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17 October 2010 @ 11:24 pm
Transcript: 5x10 Vincent and the Doctor  
I know, quick, right? I even teared up at the end again. Also, this time I linked to the paintings seen and referenced in the episode. I don't think I got them all, but I did get a big chunk.







EXT. WHEATFIELD, DAY

The wheat is blowing gently in the wind. There is a certain area of disturbance and we hear footsteps. A murder of crows take off into the blue sky where the field is cut by a dirt road. The camera pans over and we see a painting of the scene in the impressionist style with thick brushstrokes and vivid colors. A hand with a brush reaches out to paint a crow. Over the top of the canvas we see a straw hat and then the blue eyes of the artist as he looks out at the scene before him. Wheatfield With Crows


INT. MUSEE D’ORSAY, DAY

We pull back from that same painting to see it in a museum setting. An art expert, DR BLACK, discusses the painting.

BLACK:
So this is one of the last paintings Van Gogh ever painted. Those final months of his life were probably the most astonishing artistic outpouring in history. It was like Shakespeare knocking off Othello, Macbeth and King Lear over the summer hols. And especially astonishing because Van Gogh did it with no hope of praise or reward.

As he lectures, the DOCTOR and AMY enter the exhibition room.

AMY:
Thanks for bringing me.

DOCTOR:
You're welcome.

AMY:
You're being so nice to me. Why are you being so nice to me?

DOCTOR:
I'm always nice to you.

AMY:
Not like this. These places you're taking me - Arcadia, the Trojan Gardens, now this. I think it's suspicious.

DOCTOR:
Well, it’s not. There's nothing to be suspicious about.

AMY:
OK, I was joking. Why aren't you?

BLACK:
Each of these pictures now is worth tens of millions of pounds. Yet in his lifetime, he was a commercial disaster. Sold only one painting, and that to the sister of a friend. We have here possibly the greatest artist of all time, but when he died, you could sold his entire body of work and got about enough money to buy a sofa and a couple of chairs. (group laughs) If you follow me now...(leads the group to another painting)

BOY #1::
Who is it?

BOY #2::
It's the doctor!

The DOCTOR turns to see two boys looking at the painting of Van Gogh’s physician. Portrait of Dr Gachet

BOY #2::
He was the doctor who took care of Van Gogh when he started to go mad.

BOY #1::
I knew that.

AMY grabs him by the arm and pulls him towards a painting, “The Church at Auvers". She holds up her guidebook.

AMY:
Look! There it is, the actual one.

DOCTOR:
Yes. You can almost feel his hand painting it right in front of you. Carving the colours into shapes... Wait a minute. (looks closer at the painting)

AMY:
What?

DOCTOR:
(points) Well, just look at that.

AMY:
What?

DOCTOR:
Something very not good indeed.

AMY:
What thing very not good?

DOCTOR:
Look there, in the window of the church.

A dark figure has been painted in one of the church windows.

AMY:
Is it a face?

DOCTOR:
Yes. And not a nice face at all. I know evil when I see it and I see it in that window.

The DOCTOR makes his way over to BLACK, who is still lecturing.

BLACK:
It has changed hands for something in the region of 20...

DOCTOR:
Excuse me, if I can just interrupt for one second. (shows psychic paper) Sorry, everyone. Routine inspection, Ministry of Art and... Artiness. So, um...

BLACK:
Dr Black.

DOCTOR:
Yes, that's right. Do you know when that picture of the church was painted?

BLACK:
Ah, what an interesting question. Most people...

DOCTOR:
I’m going to have to hurry you. When was it?

BLACK:
Exactly?

DOCTOR:
As exactly as you can. Without a long speech, if poss. I'm in a hurry.

BLACK:
Well, in that case, probably somewhere between the 1st and 3rd of June.

DOCTOR:
What year?

BLACK:
1890. Less than a year before he killed himself.

DOCTOR:
Thank you, sir. Very helpful indeed. Nice bow-tie. (to AMY) Bow-ties are cool.

BLACK:
Yours is very...

DOCTOR:
Oh, thank you. Keep telling them stuff. (grabs AMY and pulls her through the exhibit) We need to go.

AMY:
What about the other pictures?

DOCTOR:
Art can wait. This is life and death.(give AMY and shove) We need to talk to Vincent Van Gogh.

**********************************************

Matt Smith
Karen Gillan

DOCTOR WHO
"Vincent and the Doctor”
by Richard Curtis

Producer
Tracie Simpson
Patrick Schweitzer

Director
Jonny Campbell

************************************************
EXT. AUVERS-SUR-OISE, ALLEY, NIGHT

A cat lying on the cobbles runs off as the TARDIS materializes. The DOCTOR and AMY step out and head down the alleyway.

DOCTOR:
Right, so here's the plan. We find Vincent and he leads us straight to the church and our nasty friend.

AMY:
Easy peasy.

DOCTOR:
Well, no. I suspect nothing will be easy with Mr Van Gogh. Now, he'll probably be in the local cafe - sort of orangey light, chairs and tables outside.

AMY pulls out her small guidebook from the museum and opens it to "The Cafe Terrace on the Place du Forum, Arles, at Night”.

AMY:
Like this?

DOCTOR:
That's the one.

AMY:
(looks up) Or indeed like that.

The scene before them is the painting come to life.

DOCTOR:
Yeah, exactly like that.

EXT, CAFÉ, NIGHT

The DOCTOR approaches the help clearing tables. The owner MAURICE is also there.

DOCTOR:
Good evening. Does the name Vincent Van Gogh ring a bell?

MAURICE:
Don't mention that man to me. (walks back inside)

DOCTOR:
(to waitresses) Excuse me. Do you know Vincent Van Gogh?

WAITRESS:
Unfortunately.

AMY:
Unfortunately?

WAITRESS:
He's drunk, he's mad and he never pays his bills.

DOCTOR:
Good painter, though, eh?

