The Adventures of Young Indiana Jones (2002) s01e02 Episode Script

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
favourite dishes are
elephant trunk soup,
ostrich liver, giraffe
heart. You'll love it.
Hello, 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 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.
- Is that water clean?
- Yes. 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.
Henry, this is Frederick Selous.
He helped plan the safari,
and he's probably one
of the best hunters in all of Africa.
- Good to meet you, Henry.
- Pleased to meet you, sir.
Excuse me.
And that's President Roosevelt's son,
Kermit.
- Kermit, are you ready?
- Yes, Father, all set. Come on in.
I have read your book
on medieval armoury, 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.
- Mr President?
- Could only manage
- Mr President?
- Excuse me, Professor Jones.
- 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 favour dry areas.
Oh, what a beautiful animal.
It's the very rare fringe-eared oryx.
And 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 smelled him out.
Nothing we could do.
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.
Oh, Henry.
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.
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.
Thank you, sir.
You look after him now, Miss Seymour.
- And, you, be good.
- Yes, sir.
Wouldn't you just love to go on a hunt,
Miss Seymour?
I dare say I would.
Especially if I had been invited
by someone as dashing
and brave as Mr Roosevelt.
I dare say 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?
"Antelopes means brightness of eye,"
at least that's what it says here.
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 it.
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.
Hello. What's your name?
Do you understand? Your name?
I mean
Indy. My name is Indy.
Indy.
Indy.
Indy. Indy.
Indy.
Yeah, Indy.
Meto!
Meto!
Meto?
- Meto?
- Indy?
Hi.
Meto!
Look, binoculars. Field glasses.
Like it?
That was a lion!
Hey, look, they're stampeding.
I know, they're stampeding.
It's great.
Elephants.
Yeah, they're called hippos in America.
Oh, 20. I get it.
Is it like a toothbrush?
- Tooth Brush.
- Toothbrush.
Meto.
Come on, hurry up.
Gentlemen, ready please, and
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 is 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.
- 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.
Let 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.
He was coming up here
for one of our donkeys.
- I thought I'd take a stroll down.
- Outstanding!
He was just going to charge me
and I saw him.
- Congratulations.
- Congratulations.
Thank you. Thank you very much.
- Congratulations.
- This must be the wounded mate.
I think absolutely certainly.
Oryx.
Oryx.
Yes.
Do you know where they are?
Where? Do you know?
Jolly good.
Morning, Selous.
Latin. Henry?
Henry?
Henry!
Henry? Henry?
Henry!
Oryx are there?
Burton's oryx.
Where are they?
No, this is a drawing.
Where are they, the real oryx?
I promised Mr Roosevelt
I'd find them for him.
Snake!
Snake! I hate snakes.
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.
What's she saying?
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.
Ground? Ground?
Roots underneath the ground.
Yes.
The oryx dig it up from the ground
and eat it.
If we find the root melons,
we'll find the oryx.
Thank you. Thank you.
Meto?
Meto?
We can't find him anywhere.
- Maybe he's found somewhere safe.
- I hope so. Build a fire up top.
Henry?
Henry?
Junior?
- Henry!
- Henry!
- Are you all right?
- Yes, Mother.
- Now, don't you ever, ever do that again.
- I'm sorry.
We were worried sick about you.
- I'm sorry.
- All right?
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.
What are you doing here?
I can't.
Good grief. All right.
They must be near.
Burton's oryx.
You can't win them all.
- Good morning, Junior.
- Morning, Father.
- Good morning, Henry.
- Morning.
- I hope you learnt your lesson, Henry.
- Yes, sir, I have.
Excuse me.
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 any more because
they only like this kind of root melon.
That's what we call elephant's footballs.
Oh, my goodness.
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."
You see,
all the plants and animals are
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.
You see, the melons are underground,
so the oryx's 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.
Simon, saddle up.
Are you all going to shoot?
No more! I said no more!
You've 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!
