All language subtitles for The Adventures of Young Indiana Jones S01E02 Passion for Life_track3_eng

(singing in native language)

(train whistle blows)

(people shouting indistinctly)

Henry. Henry, will you slow down?

This wilderness has been here
for millions of years.

It’s not going to disappear
whilst you unpack.

But I want to see Roosevelt.

He’s the best-- a president,

a boxer, and a hunter.

Yes, and he won’t be back till sundown.

How do you know?

I know.

Okay. I'll slow down.

I fear Mr. Medlicot’s boisterous nature

is a bad influence on you, Henry.

-Hello!
-Oh, Mr. Medlicot.

Would you like me to show
you around the camp

before they return?

Yes, sir!

Henry, will you slow down,

or you’ll collapse with sunstroke.

Don’t worry, Miss Seymour.

I’ll calm him down.

Some help, I'm sure.

We have some excellent
cooks here, you know.

Some of President Roosevelt’s

favorite dishes

are elephant trunk soup,

ostrich liver,

giraffe heart...

You’ll love it! Mmm!

Heller, let me introduce you
to Henry Jones Jr.,

Professor Jones’ son.

Hello.

Pleased to meet you, Mr. Heller.

Heller’s a taxidermist.

He prepares the specimens
for transportation

back to the United States.

The next time you go into a museum

and stare at a lion,

you can think of me and
my blood-stained hands.

WOMAN: ♪ Something wondrous fair ♪

♪ The purest faith ♪

♪ And the strongest hand ♪

♪ The ground on where I stand... ♪

♪ I love my love... ♪

is that water clean?

Yes. Uh, I forgot my robe.

Yes. So I see.

Thanks.

Henry!

What on earth are you doing?

Miss Seymour.

I thought you...

You thought what, Henry?

Nothing.

I'm sorry.

Ridiculous boy!

Henry!

Henry!

Henry, they’re back!

(chanting in Maa)

Henry, this is Frederick Saloo.

He helped plan the Safari,
and he’s probably

one of the best hunters in all of Africa.

Good meeting you, Henry.

Pleased to meet you, sir.

Excuse me.

And that’s president
Roosevelt’s son Kermit.

TEDDY: Kermit, are you ready?

KERMIT: Yes, father. All set.

Come on in.

(applause)

(singing in native language)

(singing in native language)

TEDDY: I have read your book
on medieval armory,

Professor Jones. It’s a fine work.

Thank you, sir. I'm glad you enjoyed it.

You must read a lot.

Not as much as I'd like to.

MAN: Mr. President--

Mr. President--

Excuse me, Professor Jones.

You see, sir,

they clearly indicate this
as being one

of the Burton’s oryx’s breeding grounds.

There ought to be
thousands of them around here.

Well, that’s quite a mystery, then.

Mind you, this was written 20 years ago.

I haven’t seen any this year.

Well, they can’t have all just died out.

They may have migrated north.

They favor dry areas.

ANNA: Oh, what a beautiful animal.

It’s a very rare fringe-eared oryx.

(roaring)

(men yelling)

That was a lion...

I suppose.

Well, at least we’re in safe company.

No hunter is safe, Miss Seymour.

Today I shot a lioness.

Her mate was nearby.

I shot the mate,

but unfortunately, I only wounded it.

We must never underestimate

a wounded lion.

Remember Johnson?

Teddy, surely you don’t believe
that old story, do you?

Believe it? I was there!

The man was scared out of his wits.

He even built a tree house,

thinking he’d be safe,

but the wounded beast came into camp

that night and smelt him out.

Nothing we could do.

(lion roars)

(roaring)

Do you know how to shoot a gun, Henry?

No, sir.

He’s only 10 years old.

By the time I was 10,

I had an intimate knowledge of firearms.

Tomorrow, my boy,

I'll teach you how to shoot.

(various animal callings)

(roars)

Oh, Henry.

(growls)

(growls)

(giggling)

Dad?!

Go to sleep, junior.

Sight your target...

Squeeze the trigger.

Don’t pull it! Squeeze it.

Well done!

Now what?

Open the gun and let out the shells...

Careful.

Good boy!

I can see you’re going
to be quite a marksman.

Always remember--

a gun should only be used
in order to survive.

Ah, now!

This is the best gun ever made.

You may not be able to come
on the hunt with us,

but you should at least be able to enjoy

this fine land.

Keep them. They’re yours!

Wow!

Thank you, sir!

You look after him, now, Miss Seymour.

And you...

Be good.

Yes, sir!

Wouldn’t you just love to go

on the hunt, Miss Seymour?

I daresay I would.

Especially if I had been invited

by someone as dashing
and brave as Mr. Roosevelt.