The waitresses and the patrons laugh. The DOCTOR sits at one of the tables, dejected. We then hear voices from inside the café.

MAN:
Come on! Come on! One painting for one drink. That's not a bad deal.

MAURICE comes out of the café holding a canvas followed by another man. It is VINCENT VAN GOGH. AMY and the DOCTOR react in quiet, giddy excitement.

MAURICE:
It wouldn't be a bad deal if the painting were any good. I can't hang that up on my walls. It'd scare the customers half to death. (holds painting up) It's bad enough having you in here in person, let alone looming over the customers day and night in a stupid hat. You pay money or you get out.

DOCTOR:
I'll pay if you like.

MAURICE:
What?

DOCTOR:
Well, if you like. I'll pay for the drink. Or I'll pay for the painting and you can use the money to pay for the drink.

VINCENT:
Exactly who are you?

DOCTOR:
I'm... new in town.

VINCENT:
Well, in that case, you don't know three things. One, I pay for my own drinks, thank you. (everyone laughs) Two, no-one ever buys any of my paintings or they would be laughed out of town, so if you want to stay in town, I suggest you keep your cash to yourself. And three, your friend's cute, but you should keep your big nose out of other people's business. (to MAURICE) Come on, just one more drink. I'll pay tomorrow.

MAURICE:
No.

VINCENT:
Or, on the other hand, slightly more compassionately, yes.

MAURICE:
Or, on the other hand, to protect my business from madmen, no.

VINCENT:
Or--

AMY:
Oh, look, just shut up the pair of you! (to MAURICE) I would like a bottle of wine, please, which I will then share with whomever (looks at VINCENT) I choose.

VINCENT:
That could be good.

MAURICE:
That's good by me.

AMY:
Good. (goes inside)

MAURICE heads back in then stops and presses the self-portrait to VINCENT’S chest before entering the café. We see clearly that the painting is “Self Portrait with Straw Hat”.


INT. CAFÉ, NIGHT

The DOCTOR, AMY and VINCENT are sitting at a table, drinking wine.

VINCENT:
That accent of yours. You from Holland like me?

The DOCTOR and AMY answer at the same time.

AMY:
No.

DOCTOR:
Yes. She means yes. So, start again. Hello, I'm the Doctor.

VINCENT:
I knew it!

DOCTOR:
Sorry?

VINCENT:
My brother's always sending doctors, but you won't be able to help.

DOCTOR:
No, not that kind of doctor. (laughs and points to a painting at VINCENT’S side. It is the unfinished “La Méridienne”)

That's incredible, don't you think, Amy?

AMY:
Absolutely. One of my favourites.

VINCENT:
One of my favourite whats? You've never seen my work before.

AMY:
Ah, yes. One of my favourite paintings that I've ever seen. Generally.

VINCENT:
Then you can't have seen many paintings, then. I know it's terrible. It's the best I could do. Your hair is orange.

AMY:
(leans forward) Yes. So's yours.

VINCENT:
Yes. It was more orange, but now is, of course, less.

DOCTOR:
So, Vincent, painted any churches recently? Any churchy plans? Are churches, chapels, religiousy stuff like that, something you'd like to get into? You know, fairly soon?

VINCENT:
Well, there is one church I'm thinking of painting when the weather is right.

DOCTOR:
That is very good news.

WOMAN:
(screams) She's been murdered! Help me!

DOCTOR:
That, on the other hand, isn't quite such good news. Come on, Amy, Vincent!

AMY and the DOCTOR head for the door. VINCENT downs the rest of his wine and follows.

EXT. AUVERS-SUR-OISE, ALLEY, NIGHT

The DOCTOR, AMY and VINCENT run the same was as the woman into an alley. The body of a young woman is lying on the cobbles. A group of locals has already gathered.

MAN:
She's been ripped to shreds!

DOCTOR:
Please, let me look. I'm a doctor.

WOMAN #2:
Who is it?

DOCTOR:
Oh, no, no, no.

The DOCTOR and VINCENT kneel beside the body.

MAN #2:
Is she dead?

A woman pushes her way through. She is the young girl’s MOTHER.

MOTHER:
Away, all of you vultures! This is my daughter. (caresses her daughter) Giselle. What monster could have done this? (to DOCTOR) Get away from her!

The DOCTOR and VINCENT both stand and back away.

DOCTOR:
OK, OK.

MOTHER:
Get that madman out of here! (throws a stone)

The rest of the crowd also throw stones, blaming VINCENT. The DOCTOR, AMY, and VINCENT run away down the alley.


MOTHER:
You bring this on us. Your madness! You! He's to blame!

They stop to catch their breath.

DOCTOR:
(to VINCENT) Are you all right?

VINCENT:
Yes, I'm used to it.

DOCTOR:
Has anything like this murder happened here before?

VINCENT:
Only a week ago. It's a terrible time.

DOCTOR:
As I thought, as I thought. Come on, we'd better get you home.

VINCENT:
Where are you staying tonight?

DOCTOR:
(claps VINCENT on the shoulder) Oh, you're very kind. (walks off down the alley)

AMY giggles nervously and follows. Puzzled, VINCENT puts his hat on and walks after them.


EXT. VINCENT’S COTTAGE, NIGHT

VINCENT is leading the DOCTOR and AMY through a maze of buildings.

DOCTOR:
Dark night, very starry.

VINCENT:
It's not much. I live on my own. But you should be OK for one night. ONE night.

AMY:
We're going to stay with him?

DOCTOR:
Until he paints that church.

VINCENT lights a lamp and removes his hat.

VINCENT:
Watch out. That one's wet.

AMY:
What?

The DOCTOR walks in but AMY stops when she sees the painting “Bedroom in Arles”.

INT. VINCENT’S COTTAGE, NIGHT

VINCENT lights another lamp. His cottage is filled with paintings in various stages of completion. Most prominently positioned is “Portrait of Dr. Gachet”

VINCENT:
Sorry about all the clutter.