Bye, Indy.
- 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
Is something that should be read
when Henry is perhaps a bit older.
What?
Oh, well, yes. Yes, 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.
- Today?
- Yes.
Thank you.
Darling, where is Henry?
Henry, come on. Henry!
Junior, now!
Hurry up!
Come on.
France.
How lovely and how civilized.
The first thing I'm going to do
is to buy a new dress.
First thing I intend to do is take a deep,
relaxing bath.
Yeah? The first thing I wanna 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?
Isn't that great?
So, will you take me?
Henry,
I've climbed the pyramids with you.
I have no intention of ascending
the dizzying heights of the Eiffel Tower.
Will you, Father?
We'll see.
I'll have to check my schedule.
If you take my advice, Junior,
your first order of business
would be to see
the paintings of the Louvre Museum.
Excellent idea. Thank you, Professor.
Thank you.
Why, thank you.
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?
I guess not.
Now,
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.
- Goodbye, Henry.
- Bye, Father.
- Goodbye, Junior.
Take good care of Miss Seymour.
- Yes.
- I will.
Have a good trip. See you later.
No, don't.
- Hi there, little guy.
- Yes. Yes, thank you.
- Come along.
- What a good boy.
Oh, candy.
May I, Miss Seymour? Please.
No, Henry,
you've only just had your breakfast.
And 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.
- 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,
so 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.
- A 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.
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.
Impressionists claim it's the freshest
way for an artist to see the world.
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? What is it?
- Something you can find only in Paris.
More like it, eh, boys?
- Yeah, it was great.
- Yeah, it 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.
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 wanna go?
Hey, you wanna 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?
- Hello, Monsieur Dumont.
- 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.
That's Dr Alphonso Rockwell
from Queens.
He's my most famous ancestor.
-Guess what he invented?
“What?
The electric chair.
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.
Do you want to spend some time
with me, boys?
No.
Do you speak French?
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. You didn't.
- I'm sorry, but I still don't like them.
- Because you don't understand them.
I understand them,
but I just don't like them.
- You think they are indecent, is that it?
- Indecent?
My dear fellow, a few years ago,
every critic in Paris
called my work indecent.
I couldn't pay a gallery
to show my paintings.
So don't tell me about decency in art.
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.
Again, my point.
I see shape, the real shape deformed.
The real shape of a woman is different
from the real shape of a cow.
Now, my dear fellow, you asked
for my opinion and I gave it to you.
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
- Schukin.
Schukin.
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 offence taken.
Oh, once he was the master.
Now, his mind has grown old,
stale and closed.
I could paint him into the ground!
Wait a minute.
You can't say that about him.
What?
That's Degas, he's a great artist,
and nobody can paint like him.
I'd better get back to my hotel,
excuse me.
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
he's 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 a painter's job
to make everything look absolutely real?
Isn't it exciting, this idea,
to make you feel, to see beyond?
See? I can do a Degas,
but he can't do one of mine.
Hey, very good, young fellow.
It is as good
as I could have done myself.
I'm hungry!
Thank goodness. Come in. Come in.
Tell the inspector what happened.
He should have been back hours ago.
He was at the puppet theatre.
I called but they're closed.
We must begin a search.
Do you speak English?
Madame, I speak perfect English.
We will do everything possible
to find the young man.
We will not pour water on top of oil,
I promise you.
I am an expert kidnapper
of small children.
- Come with us!
- No, no. We are working.
But you must eat. Come, it will be fun.
Come on, darling.
We're going to have a good time.
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.
- You finished it.
- For you, for a painting.
Open it!
Holy smokes, a Louis Bleriot plane.
- You got my painting?
- It's waiting for you.
Hey, Norman,
dance with the beautiful lady.
- No.
- She likes you. She likes you, go on.
- Come. Come with me.
- Go, Indy, go. Go, have some fun.
I don't wanna go.
Come on, I don't wanna go.
Come on, I don't want to.