I daresay you would, too, Miss Seymour.

"Six foot high,

to the smallest-- the royal antelope--

only 10 inches." Gosh!

Where’s the word "antelope"
come from, Henry?

"Antholops."

Means... "Brightness of eye."

At least, that’s what it says here.

Whoa. There must be over 80 species.

Look! Here it is!

Wow!

It’s beautiful.

That’s a very good likeness.

Thanks. This way I'll know
for sure if I find him.

I'm going to take the binoculars,

and I'm going to find it

for Mr. Roosevelt and the museum.

May I?

Very well, but don’t go far.

I won’t.

(bleating)

Hello.

What’s your name?

Do you understand?

Your... name.

I mean...

Indy.

My name is Indy.

(speaking Maa)

Indy.

(speaking Maa)

Indy...

In...

T.

Indy.

Indy.

In...tey.

Yeah. Indey.

(speaking Maa)

WOMAN: Meto!

Meto!

Meto?

Meto?

Indy?

Hi!

Meto! (speaking Maa)

(whistling)

(whistling)

(mooing)

(bleating)

Look... Binoculars.

Field glasses.

(chuckles)

You like it?

(singing in native language)

(roar)

That was a lion!

(grunting)

(snorts)

(grunting)

(singing continues)

(speaking Maa)

They’re stampeding.

(speaking Maa)

INDY: They’re stampeding!

(speaking Maa)

(snorting)

It’s great.

(snorting)

(aroo)

(aroo)

(speaking Maa)

I got you, boy.

(speaking Maa)

Elephants.

(speaking Maa)

Hippos. Yeah.

They’re called hippos in America.

(speaking Maa)

(counting in Maa)

Oh, 20!

I get it.

(snap)

(speaking Maa)

is it like... Like a toothbrush?

Too?

Tooth...brush.

Toothbrush.

(speaking Maa)

(speaking Maa)

Meto.

(growling)

(roaring and growling)

Come on! Hurry up!

(growling)

(screeching)

♪ ♪ ♪ ♪

(singing in native language)

(accompanying on pipe)

MAN: Gentlemen, ready, please.

And...

(applause)

Took quite a time

to get this one!

She charged me.

I felled her at a distance of 30 yards.

I think she intended mischief.

Were you scared?

Nope. Excited.

These are very rare animals.

Now, with these two...

That makes seven
we’ve managed to bag so far.

But if they’re so rare,

why do you kill so many of them?

In the grand scheme of things

seven’s not many, my boy.

There are thousands of them.

Beasts such as these belong in a museum

for everyone to share.

Besides, it’s wonderful sport.

MAN: Hear, hear! I'll drink to that!

But I still don’t understand.

You’re missing the point, Henry.

This is for science.

If people are educated,

they’ll have more respect
for wildlife and nature.

But why can’t you just shoot one or two?

Because there are hundreds of museums.

But why don’t you just put one animal

in each museum?

That mankind come to understand nature--

Very important.

I understand your feelings, son.

Why, I was given this very gun

in recognition of my efforts

to preserve the national heritage.

I count few achievements higher

than the founding of our national parks

where people can come to understand

and respect nature.

Oh. I guess I see.

That’s right, Henry.

Knowledge is the key.

Mankind has the power
to destroy the wilderness.

That is something we must
never be allowed to do.

This is the stillness of
the eternal beginning...

The world as it has always been.

What do you think happened
to the Burton’s oryx?

Well, I don’t know.

It’s a mystery.

I’ve been thinking about it.

And I think I can help you.

Well, the Smithsonian needs that animal

for its collection.

I know I can help you.

Good. I can depend on you, eh?

Yes, Mr. Roosevelt. I promise.

(horse neighs)

(lion roars, gunshot)

MAN: He was coming up here
for one of our donkeys. Thought I’d take--

Outstanding!

He was going to charge me, and I saw him.

Oh, congratulations!

Congratulations.

Thank you. Thank you very much.

Congratulations.

This must be the, uh, wounded mate.

MAN: I think absolutely certainly.

(indistinct chatter)

(singing in native language)

Oh. I'll go get some more champagne, huh?

Oryx.

-Oryx.
-(speaking Maa)

Yes. (repeats Maa word)

(speaking Maa)

Um, do you know where they are?

(speaking Maa)

Where? Do you know?

(speaking Maa)

(speaking Maa)

(speaking Maa)

(man speaking Maa)

Morning, Teddy.

Good morning, Saloo.

Latin.

Henry?

Henry?

Henry.

Henry?

Henry?

Henry!

(speaking Maa)

Oryx in there?

Yeah.

(speaking Maa)

Burton’s oryx.

Where are they?