DOCTOR:
Some clutter.

VINCENT:
I've come to accept the only person who's going to love my paintings is me.

AMY:
(enters) Wow. I mean, really. Wow.

The DOCTOR examines some of the paintings including “Blossoming Almond Tree”, “Prisoners Exercising (after Dore)”, and “Wheat Field with Cypresses”.

VINCENT:
Yeah, I know it's a mess. I'll have a proper clear-out. I must, I really must.

AMY looks around and sees “La Berceuse”.

VINCENT:
Coffee, anyone?

DOCTOR:
Not for me, actually.

The DOCTOR pops his head around the door in time to see VINCENT put the coffee down on “Still Life: Basket with Six Oranges”.

DOCTOR:
You know, you should be careful with these. They're... precious.

VINCENT wipes off the coffee ring with his hand.

VINCENT:
Precious to me. Not precious to anyone else.

The DOCTOR enters the main room.

AMY:
They're precious to me!

AMY joins them.

VINCENT:
Well, you're very kind. And kindness is most welcome.

DOCTOR:
Right, so, this church, then. Near here, is it?

VINCENT:
(gets wood for the fire) What is it with you and the church?

DOCTOR:
Oh, just casually interested in it, you know.

VINCENT:
Far from casual. Seems to me. you never talk about anything else. He's a strange one.

DOCTOR:
OK, so let's talk about you. What are you interested in?

VINCENT:
Look around. Art. It seems to me there's so much more to the world than the average eye is allowed to see.

AMY wanders over from looking at “Starry Night”.

VINCENT:
I believe, if you look hard, there are more wonders in this universe than you could ever have dreamed of.

DOCTOR:
You don't have to tell me.

Later, the DOCTOR is sitting in a chair by the fire as VINCENT explains his views of art.

VINCENT:
It's colour. Colour that holds the key. I can hear the colours. Listen to them. Every time I step outside, I feel nature is shouting at me. "Come on. Come and get me. Come on. Come on! (grips the DOCTOR’S lapels) Capture my mystery!"

DOCTOR:
Maybe you've had enough coffee now. How about some nice calming tea? Let's get you a cup of chamomile or something, shall we? Amy? Where's Amy? (AMY screams) No, no. NO! (runs outside)

EXT. VINCENT’S COTTAGE, NIGHT

The DOCTOR and VINCENT race outside.

DOCTOR:
Amy? Amy?

They find AMY on her knees in the yard.

DOCTOR:
What happened?

AMY:
I was having a look at the paintings out here when something hit me from behind.

DOCTOR:
It's OK. He's gone now and we're here.

VINCENT looks around and raises his hands in fright.

VINCENT:
No! (backs away, crying out)

DOCTOR:
Take it easy. Take it easy!

AMY:
What's happening? What's he doing?

VINCENT grabs a large wooden fork and holds it in front of him like a weapon.

DOCTOR:
I don't know.

With a shout, VINCENT runs towards them.

DOCTOR:
Oh, dear.

VINCENT runs past them.

VINCENT:
Run. Run!

DOCTOR:
Yeah, yeah, yeah. That's not a bad idea. Amy, get back. He's having some kind of fit. I'll try to calm him down.

As VINCENT apparently lashes out at something, AMY runs to the doorway and watches from safety.

DOCTOR:
Easy, Vincent, easy. Look, look. It's me, it's me, it's me. (holds his hands out in front of him) It's the Doctor, look. No-one else is here. So, Vincent...

We see part of something appear behind the DOCTOR.

VINCENT:
Look out!

The DOCTOR is thrown to the ground as a scaly tail lashes him. The creature roars and shreds one of the paintings.

AMY:
(shrieks) I can't see anything. What is it?

Whatever it is, VINCENT can see it and tries to fight it off.

DOCTOR:
(gets up) That is a good question. (grabs a stout stick and joins VINCENT) Let me help you.

VINCENT:
You can see him, too?

The DOCTOR goes to a completely different area of the yard and waves the stick around.

DOCTOR:
Yes. Ish. Well, no. Not really.

The creature roars and is thrown back over a table bearing irises in a vase. He lands at VINCENT’S feet.

VINCENT:
You couldn't see him?

DOCTOR:
No. Oi!

The DOCTOR gets up and begins batting the stick around with a roar. VINCENT seemingly hurts it and it retreats from the yard. In his section of the yard, the DOCTOR is still trying to fight it off. VINCENT and AMY watch for a bit.

VINCENT:
He's gone.

DOCTOR:
Oh, right. Yes, of course. (throws the stick down)

INT. VINCENT’S COTTAGE, NIGHT

DOCTOR:
Right. So he's invisible? What did he look like?

VINCENT:
I'll show you.

VINCENT takes one of his paintings of irises and paints over it with white.

DOCTOR:
Oh, no, no, no!

AMY gasps and covers her mouth.

VINCENT:
What?

DOCTOR:
It's just... That was quite a good... (sighs) On you go.

VINCENT sketches quickly and roughly with charcoal as AMY and the DOCTOR watch intently. Finished, the creature looks almost birdlike with a beak and talons but also reptilian.

DOCTOR:
OK. OK. (takes the sketch) Right. Amy, make Mr Van Gogh comfortable. Don't let any invisible monsters in through the front door.

AMY:
But it could be outside, waiting.

DOCTOR:
Don't worry, I'll risk it. What's the worst that can happen?

AMY:
You could get torn into pieces by a monster you can't see.

Behind the DOCTOR, we see “The Yellow House”.

DOCTOR:
Oh, right, yes. That. Don't worry. I'll be back before you can say, "Where's he got to now?" (leaves)

AMY turns to face VINCENT. The DOCTOR comes back.

DOCTOR:
Not that fast! (AMY jumps) But pretty fast. See you around. (leaves again)

EXT. VINCENT’S COTTAGE, NIGHT

We hear a soft growling and see the DOCTOR from a distance as he leaves the cottage. The DOCTOR creeps forward, looking.

