I suppose the best way to find out where you come from is to find out where you're going, and then work backwards.
S17 E2City of Death
[The Count and Countess Scarlioni are interrogating the Doctor, Romana, and Duggan over the bracelet they took from the Countess]
How very curious. Two thieves enter the Louvre Gallery and come out.. With a bracelet! Couldn't you think of anything more interesting to steal?
Well, I just thought it was awfully pretty, er... terribly unusual design. 'Course it would have been much nicer to have stolen one of the pictures, but I've tried that before, and all sorts of alarms go off, which disturbs the concentration.
Hah-hah, yes it would. So you stole the bracelet simply because it's... pretty.
Yes. ...Well, I think it is; don't you?
Yes...
My dear, I don't think he's as stupid as he seems.
My dear, nobody could be as stupid as he seems.
[The Doctor, Duggan and Romana have discovered six Mona Lisas walled up in a basement.]
I wouldn't make a very good criminal, would I?
No. [brandishes pistol] Good criminals don't get caught. I see you've found some of my pictures. Rather good, aren't they? By the end of this evening, I shall have a seventh.
May I ask you where you got these?
No.
Or how you knew they were here?
No.
They've been bricked up a long time...
Yes.
I like concise answers!
Good. I came down to find Kerensky.
Oh?
But he doesn't seem to be able to speak to me. [Duggan knocked him out earlier]
Oh.
Can you throw any light on that?
No...
I can.
[Duggan throws his lantern at Count Scarlioni/Scaroth, then knocks him out]
Duggan, why is it that every time I start to talk to someone, you knock him unconscious?
[Having fled the Louvre, Romana and Duggan have returned to the Cafe, Duggan entering by breaking a pane of glass in the door.]
Thought these places were meant to be open all night.
You should go into partnership with a glazier. You'd have a truly symbiotic working relationship.
...What?
I'm just pointing out that you break a lot of glass.
You can't make an omlette without breaking eggs. [smashes the neck off a bottle of wine]
If you wanted an omlette, I'd expect to find a pile of broken crockery, a cooker in flames, and an unconscious chef.
How long have you been married to the Count?
Long enough.
Oh, "long enou..." I like that. Discretion and charm. So civilized. So terribly unhelpful.
Discretion and charm. Hm. I couldn't live without it, especially in matters concerning the Count.
There is such a thing as discretion. There's also such a thing as willful blindness.
Blind? I help him to steal the Mona Lisa, the greatest crime in the century, and you call me blind?
Yes! You see the Count as a master criminal, an art dealer, an insanely wealthy man. And you'd like to see yourself as his consort. But what's he doing in the cellar?
[bitterly] ...Tinkering. Every man must have his hobby.
Man? Are you sure of that? A man with one eye, and green skin, eh? Ransacking the art treasures of history to help him make a machine to reunite him with his people, the Jaggeroth?
[The Countess giggles, finding the suggestion absurd.]
And you didn't notice anything. How discreet. How charming.
Now Count, this is what I've come to say. If you're thinking of going back in time, you better forget it.
Now why do you say that?
Well, because I'm going to stop you.
Oh no, on the contrary, Doctor. You're going to help me.
I am?
You are, indeed. And if you do not, it'll be so much the worse for you, for this young lady, and for thousands of other people I could mention if I happened to have the Paris telephone directory on my person.
Count, that sort of blackmail won't work, because I know what the consequences will be if you get what you wanted. I can't let you fool about with time.
What else do you ever do?
[caught out] ...Ah, well, I'm a professional; I know what I'm doing.
[The TARDIS, which is parked in an art gallery, is being critiqued by two visitors]
To me, one of the most curious things about this piece is its wonderful afunctionalism.
Yes, I see what you mean. Divorced from its function and seen purely as a piece of art, its structure of line and colour is curiously counterpointed by the redundant vestiges of its function.
And since it has no call to be here, the art lies in the fact that it is here.
[The Doctor unlocks the TARDIS and enters, followed by Romana and Duggan. The TARDIS dematerializes]
Exquisite. Absolutely exquisite.
[The TARDIS has materialized 400,000,000 years in Earth's past]
Where are we?
This... a-hm... will be... the middle of the Atlantic Ocean.
We're standing on land!
He's out of his depth.
[After Duggan has punched Scaroth unconscious -- again]
Duggan. Duggan! I think that was possibly the most important punch in history.
[The Doctor tries to hail a cab with Romana.]
Is no one interested in history, hmmm?
S17 E3The Creature From the Pit
I suppose you could say the yoke's on him if you were the sort of person who said that sort of thing which fortunately I'm not.
Stupid expression, 'stands to reason.' Why isn't it 'lie down to reason?' Much easier to reason lying down.
[The Doctor explains why he outdid Lady Adrasta's chief engineer.]
Well, to be fair I had a couple of gadgets he probably didn't, such as a teaspoon and an open mind.
[Introducing himself] Astrologer extraordinary. Seer to princes and emperors. The future foretold, the present explained, the past... apologised for.
So Erato came here to offer you metal in exchange for chlorophyll. Of course!
Right. But who was the first person he met?
The person who held the monopoly of metal.
Right! And did she put the welfare of her struggling people above her own petty power? No... she tipped the ambassador into a pit and threw astrologers at him!
These quotes come from Wikiquote's Doctor Who pages and are available under the Creative Commons Attribution-ShareAlike License.