(speaking Maa)

No, this is a drawing.

Where are they, the real oryx?

(speaking Maa)

I promised Mr. Roosevelt
I’d find them for him.

(hissing)

Snake!

(yelling)

Snakes! I hate snakes!

(yelling)

Professor. Professor.

I can’t find Henry anywhere.

When did you last see him?

About two hours ago, maybe three.

Perhaps he’s gone exploring

and he’s just lost track of the time.

This is no place to go missing.

Right. We all better
start looking for him.

I'll search the ridge.

Anna, start looking in the tents.

Yes.

(bleating)

(speaking Maa)

(speaking Maa)

(speaking Maa)

(speaking Maa)

What’d she say?

Shh!

(speaking Maa)

(repeats word)

(speaking Maa)

He wouldn’t just disappear like this

unless something has happened.

Now, let’s not panic.
He can’t have gone far.

I sincerely hope he hasn’t.

Kermit.

Yes, dad.

Get a search party together.

Yes, sir.

Now, don’t you worry, Mrs. Jones.

We’ll find him.

That’s right.

I'm sure Mr. Roosevelt will find him.

(speaking Maa)

(speaking Maa)

(speaking Maa)

Ground? Ground?

(speaking Maa)

(speaking Maa)

(speaking Maa)

(speaking Maa)

INDY: Oh.

Uh, roots underneath the ground.

Yes.

(speaking Maa)

The oryx...

Dig it up... From the ground

and eat it.

If we find the root-melons,

we’ll find the oryx.

(speaking Maa)

(speaking Maa)

Thank you.

Thank you.

Meto?

Meto?

(speaking Maa)

We can’t find him anywhere.

M-m-maybe he’s found somewhere safe.

TEDDY: I hope so.

Build a fire up top!

(speaking Maa)

(speaking Maa)

TEDDY: Henry!

Henry!

(roar)

(animal chitters)

(chittering)

(night sounds)

(roaring)

(chittering)

PROFESSOR HENRY JONES SR.: Junior!

Henry!

MAN: Henry!

(screeching)

(roar)

MAN: Bwana Indy!

(distant roar)

(screams)

(speaking Maa) Indy.

(indistinct chatter)

Bwana Indy!

(speaking Maa)

You’re all right.

Yes, mother.

Don’t you ever, ever do that again.

We were worried sick about you.

Sorry.

All right?

(horses nicker)

You’ve caused enough trouble
for one day, Henry!

I'm disappointed in you!

I thought you were more intelligent!

But I was looking for Burton’s oryx,

and I just lost track of the time.

No excuses! Professor Jones,

I suggest you keep
a closer eye on your son

in the future!

The African bush is no playground!

I'm sorry.

So you should be.

You are going straight to bed.

And no supper for you, my lad.

(frogs croaking)

(singing in native language)

Indy.

What are you doing here?

(speaking Maa)

I can’t.

(speaking Maa)

(speaking Maa)

Good grief. All right.

(singing continues)

(speaking Maa)

They must be near.

(speaking Maa)

(speaking Maa)

(speaking Maa)

(speaking Maa)

(speaking Maa)

(speaking Maa)

Burton’s oryx.

(all speaking indistinctly)

MAN: It gave me trouble last night.

MAN: You can’t win them all.

TEDDY: I'm really interested now.

You’re not gonna tell me, are you?

(talking continues)

Good morning, junior.

Good morning, father.

-MAN: Good morning, Henry.
-Henry: Morning.

I hope you learnt your lesson, Henry.

Yes, sir. I have.

Ooh. Excuse me.

(speaking Maa)

(speaking Maa)

(speaking Maa)

What is he saying?

This is Meto. He’s my friend.

He’s been helping me.

I tried to tell you all yesterday.

We found Burton’s fringe-eared oryx.

It’s the root-melon, you see.

No, we don’t see, junior.

They aren’t here anymore

because they only like
this kind of root-melon.

That’s what we call
"Elephants’ footballs."

Oh, my.

Some of them are huge.

Meto helped me to find them.

I promised you I’d find them, and I have.

I have it all written down. Here.

"There was a great fire in the bush,

which killed all the snakes.

These snakes usually ate the mole-rats."

But the mole-rats burrowed underground,

and they survived the fire.

"With no snakes,

there got to be so many of them,

they ate all the melons.

No root-melons, no oryx."

INDY: You see,

all the plants and animals,
they’re-- they’re connected.

When something happens to one animal,

it causes something different to happen

to all the other animals.

The oryx moved away to find the melons.

See, the melons are underground,

so the oryxes have to dig them
up in order to eat them.

So what about the oryx?

Meto and I saw them, only a few.

They’re the most beautiful animals.