EXT. AUVERS-SUR-OISE, ALLEY, NIGHT

The DOCTOR walks cautiously back to the TARDIS, glancing over his shoulder periodically. He unlocks the TARDIS and enters.

INT. TARDIS

The DOCTOR throws a few things out of his way as he drags out a large trunk.

DOCTOR:
Right. You in here somewhere? I can't apologise enough. I thought you were just a useless gadget. I thought you were just an embarrassing present from a dull godmother with two heads and bad breath. Twice. (pulls out a device that seems to be a mirror attached to a harness) How wrong can a man be?

He hooks it up to the TARDIS for power then makes a face at the mirror. The TARDIS then prints up pictures of his first two incarnations and naming his species and planet of origin.

DOCTOR:
Good. OK, you're working. Now, see what you make of this. (holds up the sketch) Who is that? (machine shows a parrot) No, I know it's not that. There are thousands of them and you can see them plain as day. (shows a polar bear) No. Definitely not. This is the problem with the impressionists - not accurate enough. This would never happen with Gainsborough or one of those proper painters. Sorry, Vincent. (picks up sketch) You'll just have to draw something better. (throws it over his head)

EXT. AUVERS-SUR-OISE, ALLEY, DAWN

The DOCTOR steps out wearing the device, the mirror aimed over his shoulder. The creature appears in the mirror. The DOCTOR adjusts the controls.

DOCTOR:
That's better, old girl. Time-delay, but you always get it right in the end. Good. Let's find out who this is, then. (the device shows the results) Whoa, there you are, you poor thing. You brutal, murderous, abandoned thing. I hope we meet again soon so I can take you home. (the creature appears in the mirror over the DOCTOR’S shoulder and roars) Maybe not that soon.

The DOCTOR runs through the alley. He keeps checking the mirror to see how close the creature gets. He starts to knock over tables and other items to slow it down. The creatures gives up the chase and the DOCTOR rests against a wall. He looks again to see AMY. Startled, they both yelp.

DOCTOR:
Never do that! You scared the living daylights out of me.

AMY:
Sorry. I got bored. As much as you admire his command of colour and shape, it is hard to get fond of Vincent Van Gogh's snoring.

INT. VINCENT’S COTTAGE, BEDROOM, MORNING

VINCENT’S bedroom is his painting come to life. He is in bed, snoring.

DOCTOR:
(enters) Wake, wakey. Rise and shine! Breakfast is served in the courtyard. (opens window) Whoa! What a morning. (claps) Come on. (VINCENT gets up) And Amy's got a little surprise for you.

EXT. VINCENT’S COTTAGE, MORNING

AMY is sitting at the table, sunflowers scattered around in different containers.

AMY:
I thought I'd brighten things up to thank you for saving me last night.

VINCENT:
Ah!

AMY:
I thought you might like, you know, possibly to perhaps paint them or something? Might be a thought.

The DOCTOR joins AMY at the table.

VINCENT:
Yes. They're not my favourite flower.

AMY:
YOU don't like sunflowers?

VINCENT:
No, it's not that I don't like them. I find them complex. Always somewhere between living and dying. (holds one of the flowers by his window) Half-human as they turn to the sun. A little disgusting. But, you know, they are a challenge.

DOCTOR:
And one I'm pretty sure you will rise to. But, moving on, there's something I need to show you.

INT. VINCENT’S COTTAGE, MORNING

The DOCTOR shows VINCENT the printout of the creature.

VINCENT:
(sitting) That's him. And the eyes. Without mercy.

DOCTOR:
This is a creature called the Krafayis. They travel in space, they travel as a pack. Scavenging across the universe. Sometimes one of them gets left behind and because they are a brutal race, the others never come back. So, dotted all around the universe are individual, utterly merciless, utterly abandoned Krafayis. And what they do is... Well, kill, until they're killed. Which they usually aren't. Because other creatures can't see them.

VINCENT:
But I can.

DOCTOR:
Yes. And that's why we are in a unique position today, my friend, to end this reign of terror. So, feeling like painting the church today?

VINCENT:
What about the monster?

DOCTOR:
Take my word for it. If you paint it, he will come.

VINCENT:
(stands) OK. I'll get my things.

DOCTOR:
In your own time. I promise you, we'll be out of your hair by this time tomorrow.

VINCENT hesitates in the doorway with a look at AMY before going into the other room.

DOCTOR:
This is risky.

AMY:
Riskier than normal?

DOCTOR:
(stands and checks to see if VINCENT can hear) Well, think about it. This is the middle of Vincent Van Gogh's greatest year of painting. If we’re not careful, the result of our trip could be the brutal murder of the greatest artist who ever lived. Half the pictures on the wall of the Musee D'Orsay will disappear. (sits next to AMY) And it will be our fault.

EXT. VINCENT’S COTTAGE, MORNING

The DOCTOR knocks on the door to VINCENT’S bedroom.

DOCTOR:
Vincent? Vincent!

The DOCTOR checks his watch before opening the door.

INT. VINCENT’S COTTAGE, BEDROOM, MORNING

VINCENT is lying face down on his bed, crying. On the wall between the door and the window is one of his many self-portraits.

DOCTOR:
Vincent, can I help?

VINCENT:
It's so clear you cannot help. And when you leave, and everyone always leaves, I will be left once more with an empty heart and no hope. (rolls over to look at the DOCTOR)

DOCTOR:
My experience is that there is, you know, surprisingly, always hope.

VINCENT:
Then your experience is incomplete. I know how it will end, and it will not end well.

DOCTOR:
Come on. (slaps VINCENT’S back cheerily) Come out, let's go outside.

VINCENT:
Out! You get out. What are you doing here? What are you doing here?

DOCTOR:
(backs away towards the door) Very well. I'll leave. I'll leave you.

VINCENT curls into a fetal position and sobs.

EXT. VINCENT’S COTTAGE, MORNING

AMY comes up the stairs and sees the DOCTOR leaning against the railing, somber, without VINCENT.