I'm gonna 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.
- You stole my girl.
- And mine.
Hey, what are you saying?
They're enjoying themselves.
- Let her go, you big ox.
- Get out of my way, you stupid child.
Put down the plane!
I love this town!
Bye-bye.
Indy, this way.
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 aeroplane.
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.
Magic. Change 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'm trying 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.
Come to the party tomorrow night.
Don't forget. 9:00.
- 9:00.
- 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?
Come on, quick. Quick.
No, wait.
What is it?
I don't like graveyards.
They are haunted.
You idiot, you coward. We'll lose them.
Stop it!
Quick, in here.
It's a ghost!
Be quiet. Be quiet! Be quiet.
This way.
I think they heard us.
It's only the night watchman.
He's completely drunk.
No, no! Don't kill me! Don't kill me!
It came from over here.
For God's sake, what is it now?
- We did it.
- Yeah.
- See you at the party tomorrow night?
- 9-00?
Yeah, 9:00.
As long as I can get past Miss Seymour.
- 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.
Well, what is it?
You will not leave this room
until you finish Les Misérables.
Great title.
At 9:00, you'll see yourself to bed.
Bonne nuit, Henry.
Henry?
Henry?
Henry!
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 grown-up party,
it's kind of serious.
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.
Of course. Picasso.
This is like the Alamo.
Rousseau! Rousseau!
And this is Rousseau,
the primitive painter.
Your speech!
We are the two great painters
of the age.
You, in the Egyptian style,
me in the modern.
- Tell us your ghost story.
- Oh, no. I'm too frightened.
Be brave.
- Tell us.
- Come on, tell us the story. Be brave.
- Tell it. Yes, come on.
- Come on.
The ghost walks the catacombs.
He presides over the dead of Paris.
He is a supreme phantom
and satanic messenger.
He is on the roofs and in the doorways.
Gaugin saw the ghost, and Vincent, too.
He told me then.
When all Paris slept, the ghost arrives.
- Miss Seymour!
- Henry!
The tutor.
Would you please put that thing down?
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, Señor 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.
And?
Time to go.
Miss Seymour,
what do you think of this painting?
Look.
- It's a Degas, isn't it?
- One of his best, I think.
Yes, isn't it perfect?
- He is such a talented man.
- How long have you had it?
Oh, not long.
And how much did you say
you paid for it?
Sorry, bad habit of an art dealer.
- Not at all. A few hundred francs.
- I'll give you 1,000.
1,000? So much?
It's a very good work, but it's not signed.
I will 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
of being there when it is signed.
- 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 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. Here he comes.
Maestro, thought I'd find you here.
I just bought one of your masterpieces.
- 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?
Quite so. But, alas,
you have neglected to sign it, maestro.
Well, I can remedy that.
The pigment I use
doesn't smell like this.
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 apologise.
- 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 pronto!
Truth is, it looks like a Degas,
and it's signed by Degas.
Pablo, stop.
Okay.
Monsieur Kahnweiler, how would you
like to buy this little Picasso?
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.
9500 francs?
For one of his most interesting pieces?
This drawing is brilliant.
- Yes, it's quite good.
- All right, 800.
- Wait a minute, I didn't do this.
- Looks good enough to be yours.
- Isn't that your signature?
- It looks like it.
- Well, I Yes it is, but
- 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,
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 could be your agent,
and I would make you rich.
And I have ended up
with two wonderful paintings.
Come.
Oh, it's good to be back.
I should have loved to have seen
Mr Picasso hoist on 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.
- Junior.
- Father.
It's so nice to see you, Miss Seymour.
- Father, how was your trip?
- 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.
But what you don't realise, 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.
Some artists lead
extraordinarily colourful lives.
- Do they?
- Lives of danger, daring, passion,
eccentricity, and outrageous behaviour.
But you're a little too young
to know about that just yet.
- Something the matter, Miss Seymour?
- No.
Well, 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?