That’s why I lost track of the time.

How far, did you say?

It’s in a small gully,
somewhere over there.

You have a bright lad
here, professor Jones.

TEDDY: Simon, saddle up.

(rifles cocking)

Are you all going to shoot?

(gunfire)

No more!

I said no more! You killed enough!

No more! That’s enough! No more!

Quite right, too.

Absolutely right, Henry.

It’s a rare species.

Who knows what kind of animals

might depend on them, eh?

Thank you, Henry.

Yes, sir.

Bully for you.

(singing in native language)

(cows mooing)

Go, Indy.

Bye, Indy.

(sea gulls calling)

You liked Africa, didn’t you?

Yeah.

It was so beautiful.

It was so wild.

Yes, well, beauty can take

other forms than wildness, you know.

Like what?

Well, like in great art, for example.

Some say that great art is never wild.

Although some artists’
lives certainly were.

Really?

I mean, take Benvenuto Cellini,
for example,

one of the great Renaissance artists.

His autobiography--

Is something that should be read

when Henry is perhaps a bit older.

What?

Oh, well, yes. Yes. (chuckles)

perhaps you’re right.

Well. Meantime, we should
turn our thoughts to Paris,

where I'm sure you’ll have

a stimulating, cultural experience

studying everything from painting

to the ballet.

Junior. Come and have a look.

We’ve arrived in France.

Now... There’s the city of Nice...

From where we’ll take a train to Paris.

-INDY: Today?
-PROFESSOR HENRY JONES SR.: Yes.

I'll see.

Thank you. Merci.

Darling, where is Henry?

Henry! Come on!

Henry!

Junior!

Now!

Hurry up!

Come on.

(whistle blows)

France.

How lovely...

And how civilized.

The first thing I'm going to do

is to buy a new dress.

The first thing I intend to do

is take a deep, relaxing bath.

Oh...

INDY: Yeah? First thing I want to do

is go right to the top
of the Eiffel Tower.

Do you know, Miss Seymour,

it’s the tallest
man-made structure on earth?

-Mmm.
-Isn’t that great?

So will you take me?

Henry, I’ve climbed the pyramids with you.

I’ve no intention of ascending
the dizzying heights

of the Eiffel Tower.

Well... Will you, father?

Well, we’ll see.
I'll have to check my schedule.

If you take my advice, junior,

your first order of business will be

to see the paintings of the Louvre Museum.

Excellent idea.

Thank you, professor.

Mmm.

Thank you.

Oh. Oh, thank you.

Ah.

Merci.

But... Mother...

Why are you and father leaving?

It’s only for a few days.

Yes, I know, but... You just got here.

An old friend of father’s

invited us to visit the wine country--

One of the finest vineyards in France.

Mom... Why can’t we go with you?

Well... Would you like to write an essay

on the history of the grapevine

or its significance in
French Medieval poetry?

Oh. Yeah. I guess not.

Well. Why don’t you help me finish packing

and then be a dear and come downstairs

in time to see us off?

Okay.

Bye, mom.

Good-bye, Henry.

Bye, father.

Good-bye, junior.

Take good care of Miss Seymour.

I will. Have a good trip.

See you later!

Ooh!

No, don’t.

Hi there, big guy.

Yes. Yes. Thank you.

Come along.

You’re a good boy.

Ahh.

Candy.

May I, Miss Seymour? Please?

No, Henry. You’ve only
just had your breakfast.

We want to get to the Louvre
before it opens. Come on.

Don’t touch the stuff.

Thank you so much.

It smells so good.

This is the greatest
painting in the world.

Isn’t it wonderful?

See? Her eyes follow you

wherever you go.

(Henry chuckles)

Even in the bathroom?

Henry.

Leonardo da Vinci took three years

to paint "Mona Lisa."

Just think of it.

She had to smile for three years.

Leonardo had musicians playing
in the studio all the time

and singers and comedians
to keep her amused.

This is how you do it.

You puff your cheeks,

and you take in a breath.

See? Easy.

You don’t need a band and funny men.

That’s great. My name’s Indy.

I'm Norman.

Introduce yourself properly.

This is Henry Jones, Jr.

I'm Miss Seymour, and you are Norman...

Rockwell.

Now, I like this one.

Look at the amazing nose.

Wow.

By Ghirlandaio.

The boy is the old man’s grandson.

Well, we’ve seen the smiles,
and we’ve seen the noses.

So what’s next?

Well, we haven’t seen
the modern artists yet.

Do you see the way
the table is cut off at the end?

That’s new?

Degas-- French, new.

But I don’t get it. It looks fuzzy.

Well, it’s called impressionism, Henry.

It’s the art of giving a general effect

without worrying too
much about the detail.