AMY:
What's happening?

DOCTOR:
We're leaving. Everyone knows he's a delicate man. Just months from now he'll...he'll take his own life. (pushes away from the rail)

AMY:
Don't say that. Please.

Without a word, the DOCTOR goes down the stairs.

INT. VINCENT’S COTTAGE, MORNING

The DOCTOR takes a last look at the paintings.

DOCTOR:
Come on. We have to do this on our own. Go to the church at the right time and hope the monster still turns up.

VINCENT appears in the doorway, coat and hat on.

VINCENT:
I'm ready. Let's go. (picks up brush)

EXT. ROAD OUTSIDE AUVERS, DAY

AMY is walking alongside VINCENT, her arm tucked in his. VINCENT is carrying his easel and palette. In her other hand, AMY carries the paint case and canvas. The DOCTOR is walking behind them.

AMY:
I'm sorry you're so sad.

VINCENT:
But I'm not. Sometimes these moods torture me for weeks, for months. But I'm good now. If Amy Pond can soldier on, then so can Vincent Van Gogh.

AMY:
I'm not soldiering on. I'm fine.

VINCENT:
Oh, Amy, I hear the song of your sadness. You've lost someone I think.

AMY:
I'm not sad.

VINCENT:
They why are you crying?

AMY puts a hand to her cheek and wipes away a tear. She is surprised by it as she never knew she was crying.

VINCENT:
It's all right. I understand.

AMY:
I'm not sure I do.

The DOCTOR is following and knows that the tears are for RORY even though he has been wiped from existence. Somewhere inside, she still remembers him.

DOCTOR:
OK. OK! So, now, we must have a plan. When the creature returns...

VINCENT stops and turns to face the DOCTOR.

VINCENT:
Then we shall fight him again.

DOCTOR:
Well, yes, tick. But last night we were lucky. Amy could have been killed. So this time, for a start, we have to make sure I can see him, too.

AMY:
And how are we meant to do that, suddenly?

DOCTOR:
The answer's in this box. (the DOCTOR taps the case he’s carrying) I had an excellent, if smelly, godmother.

They stop as they see a funeral procession walking towards them. There are sunflowers resting on the coffin.

VINCENT:
Oh, no. It's that poor girl from he village.

They stand respectfully at the side of the road as the procession passes. The MOTHER looks at them but says nothing.

AMY:
You do have a plan, don't you?

DOCTOR:
No. (starts walking again) It's a thing - it's like a plan, but with more greatness.

EXT. CHURCH, DAY

VINCENT sets up his easel and sits down to paint.

DOCTOR:
(bends over, hands on VINCENT’S shoulders) And you'll be sure to tell me if you see any, you know, monsters.

VINCENT:
Yes. While I may be mad, I'm not stupid.

DOCTOR:
No, quite. And, to be honest...(squats beside VINCENT) not sure about mad either. It seems to me depression is a very complex...

VINCENT:
Shh. I'm working.

DOCTOR:
Well, yes. Paint. Do painting!

LATER: Vincent has outlined the top of the church and is painting the sky.

DOCTOR:
I remember watching Michelangelo painting the Sistine Chapel. Wow! What a whinger. I said to him, "If you're scared of heights, you shouldn't have taken the job. "

AMY:
Shh!

LATER: There is more detail on the church and VINCENT is still working on the sky.

DOCTOR:
And Picasso. What a ghastly old goat. I kept telling him, "Concentrate, Pablo, it's one eye, either side of the face."

AMY:
Quiet.

EXT. CHURCH, NIGHT

AMY stands by VINCENT as he keeps painting. The DOCTOR is squatting, bored.

DOCTOR:
Is this how time normally passes? Really slowly. In the right order. (gets up) If there's one thing I can't stand, it's an unpunctual alien attack. (walks behind VINCENT, facing away)

AMY:
(joins him) Are you OK? You seem a bit, if I didn't know better, I'd say nervous.

DOCTOR:
There's something not right and I can't quite put my finger on it.

VINCENT:
There. (the DOCTOR and AMY turn) He's at the window.

DOCTOR:
Where?

VINCENT:
There, on the right.

DOCTOR:
As I thought. Come on. I'm going in.

VINCENT:
Well, I'm coming, too.

DOCTOR:
No. (holds a hand up to stop him) You're Vincent Van Gogh. No.

VINCENT:
But you're not armed.

DOCTOR:
I am.

VINCENT:
What with?

DOCTOR:
Overconfidence, this (taps case) and a small screwdriver. I'm absolutely sorted. Just have to find the right crosactic setting, and stun him with it. Sonic never fails. Anyway, Amy, only one thought, one simple instruction - don't follow me under any circumstances. (signals VINCENT to keep an eye on her)

AMY:
I won't.

The DOCTOR gives a thumbs-up and heads towards the church.

VINCENT:
Will you follow him?

AMY:
Of course.

VINCENT:
(looks at AMY) I love you.

The DOCTOR stops, sets down the case and takes out the same device he used earlier. He straps it on and sets the controls. With a smile, he enters the church.

INT. CHURCH, NIGHT

The DOCTOR enters slowly and cautiously. We hear a low growling. The DOCTOR keeps checking the mirror and pulls out the sonic screwdriver.

EXT. CHURCH, NIGHT

AMY paces as VINCENT watches the window.

AMY:
Has he moved?

VINCENT:
No, just shifted to the next window. But, wait! He's turning now.

INT. CHURCH, NIGHT

The DOCTOR approaches the window and keeps checking the mirror. He doesn’t see the Krafayis where it’s supposed to be.

DOCTOR:
Damn. He's moved.

He puts the mirror down and looks up. We see in the mirror the Krafayis’s arm as he swipes the DOCTOR. The DOCTOR goes flying.

EXT. CHURCH, NIGHT

AMY and VINCENT hear the DOCTOR’S cry.

