he fights to keep the plane in the air)

A bright light appears in front of the plan and REG has to shield his eyes.

INT. SHIP, NIGHT

MADGE: Goodbye, my love. Goodbye!

The ship flies through the vortex. Sometime later, it lands. The DOCTOR comes to first and checks on the Arwell family where they lie on the floor.

DOCTOR: Cyril! Lily! Are you all right?

LILY: Yeah.

The DOCTOR scans the QUEEN as she lies on the floor. MADGE sits up.

MADGE: Are they d*ad?

DOCTOR: No. They're just wood now. They've been... emptied. The forest has gone from your head too, hasn't it?

MADGE: But where is it now?

DOCTOR: The life force of the whole forest has transmuted itself into a sub-etheric waveband of light, which can exist as a... (the DOCTOR tries simpler terms) 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: And where are we?

All four stand up.

DOCTOR: Home! Christmas morning! (wipes a window to show the house) We've taken a bit of a short cut. Haven't you always wanted to do that?

LILY: Mother?

MADGE: (opens arms) Look at you. You've been so brave. (the children back away) You... Look, we're home again, see?

LILY: 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: Please, just tell us!

LILY: Tell us!

DOCTOR: I imagine you'd prefer to be alone.

MADGE: (looks at the DOCTOR) I don't believe anyone would prefer that. Stay close, Caretaker.

DOCTOR: I'll be right outside. (leaves)

MADGE: Lily... Cyril... (kneels)

EXT. SHIP, DAY

The DOCTOR steps out of the ship and looks in wonder at something off-screen.

MADGE: (V.O.) A few nights ago, your father, who, as you know, was the best of men and the bravest of pilots,

INT. SHIP, DAY

MADGE: …was flying home for Christmas. His plane was badly damaged, and his instruments failed him. Unfortunately, he was flying on a night where there was no moon, and because it was very cloudy, there were no stars... There were no stars to light his way.

CYRIL: Did he get lost?

MADGE: Yes, Cyril. He got so very lost.

The DOCTOR re-enters, excited.

DOCTOR: Sorry to interrupt. You might want to pop out here for a moment.

MADGE: Caretaker, I'm talking to my children!

DOCTOR: I know. And before you go any further, I think you'd better come and look.

EXT. SHIP, DAY

The DOCTOR straightens his tie and smiles as MADGE and the children catch up.

DOCTOR: No stars to light the way, Madge? There was one.

INT. b*mb, NIGHT

REG stares at the light.

DOCTOR: (V.O.) There was you!

The crew member comes back to the cockpit.

CREW: What is it?

REG: I don't know...but it's all we've got. We can follow it!

The plane follows the light.

EXT. SHIP, DAY

DOCTOR: Madge Arwell, who flew a whole forest though the time vortex... plus one husband! 

On the field in front of them is REG'S plane, a puzzled REG standing in front of it.

DOCTOR: He did it again, Madge. He followed you home. Look what you can do! Mother Christmas!

REG: Madge! What am I doing here?

MADGE: It's Christmas Day, my love! Where else would you be?

REG: Christmas Day? How?

MADGE: We took a short cut.

MADGE, LILY and CYRIL run to REG.

CHILDREN: Daddy! Daddy!

The Arwells have a family hug as the DOCTOR watches.

DOCTOR: Happy crying. Humany-wumany.

INT. HOUSE, SITTING ROOM, DAY

The Arwells sit on the floor as the children open their presents. The DOCTOR watches from the hall before turning away.

INT. HOUSE, ATTIC, DAY

MADGE enters the attic and closes the door behind her. She opens her mouth in recognition when she sees the TARDIS. The DOCTOR steps out.

DOCTOR: Ahh!

MADGE: (points) Of course! It's you, isn't it? My spaceman angel, with his head on backwards!

DOCTOR: How do I look the right way round? (spins)

MADGE: Funnier. 

DOCTOR: OK. 

MADGE: So, you came back.

DOCTOR: Well, you were there for me when I had a bad day. Always like to return a favour. Got a bit glitchy in the middle there, but it sort of worked out in the end. Story of my life.

MADGE: Thank you. (hugs him)

DOCTOR: You did it all yourself, Madge Arwell. But thanks for thanking me.

MADGE: Now, the last time I saw you, I went back the next day, but the police box had gone.

DOCTOR: (excited) Yeah. You want to see how it's done? (heads for the TARDIS)

MADGE: No. I want you to stay for Christmas, please.

DOCTOR: (stops and turns) Ah, well, you see, things to do, people to see.

MADGE: Of course, yes. Family of your own.

DOCTOR: Well... no, actually...

MADGE: Oh. Yes, yes, you said no family. But there must be people who love you. Friends...

DOCTOR: No. Well, yes. But... It's a long story... but they all think I'm d*ad. Never mind. Anyway, watch my box do its thing. It's really cool, you'll love it. (turns back to the TARDIS)

MADGE: No, no-one should be alone at Christmas.

DOCTOR: (walks back) I'm fine, I don't mind. I'm really very good at...

MADGE: I'm talking about your friends! You can't let them think that you're d*ad! Not at Christmas!

DOCTOR: It's complicated, very complicated, it's far too complicated...

MADGE: You must tell them. At once. Off you go.

DOCTOR: Yes, Mum. I'll think about it. (kisses her on the cheek) Now, eyes on the box.

MADGE: Oh, Caretaker? What if I require you again?

DOCTOR: Make a wish!

With a grin, the DOCTOR enters the TARDIS. MADGE watches as it dematerializes. REG enters just in time to see it disappear.

REG: What the hell was that?

MADGE: It was just the Caretaker returning to the time vortex. It's a lovely place. I've been there myself! Shall we go downstairs?

MADGE leaves and, after a moment, REG follows.

EXT. HOUSE, NIGHT

The DOCTOR knocks on a bright blue door.

AMY: If that is more carol singers, I have a water p*stol!

The DOCTOR knocks again.

AMY: You don't want to be all wet (opens the door holding a water p*stol) on a night like this.

DOCTOR: Not absolutely sure... how long...

AMY: Two years? (squirts him with the water p*stol)

DOCTOR: (wipes face) OK. Fair point.

AMY: So... You're not d*ad.

DOCTOR: And a happy New Year!

AMY: River told us.

DOCTOR: Well, of course she did. 

AMY: She's a good girl. Well? I'm not going to hug first.

DOCTOR: Nor am I. 

They awkwardly try to ignore each other. Their eyes meet and they smile and laugh before hugging.

AMY: Mr Pond! Guess who's coming for dinner!

RORY: (comes to the door) Whoa! Not d*ad, then.

AMY: We've done that. (to DOCTOR) We're about to have Christmas dinner. Joining us?

DOCTOR: If it's no trouble.

RORY: There's a place set for you.

DOCTOR: But you didn't know I was coming. Why would you set me a place?

AMY: Because we always do. It's Christmas, you moron. (heads into the house)

RORY: (nods his head) Come on. (follows AMY)

The DOCTOR hesitates a moment before stepping into the house. He pauses, then raises a hand to his eye and wipes away a tear. He stares at his fingers before chuckling and closing the door behind him.
{"type": "series", "show": "Doctor Who Special", "episode": "2011-12-25 - The Doctor, The Widow and The Wardrobe"}