NORMAN: Impressionists claim
it’s the freshest way

for an artist to see the world.

MISS SEYMOUR: What do you think, Henry?

Yes, well, I suppose

looking at these canvases all day

can be tiresome.

I know just the cure,

and Norman can come, too, if he likes.

What is it?

Well,
something you can only find in Paris.

(children screaming with excitement)

(children shouting "attention!")

Attention!

Attention!

(shouting and screaming continues)

(children screaming)

(applause)

More like it, eh, boys?

-Yeah.
-That was really great.

Well, time to go.

I have some letters to write, and,

Henry, I seem to recall

a certain essay on Leonardo da Vinci?

You mean we’re not gonna
stay for the second show?

-Oh, yeah. We should stay.
-Yeah.

Oh, well, I don’t know.

You can go to the hotel
and write your letters,

and we’ll return right after the show,

and then I can do my da Vinci paper.

Well, all right.

Well, I suppose it wouldn’t do any harm.

But stay together.

Now, just watch one more,

and then back to the hotel

in one hour.

So. Where do you want to go?

You want to see where
the real artists hang out?

I don’t know.

I’ve seen a lot of art for one day.

Yeah. Yeah. Maybe you’re too young.

It’s a pretty dangerous place.

Really?

Beats New York, huh?

(metal clanging)

hello, Monsieur Damon.

Hello, Norman.

Pencils and a notebook, right?

Yeah.

Where’d you learn to draw?

I don’t know. Everybody asks me that.

I guess I just picked it up,

like a bag of lemon drops.

Could I have a look?

Oh, sure.

Here.

Oh.

NORMAN: That’s Dr. Alphonso
Rockwell from Queens.

He’s my most famous ancestor.

Guess what he invented.

INDY: What?

The electric chair.

Oh, wow.

How did he think of that?

He thought hanging was inhumane.

Reckoned the chair was kinder.

Me, I don’t know.

Those are my aunts.

They give bibles to convicts at Sing Sing.

And those are my parents.

That’s great. You really can draw.

My parents are very religious, too.

I don’t think they’d approve
of where we’re going.

Au revoir.

Au revoir.

Au revoir.

Do you want to spend
some time with me, boys?

-Mm-hmm.
-NORMAN: No.

("Fur Elise" plays)

You speak French?

Uh...

Deux omelettes et deux pain.

Oh!

I improved it.

Hey, look.

That’s Degas.

We saw his paintings at the Louvre.

Who’s the other guy?

I don’t know.

I did.

MAN: You didn’t.

DEGAS: I'm sorry,

but I still don’t like them.

Because you don’t understand them.

DEGAS: I understand them,

but I just don’t like them.

-You think they are indecent.
-Is that it?

DEGAS: Indecent?

My dear fellow...

A few years ago,

every critic in Paris

called my work indecent.

DEGAS: I couldn’t pay a gallery
to show my paintings.

So don’t tell me about decency in art.

MAN: Then tell me,

why do you dislike them?

Because they are destructive.

You are throwing out

perspective and composition.

Exactly. Because we need
a new way of seeing.

Oh, a new way of seeing is fine.

But...

I can’t tell if that is a woman

or a cow.

MAN: Again, my point.

I see shape, the real shape, the form.

The real shape of a woman

is different from the real shape

of a cow.

WOMAN: Garcon! Garcon!

Now, my dear fellow...

You asked for my opinion,

and I gave it to you,

but I must warn you.

Do you know what people are saying?

That your new paintings will destroy you.

Who says that?

Matisse.

And that Russian collector, uh...

Schukin.

-Schukin.
-(laughs)

He actually wept,

telling me what a loss you are

for French art.

You are bringing art not just to an end,

but to a dead end.

You are not a bad painter.

But the man who did this

couldn’t do what I do.

Good day.

Degas!

I can do what you do in my sleep!

Monsieur Degas,

Pablo doesn’t want to offend you.

No offense taken.

Once he was the master.

Now his mind has grown old,

stale, and closed.

I can paint him into the ground!

Wait a minute.

You can’t say that about him.

What?

That’s Degas.

He’s a great artist.

Nobody can paint like him.

I better get back to my hotel. Excuse me.

PICASSO: So...

You think I can’t paint like him?

Would you like to come to my studio

and see me paint like him?

Can I finish my omelette?

Forget it!

We’re talking about art!

What’s your name, little man?

Jones.

What’s yours?

I am Picasso!

Most paintings of nude women

pose for an audience.

Degas' women don’t.

We are with them in private, like here.

He says he likes his women washing

to be like a she-cat licking herself.

He sees women without mercy.

Their skin turns pink
and blue like ours does

when we’re washing.