AMY:
Doctor! (heads for the church)

VINCENT:
Amy! (rushes after her)

INT. CHURCH, NIGHT

The DOCTOR uses the screwdriver as he retreats.

AMY:
Doctor!

DOCTOR:
(screams) Argh! I thought I told you... Never mind. We'll talk about it later. Quick, in here. (hide in confessional)

We hear the Krafayis moving about outside.

DOCTOR:
(whispers) Absolutely quiet. (slides the door over the grill between them) Can you breath a little quieter, please?

AMY:
(whispers) No! (lifts the curtain) He's gone past.

DOCTOR:
Shh.

The Krafayis growls, blowing in the grating on AMY’S the side of the confessional. She screams.

DOCTOR:
I think he heard us.

The Krafayis then takes out part of the grating on the DOCTOR’S side.

DOCTOR:
That is impressive hearing he's got.

Another section of the confessional is ripped out

DOCTOR:
What's less impressive are our chances of survival.

AMY screams.

VINCENT: (v.o.)
Hey, are you looking for me, sonny?

AMY peers out and sees VINCENT brandishing his chair like a lion tamer.

VINCENT:
Come on. Over here. Because I'm right here waiting for you.

We see the Krafayis from VINCENT’S POV as he fights it off.

VINCENT:
(motions to AMY and the DOCTOR) Come on. Quickly! Get behind me.

DOCTOR:
(uses sonic) Doing anything?

They back out.

EXT. CHURCH, NIGHT

VINCENT still holds the chair in front of him defensively. The DOCTOR looks around wildly.

DOCTOR:
Where is he?

VINCENT:
Where do you think he is, you idiot? Use your head.

The Krafayis walks towards them. The DOCTOR stands by VINCENT and uses the sonic again.

DOCTOR:
Anything?

AMY:
Nothing. In fact, he seemed to rather enjoy it.

They move apart.

VINCENT:
(to DOCTOR) Duck. (the DOCTOR ducks) Left.

The DOCTOR moves to his left and the Krafayis swats him away and he is slammed into a wall.

VINCENT:
Right, sorry.

The DOCTOR sits up with a groan, holding his side. AMY rushes over. VINCENT comes over with the chair to help defend them.

VINCENT:
Your right, my left.

DOCTOR:
This is no good at all. Run like crazy and regroup. (scrambles up)

AMY:
Oh, come on, in here.

They run into another church building.

INT. CHURCH, NIGHT

Together, they begin to push the door closed. VINCENT sees the leg of the Krafayis is keeping it open. He stamps his foot down on it and the creature yanks it back. They close the door and stand with their backs against it.

DOCTOR:
Right. OK. Here's the plan. Amy, Rory.

AMY:
Who?

DOCTOR:
Sorry, um, Vincent.

AMY:
What is the plan?

DOCTOR:
I don't know, actually. But in future, I'm just using this screwdriver for screwing in screws. (puts away sonic)

VINCENT:
Give me a second. I'll be back. (runs off)

DOCTOR:
I suppose we could try talking to him.

AMY:
Talking to him?!

DOCTOR:
Well, yes. Might be interesting to know his side of the story. (Krafayis growls) Yes, though maybe he's not really in the mood for conversation right at this precise moment. (Krafayis growls and bangs on the door) Well, no harm trying. Listen. Listen! (growling stops) I know you can understand me. (faces door) Even though I know you won't understand why you can understand me. I also know that no-one's talked to you for a pretty long stretch, but please... listen. I also don't belong on this planet. I also am alone. If you trust me, I'm sure we can come to some kind of, you know, understanding. And then, and then, who knows?

The window directly opposite them shatters as the Krafayis finds a way inside. It roars and displaces things as it moves about. VINCENT returns with his easel.

VINCENT:
Over here, mate!

The DOCTOR and AMY move behind him.

DOCTOR:
What's it up to now?

VINCENT:
It's moving round the room. Feeling its way around.

AMY and VINCENT move behind a sarcophagus.

DOCTOR:
(behind a column) What?

VINCENT:
It's like it's trapped. It's moving round the edges of the room.

We see the Krafayis from VINCENT’S POV as it walks along the wall.

AMY:
I can't see a thing.

DOCTOR:
I am really stupid.

AMY:
Oh, get a grip! This is not a moment to re-evaluate your self-esteem.

DOCTOR:
No, I am really stupid and I'm growing old. Why does it attack, but never eat its victims? (moves to sarcophagus) And why was it abandoned by its pack and left here to die? Why is it feeling its way helplessly around the walls of the room? It can't see, it's blind. That explains why it has such perfect hearing!

VINCENT:
Which unfortunately also explains why it is now turning around and heading straight for us.

VINCENT steps forward, the sharp ends of the easel held out as a weapon.

DOCTOR:
Vincent. Vincent, what's happening?

VINCENT:
It's charging now. (motions with hand) Get back. Get back!

VINCENT moves forward and impales the beast on the easel. The Krafayis bellows in pain and anger. Still holding the easel, VINCENT is suspended above the floor. He lets go and falls to the floor. The Krafayis collapses. To the DOCTOR and AMY, the easel is suspended but VINCENT can see where it penetrated the creature’s chest.

VINCENT:
He wasn't without mercy at all. He was without sight. I didn't mean that to happen. I only meant to wound it, I never meant to...

DOCTOR:
(kneels beside body) He's trying to say something.

VINCENT:
What is it?

DOCTOR:
I'm having trouble making it out, but I think he's saying, "I'm afraid. I'm afraid." (reaches out to stroke the body) There, there. It's OK. You'll be fine. Ssh. (Krafayis dies)

VINCENT:
He was frightened…and he lashed out. Like humans, who lash out when they're frightened. Like the villagers who scream at me. Like the children who throw stones at me.

DOCTOR:
Sometimes winning - winning is no fun at all. (leaves)

EXT. FIELD, NIGHT

The DOCTOR, AMY, and VINCENT lie down in the field, heads together. VINCENT reaches first for AMY’S hand and then the DOCTOR’s.