He puts on layers of pastel,

but the chalk isn’t like oil paint

in layers, is it?

See? It rubs off.

That’s the trick.

It’s as if we’re scrubbing
her back for her.

Rest.

Now...

For the final stage.

The final stage?

To get Degas right,

you must do it as he does--

From memory.

Degas likes to feel...

What he’s doing.

You didn’t like his painting?

No, I like it very much.

I’d just rather see him paint like himself

and not like Degas.

In that case, follow me.

My goodness.

You like it?

Yes, but... What is it?

It’s like...

Blocks or cubes or--

Cubism-- the newest of the new.

What Pablo has done is...

Is taken human bodies to bits and...

Rearranged everything.

What’s he doing here?

Those are mine.

And a lot of people can’t
tell the difference.

Do you mind that?

It’s the paintings that matter.

You see...

A cubist landscape

shows how the earth

is made of solid shapes

at different distances from the viewer.

But it doesn’t look real.

Is it the painter’s job

to make everything look absolutely real?

Isn’t it exciting, this
idea to make you feel,

to see beyond?

You see?

I can do a Degas,

but he can’t do one of mine.

Say, very good, young fellow!

It is as good as I could have done myself!

I'm hungry.

Uh, bonjour.

Voulez-vous bien me suivre,
s’il vous plait?

(knock on door)

Oh!

Thank goodness.

Come in.

Come in.

My charge is missing,

a small boy about 10.

Tell the inspector what happened.

He should have been back hours ago.

He was at the puppet theater.

I called, but they’re closed.

We must begin a search.

Do you speak English?

Madame...

I speak perfect English.

Oh.

We will do everything possible

to find ze young man.

(chuckles)

We will not pour water on troubled oil,

I promise you.

I am an expert kidnapper
of small children.

PICASSO: Come with us.

No, no. We are working.

But you must eat. Come.

It will be fun.

(chuckles)

(laughing)

WOMAN: Come on, darling.
We’re going to have a good time.

INDY: Hey, Norman, wait.

I should be back at the hotel.

Aren’t you hungry?

But Miss Seymour will kill me.

And miss the chance of
being with these guys? No.

(Cancan music playing)

You’re finished. Eat!

Ah, for you, for a painting. (laughs)

Open it.

Holy smokes,

a Louis Bleriot plane.

Like him, we are pioneers,

but our plane is the imagination.

MAN: I'll get my painting?

PICASSO: It’s waiting for you!

Hey, Norman,

dance with the beautiful lady, huh?

NORMAN: No.

She likes you. Go on.

Come. Come with me.

PICASSO: Go, Indy, go. Go. Have some fun.

INDY: I don’t want to go.

Come on. I don’t want to go.

Now, come on. I don’t want to.

I'm going to get degas
to sign my painting.

That is a very dirty trick, Pablo.

I know.

Where are the other girls?

Picasso.

Again!

Let’s go.

(applause)

(Cancan music resumes)

You stole my girl.

And mine!

Hey, what are you saying?

They’re enjoying themselves.

(man speaking French angrily)

C’est a moi, les filles!

(angry voices)

Push off.

MAN: Aah!

Let her go, you big ox!

MAN: Get out of the way, you stupid child!

WOMAN: Aah! What are you doing?

Ooh! Aah!

Aah! Oh! Aah!

MAN: Whoa!

(glass breaks)

I love this town!

(grunts)

MAN: Whoa!

WOMAN: Aah!

Bye-bye.

PICASSO: Indy, this way!

Toro! Ole!

He was not only

the greatest painter of his day,

he was a visionary

who was hundreds of years

ahead of his time.

Da Vinci imagined many things

that have just been invented,

like the airplane.

What are they looking for?

Oranges.

Once in a while, the market boys,

they miss one or two.

Delicious.

Why did you decide to become a painter?

Most men-- they have choice.

Become a banker, a lawyer, tailor,

mechanic.

Me, I have no choice.

No true artist has choice.

I must create

in order to feel alive.

What am I?

A bull!

Right. A bull.

One minute, a cycle, the next, a bull.

(clatters to floor)

magic.

Change.

From one thing to another.

That’s what I do.

I create a new way of seeing things.

But your pictures
don’t look like anything.

What do you mean?

Well, the pictures of those ladies

in your studio,

they don’t even look like ladies.

Not to your eyes,

but to mine, they do.

That is the difference

between a painter like me

and the Master Leonardo.

The great da Vinci

and even old Degas paint with accuracy.

When he paint a wild horse,

it look like a wild horse.

But when you paint a wild horse,

what does it look like?

You might not see the horse...

But you will certainly see

the wildness.

That is the essence of the new painting.

I try to give spirit a form.

True art is emotion.

Tell your tutor Picasso told you that.

She doesn’t even know who he is.

But one day she will.

One day she will.

(cat meowing)

PICASSO: Come to the party tomorrow night.

Don’t forget.

9:00.

WOMAN: 9:00.

PICASSO: 9:00.

I can’t get those paintings

out of my head.

Look. The streets look different.

They haven’t changed.

They look different to me.

Where’s the girl?

Tell us where the girls are.

Where are the girls?

Ow!

Ow!

Oh!

Come on, Norman!

Come on! Quick! Quick!

Keep going!

No, wait!

What is it?

I don’t like graveyards.

They are haunted.

You idiot! You coward!

We lose them!

(cat screeches)

Aah! Stop it!

INDY: Quick, in here.

Aah!

It’s a ghost!

Be quiet.

Aah!

Be quiet.

-Be quiet.
-(crying)

This way.

I think they heard us.

(snoring)

it’s only the night watchman.

(sniffs)

He’s completely drunk.

No! No!

Don’t kill me! Don’t kill me!

Shh!

It came from over here.

Shh!

(moaning)

For God’s sake, what is it now?

(screaming)

(screaming)

(laughing)

We did it.

Yeah. Ooh!

See you at the party tomorrow night?

Uh, 9:00?

Yeah. 9:00.

As long as I can get past Miss Seymour.

(snoring)

(bell chiming)

(rooster crows)

Aah! Aah!

Oh!

Where have you been?

Studying.

Here’s my da Vinci paper.

"Leonardo and the meaning of art."

Henry, you were not
in your room last night.

I was working here...

Where it’s quiet.

See? I must have fallen asleep.

Are you going to punish me?

No.

This looks like punishment.

This isn’t punishment.

Oh, it isn’t?

You will not leave this room

until you finish "Les Miserables."

Great title.

(clock ticking)

At 9:00, you will see yourself to bed.

Bonne nuit, Henry.

Bonne nuit.

W-whoa. Whoa.

(click)

Aah! Aah!

Aah! Aah!

Henry?

Henry?

Henry.

INDY: Norman!

Norman!

Hold on!

Come on.

Hold on, Norman!

What kept you?

The world’s gone crazy, Norman.

First Miss Seymour locked me in my room,

but then I escaped

and nearly fell from the rooftops.

Okay, we don’t want these guys

to think we’re weird, all right?

This is a grownup party.

It’s kind of serious.

(horns tooting, shouting, noisy revelry)

Hey, Indy! It’s good to see you.

Hi, Norman.

Welcome. I'll introduce you

to the other Americans.

I want one of his cubist paintings.

You’ll have to die to get
one of his paintings.

Fernande.

This is Mr. Kahnweiler.

He’s a famous art dealer.

This is Norman.

He’s a great painter.

And this is Gertrude Stein.

Hello.

And this is Alice B. Toklas.

Hello.

Excuse me. I'm looking for two boys

who’ve gone to a party.

(laughter)

Of course.

Picasso.

(gunshots)

This is like the Alamo.

PICASSO: Rousseau!

Rousseau!

And this is Rousseau.
He’s a primitive painter.

Your speech!

We are ze two great painters of ze age.

Si. Gracias.

You... In ze Egyptian style,

me, in ze modern.

Tell us your ghost story.

Oh, no.

I'm too frightened.

Oh... Be brave.

Tell it!

Come on, tell the story. Be brave.

MAN: Yes! Come on!

-Come on!
-Tell us!

Ze ghost...

walks ze catacombs.

He presides over ze dead of Paris.

He’s the supreme phantom
and satanic messenger.

♪ Doo doo dub doo doo doo ♪

(laughter)

(all laughing)

He is on the roofs and in the doorways.

Gauguin saw ze ghost, and Vincent, too.

They told me.

Then...

when all Paris slept,

ze ghost arrives.

Aah!

Miss Seymour!

Henry.

The tutor.

Would you please put that thing down?

(click)

I can’t see much.

What’s he going to do to her?

I don’t know.

Do you think he’s going to hurt her?

No, I don’t think so.

Let me look again.

Do you always draw people

without asking them first?

You didn’t ask to come here.

Don’t move!

You can’t frighten me.

If you don’t keep quiet,

the drawing will frighten both of us.

Sit still!

Can’t I talk?

No. You leave the talking to me.

Those two boys

have shown me they love art.

You should let them be more independent.

They will really understand art

if they spend a little more time with me.

I'm not sure the police
will agree with you.

The police are like critics.

They have as much
to do with art and artists

as... ornithology has for the birds.

I’d like to look.

No!

To be perfectly honest, Senor Picasso,

you are one of the rudest men

I have ever met.