VINCENT:
Hold my hand, Doctor. Try to see what I see. We are so lucky we are still alive to see this beautiful world.

The DOCTOR and AMY reach for each other’s hands.

VINCENT:
Look at the sky. It's not dark and black and without character. The black is in fact deep blue. (points with his hand entwined with the DOCTOR’S) And over there, lighter blue. (lets go of AMY’S hand and makes a sweeping motion) And blowing through the blueness and the blackness, the wind swirling through the air and then, shining, burning, bursting through - the stars! (the vision turns to VINCENT’S perception and becomes “Starry Night”) Can you see how they roar their light? Everywhere we look, the complex magic of nature blazes before our eyes.

DOCTOR:
I've seen many things, my friend. But you're right. Nothing quite as wonderful as the things you see.

VINCENT grips the DOCTOR’S hand tighter and pulls it to his chest. He looks at AMY’S closer, savoring the feel of her fingers.

VINCENT:
I will miss you terribly.

EXT. AUVERS-SUR-OISE, MORNING

VINCENT: (v.o.)
I only wish I had something of real value to give you.

INT. VINCENT’S COTTAGE, MORNING

The DOCTOR giggles as he holds one of VINCENT’S paintings. It is “Self Portrait with Straw Hat”.

DOCTOR:
Oh, no, no. I could never accept such an extraordinary gift.

VINCENT:
(hurt) Very well. You are not the first to decline the offer. (holds out arms) Amy, the blessed, the wonderful.

They hug and she kisses him.

AMY:
Be good to yourself and be kind to yourself.

VINCENT:
I'll try my best.

AMY:
And maybe give the beard a little trim before you next kiss someone. (rubs her cheek and laughs)

VINCENT:
I will. I will. And if you tire of this Doctor of yours, return, And we will have children by the dozen.

AMY:
Eek!

VINCENT:
Doctor, my friend. (takes his hand) We have fought monsters together and we have won. On my own, I fear I may not do as well.

The DOCTOR hugs him tightly, sad because he knows what’s coming.

EXT. VINCENT’S COTTAGE, MORNING

The DOCTOR and AMY walk away.

DOCTOR:
Are you thinking what I'm thinking?

AMY:
I was thinking I may need some food before we leave.

DOCTOR:
Well, no, you're not thinking exactly what I'm thinking. (faces house) Vincent!

Shirtless, brush in hand, VINCENT sticks his head out the window.

DOCTOR:
Got something I'd like to show you. Maybe just tidy yourself up a bit first.

EXT. AUVERS-SUR-OISE, ALLEY, DAY

The DOCTOR, VINCENT and AMY walk through the village towards the TARDIS.

DOCTOR:
Now, you know we've had quite a few chats about the possibility there might be more to life than normal people imagine?

The DOCTOR stops with a sigh as he sees the TARDIS covered in bills.

VINCENT:
Yes.

DOCTOR:
Well, brace yourself, Vinny.

The DOCTOR uses the key to slice the crack between the doors before opening it. He and AMY stand in the doorway as VINCENT gets his first view of the TARDIS interior. He sticks his head out and then examines the exterior. VINCENT steps inside again.

VINCENT:
How come I'm the crazy one and you two have stayed sane?

INT. TARDIS

The DOCTOR takes off VINCENT’S hat and tosses it to the side. They walk to the console.

VINCENT:
What do these things all do?

DOCTOR:
Oh, a huge variety of things. This one here, (turns knob) for instance, plays soothing music. (dances) While this one makes a huge amount of noise. (distorted sound) And this one makes everything go tonto. (everything shakes)

VINCENT:
And this one? (points)

DOCTOR:
That's a friction contrafibulator!

VINCENT:
And this?

DOCTOR:
That's ketchup. And that one's mustard.

VINCENT:
Mmm. Nice! (grips the DOCTOR’S shoulders) Come on. Back to the cafe and you can tell me about all the wonders of the universe.

DOCTOR:
Good idea. Although, actually, there's a little something I'd like to show you first. (sets the TARDIS in motion)

EXT. PARIS, DAY

The last of the posted bills are burning off the TARDIS as the door opens and the DOCTOR, AMY and VINCENT step out.

VINCENT:
Where are we?

DOCTOR:
Paris. 2010 AD. And this is the mighty Musee D'Orsay, home to many of the greatest paintings in history.

VINCENT:
Oh, that's wonderful.

Two boys walk by with portable electronics and VINCENT stares.

DOCTOR:
Ignore that. I've got something more important to show you.

("Chances" by ATHLETE plays)

INT. MUSEE D’ORSAY

They enter the museum and VINCENT is overwhelmed by the grandness of it. AMY leads the way past some Monets and Rodin’s “The Kiss”. The DOCTOR has to drag him from the “Water Lilies”. They then enter the Van Gogh exhibit. VINCENT sees his paintings in a Paris museum when they had only hung in his home. The DOCTOR holds out his arms. The DOCTOR then sees Dr BLACK.

DOCTOR:
Dr Black, we met a few days ago. I asked you about the church at Auvers.

AMY brings VINCENT closer.

BLACK:
Oh, yes. Glad to be of help. You were nice about my tie.

DOCTOR:
Yes. And today is another cracker if I may say so. But I just wondered, between you and me, in 100 words, where do you think Van Gogh rates in the history of art?

BLACK:
Well, big question. But, to me, Van Gogh is the finest painter of them all.

VINCENT’S eyes are red as he begins to tear up.

BLACK:
Certainly, the most popular, great painter of all time, the most beloved. His command of colour, the most magnificent. He transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray, but to use your passion and pain to portray the ecstasy and joy and magnificence of our world - no-one had ever done it before. Perhaps no-one ever will again. To my mind, that strange, wild man who roamed the fields of Provence was not only the world's greatest artist, but also one of the greatest men who ever lived.