When I want lessons in good manners

from the English,

I'll ask.

Now.

Now!

Good lord!

It is not a religious drawing.

No, I know, but...

You really can draw.

Better than anyone alive.

Don’t boast.

Why not? It’s true.

It’s absolutely beautiful.

Now?

Time to go.

Miss Seymour,

what do you think of this painting?

Look.

Oh. A Degas, isn’t it?

One of his best, I think.

Yes. Isn’t it perfect?

He’s such a talented man.

How long have you had it?

Oh, not long.

How much did you say you paid for it?

MAN: Sorry. Bad habit of an art dealer.

I paid only a few hundred francs.

I'll give you 1,000.

1,000? So much?

It is a very good work,

but it’s not signed.

I would feel very bad taking so much

for a work which is not signed.

Then I'll get Degas to sign it.

Wonderful. It’s a deal,

but only if you allow me the privilege

to be there when it is signed.

(children laughing and shouting)

Here, Indy, I want you to have this.

This is your drawing Picasso signed.

It’s a souvenir of our adventures.

Thanks.

This way.

I’ve got him, the old fool.

The old bull taken down

by the dashing, talented young matador.

I don’t like this.

You’re being cruel.

I'm being brilliant.

Ha ha!

Here he comes.

Aw... Maestro!

Thought I’d find you here.

I just bought one of your masterpieces.

Hmm. I must have been tired.

Tired?

I must say in my humble opinion

that I think it’s one

of your most brilliant works.

Yes.

Yes, it’s... quite remarkable, isn’t it?

MAN: Quite so.

But alas, you have neglected
to sign it, maestro.

Oh. Well, I-- I can remedy that.

The pigment I use doesn’t smell like this.

Ah, you see?

I can paint as well as Degas.

I am such a genius,

that even he can’t tell
his own work from mine.

Pablo, what are you saying?

I painted that painting,

and it is so good

that Degas signed it as one of his own.

Are you out of your mind?

It’s not funny.

I suggest you apologize.

Never! The boys will tell you.

They were there.

Tell him you saw me do this.

We didn’t see you do it.

We didn’t see you do it.

Tell them right now!

The truth is, it looks like a Degas,

and it’s signed by Degas.

What?

Pablo, stop!

Okay.

Monsieur Kahnweiler...

How would you like to buy

this little Picasso?

A cubist sketch.

I’ve been trying to get Pablo

to sell me one of these cubist pieces

since January.

I'll give you 500 francs for it.

500 francs for one of his
most interesting pieces?

This drawing is brilliant.

Yes, it’s quite good.

All right, 800.

Ah!

Wait a minute. I didn’t do this.

Looks good enough to be yours.

Is that your signature?

It looks like it.

Well, I-- Yes, it is, but, uh--

Well, who else could draw that good?

Braque?

No. No, I didn’t do it.

Well, then, who is it, Mr. Picasso?

This is you, Pablo. It’s wonderful.

You’re joking too much this morning.

It makes my head hurt.

1,000 francs. No more.

Sold.

A good price, don’t you think?

Here.

You get half.

Listen, if I was staying in Paris longer,

I’d be your agent,
and I would make you rich.

And I ended up
with two wonderful paintings.

(chuckling) Come.

Oh, it’s good to be back.

I should have loved
to have seen Mr. Picasso

hoist with his own petard.

He’s such an impudent rogue.

Yeah, but... I liked him, though.

Well... So did I.

And I shall always treasure
the drawing he made of me.

There they are.

Mother.

Henry. Oh...

(chuckles)

Junior.

It’s so nice to see you.

Miss Seymour.

Father, how was your trip?

-Oh...
-Uh...

We had a lovely time.

How about you?

Oh... It was okay...

I guess.

Well, son... I hope you
employed your time wisely.

Did you... Visit the Louvre?

Yes, sir.

And now I suppose you think

you know all about art.

Well... It gave me a lot of ideas.

Art seems to stretch the boundaries

in the way we see things.

Ah, but what you don’t realize, junior,

is that a museum only
tells you a small part

of the story. It doesn’t
give you the true sense

of the artist’s struggle to create,

which can be very exciting.

-Really?
-Yes. Why,

some artists lead

extraordinarily colorful lives.

Do they?

Lives of danger,

daring, passion...

eccentricity, and outrageous behavior.

But, uh... you’re a little too young

to know about that just yet.

(coughs) Mmh!

Something the matter, Miss Seymour?

-No.
-Well, uh...

You’re certainly right about that, father.

I'll have to wait till I'm older

to get the real excitement.

So... What did you find at the museum

to be of particular interest?

Anything I should know about?

(Miss Seymour coughs)