VINCENT begins to cry outwardly. The DOCTOR notices and goes to him.

DOCTOR:
Vincent. I'm sorry. I'm sorry. Is it too much? (gives a comforting hug)

VINCENT:
No. They are tears of joy. (goes to BLACK and gives him a Gallic kiss) Thank you, sir. Thank you. (hugs him)

BLACK:
You're welcome. You're welcome.

VINCENT:
Sorry about the beard. (goes back to the DOCTOR and AMY)

BLACK slowly walks away and quickly turns, wondering if the man he saw was truly Van Gogh. The man is gone and BLACK shakes his head.

EXT. OLIVE GROVE, DAY

The TARDIS materializes and VINCENT steps out first.

VINCENT:
This changes everything. I'll step out tomorrow with my easel on my back a different man. I still can't believe that one of the haystacks was in the museum. How embarrassing.

DOCTOR:
It's been a great adventure and a great honour. (shakes VINCENT’S hand and then hugs him)

VINCENT:
You've turned out to be the first doctor ever actually to make a difference to my life.

DOCTOR:
I'm delighted. I won't ever forget you. (heads to TARDIS)

VINCENT:
And you are sure marriage is out of the question?

AMY:
This time. (hugs him and whispers in his ear) I'm not really the marrying kind. (kisses him and heads back to the TARDIS) (to DOCTOR) Come on. Let's go back to the gallery right now.

VINCENT takes his pipe from his pocket and watches the TARDIS dematerialize. With a smile and a shake of his head, he walks away.

EXT. PARIS, DAY

AMY exits the TARDIS with a big smile. The DOCTOR’S is more indulgent. AMY skips ahead.

AMY:
Time can be re-written. I know it can. Come on!

INT. MUSEE D’ORSAY, DAY

AMY climbs the stairs to the exhibit.

AMY:
Oh, the long life of Vincent Van Gogh. There'll be hundreds of new paintings.

DOCTOR:
I'm not sure there will.

They walk past the Monet exhibit, the DOCTOR walking more slowly, following in the wake of AMY’S exuberance.

AMY:
Come on!

AMY rushes into the exhibit and looks around at the same paintings.

BLACK: (v.o.)
We have here the last work of Vincent Van Gogh, who committed suicide at only 37.

AMY closes her eyes in grief, her hope shattered.

BLACK: (v.o.)
He is now acknowledged to be one of the foremost artists of all time. If you follow me now...

AMY:
So, you were right. No new paintings. We didn't make a difference at all.

DOCTOR:
(walks to her) I wouldn't say that. The way I see it, every life is a pile of good things and bad things. Hey. (hugs her) The good things don't always soften the bad things. But, vice versa - the bad things don't necessarily spoil the good things or make them unimportant. (releases the hug but holds her head) And we definitely added to his pile of good things. And if you look carefully...(takes her to “Church at Auvers”) .. maybe we did indeed make a couple of little changes.

AMY:
No Krafayis.

DOCTOR:
No Krafayis.

While the DOCTOR studies the church, AMY walks to the center of the exhibit. Something catches her eye and she moves with a purpose across the room. The DOCTOR sees and follows at a distance. In its own alcove rests “Still Life: Vase With Twelve Sunflowers”. On the vase right above his signature it says “For Amy”. The DOCTOR comes up beside her and whistles.

AMY:
If we had got married, our kids would have had very, very red hair.

DOCTOR:
The ultimate ginger.

AMY:
The ultimate ginge.

The DOCTOR laughs and AMY smiles.

AMY:
Brighter than sunflowers.

As they stand together looking at the painting, the DOCTOR rubs her back and giver her a quick one-armed hug.
 
 
 
Christine D.: eleven amy hug doctor whosnowflakie06 on October 18th, 2010 03:44 am (UTC)
Thanks so so much for this! :D
jpgr: DW 11 Thumbs Up anijpgr on October 18th, 2010 01:50 pm (UTC)
You are as welcome as ever!
Katetasty_kate on October 18th, 2010 12:32 pm (UTC)
Whew! You've done it again! And bravo on the painting names-- that must have been tough to gather them all. I've noticed that a lot of times, the paintings sometimes can seem similar to his other works.
jpgr: DW 10 Swaying anijpgr on October 18th, 2010 01:49 pm (UTC)
Getting the names was kind of tough. I had the video going and would pause it at a painting and then check out a bunch of van Gogh sites to check them. I did ask for help on one of them because I couldn't get a good look at it. It was a challenge adding the links but I think it helps overall.

Glad you like!
rochvelleth: DW - 11 fezrochvelleth on October 18th, 2010 03:55 pm (UTC)
Awesome, yet again! And all that work on finding out which paintings are which, brilliant. This is an amazing resource - thank you!
jpgr: DT Ghost of Christmas Presentjpgr on October 18th, 2010 04:39 pm (UTC)
Thanks! I liked the challenge
her heaven is never enough: doctor who - mad not stupid_lyra_b on October 19th, 2010 02:02 pm (UTC)
Yea! Thanks so much!!!
jpgr: DT Smile anijpgr on October 19th, 2010 02:46 pm (UTC)
You're welcome
Lisa Moulton: Peter Davison and me!gigs_83 on December 28th, 2013 03:45 am (UTC)
Hey I just happened to pop back here because I need some dialogue for a fic and I noticed some borked HTML:

Sorry, Vincent. </i>(picks up sketch)</i> You'll just have to draw something better.

Thought you should know. :)

Edited at 2013-12-28 03:46 am (UTC)
jpgr: DW Mad not Stupidjpgr on December 29th, 2013 12:02 am (UTC)
Thank you! Fixed it. Let me know about the fic when it's done.
Lisa Moulton: Peter Davison and me!gigs_83 on December 30th, 2013 01:05 am (UTC)
Not a problem.

Oh, you won't want to read it. I write the genre of fanfic that makes most people run away screaming. :) Thanks for the thought, though.