811 Pages


Drake's Fortune script comprises the full verbal transcript of Drake's Fortune.

  • Some in-game dialogue is not included in their respective sections if they are not unique to said section. These lines will be placed together in a single section in the § Miscellaneous section.
    • However, some dialogue is triggered only once upon introduction, despite technically being able to be triggered elsewhere if the introduction happened there. In these cases, the dialogue is placed in the earliest possible section.

For other information regarding the format and layout of this article, see the transcript guideline.

Introduction[edit | edit source]

Grave Robbing[edit | edit source]

On-screen: "There must be a beginning of any great matter, but the continuing unto the end until it be thoroughly finished yields the true glory."
—Sir Francis Drake, 1587

On-screen: Press Square to toggle subtitles

Elena Fisher: I'm here off the coast of Panama, where we've just recovered what we believe to be the coffin of legendary explorer Sir Francis Drake, who was buried at sea over four hundred years ago.

Elena Fisher: Are you sure you wanna be defiling your ancestor's remains like that?

Nathan Drake: You make it sound so dirty. (laughs) Besides, I thought you didn't believe me.

Elena Fisher: Well, I did do my research. And apparently, Francis Drake didn't have any children.

Nathan Drake: Well, history can be wrong, you know.

Nathan Drake: For example—you can't defile an empty coffin.

Elena Fisher: What the hell...?

Nathan Drake: (laughs) You devil.

Elena Fisher: What is it? C'mon, hold it up—

Nathan Drake: No, no, no—no way. The deal was for a coffin, that's it.

Elena Fisher: Wait a minute, if my show hadn't have funded this expedition, you wouldn't have—

Nathan Drake: Hey, hey... You got your story, lady.

Elena Fisher: Look, Mr. Drake, you signed a contract—..

Nathan Drake: (laughs)—

Elena Fisher: I have a right to see every single thing that—

Nathan Drake: Whoa whoa... Could you hold that thought?

Nathan Drake: Sully? Uh, we got some trouble. Hurry it up.

Elena Fisher: Okay, okay—what's going on?

Nathan Drake: Uh... Pirates.

Elena Fisher: Pirates?!

Nathan Drake: Yeah, the modern kind. They don't take prisoners.

Nathan Drake: ...least not male prisoners.

Elena Fisher: Wait, what are you talking about?

Elena Fisher: Uh, sh-shouldn't we call the authorities or something?

Nathan Drake: That'd be a great idea, but we don't exactly have a permit to be here.

Elena Fisher: What?

Nathan Drake: Yeah, so unless you wanna end up in a Panamanian jail, we should probably handle this ourselves.

Elena Fisher: Wh-What's worse?

Nathan Drake: You obviously haven't been in a Panamanian jail. Do you know how to use one of these?

Elena Fisher: Yeah, it's like a camera... You just, you point and shoot, right?

Nathan Drake: Good girl.

Nathan Drake: Here we go.

Ambushed[edit | edit source]

(At the start of the chapter.)
On-screen: Press L2/L1 to aim, press R2/L1 to shoot

Elena Fisher: How the hell'd they find us out here?

Nathan Drake: Ah, these guys been tailing me for weeks. Thought I lost 'em.

Elena Fisher: So what'd you do to piss 'em off?

Nathan Drake: Uh, it's kind of a long story.

(Upon taking place next to an object that can be used as cover.)
On-screen: Press Circle to take cover when next to an object

(After shooting the first pair of pirates.)
Elena Fisher: These guys don't like you much, do they?

Nathan Drake: Less talking, more shooting!

(After shooting the second pair of pirates.)
Nathan Drake: Hurry up, Sully.

(After the first pirate has climbed board.)
Elena Fisher: They're climbing aboard!

On-screen: Press Square Square Square Square Square for a fast and furious combo

Nathan Drake: Oh no, you don't.

(After the next pair has climbed on-board.)
On-screen: Press Square Triangle Square for a brutal combo

(Upon starting the combo.)
On-screen: Press Triangle after the first punch lands

(After pressing triangle.)
On-screen: Press Square after the first punch lands to finish the combo

(After the brutal combo is finished.)
On-screen: Enemies killed by a brutal combo drop more ammo

(When the next pair of speedboats pass by.)
Nathan Drake: C'mon, Sully, where are you?

(When the next boat shows up.)
Elena Fisher: Oh my God! Drake—that one's got some type of rocket launcher!

Nathan Drake: Whoa. Okay, that's not good.

(When Sully's plane shows up.)
Elena Fisher: What's that?

Nathan Drake: Whooo! All right, Sully!

Elena Fisher: Oh, I don't think I'm getting my security deposit back.

Nathan Drake: Calvary's here!

Elena Fisher: Oh, thank God!

Elena Fisher: Oh no.

Nathan Drake: Ah, dammit!

Onto Something Big[edit | edit source]

Nathan Drake: Whole ship's gonna blow! We gotta jump!

Elena Fisher: Yeah... Oh wait!

Nathan Drake: What are you doing?!

Elena Fisher: Okay. okay.

Nathan Drake: Come on!

Nathan Drake: Go!

Elena Fisher: All right.

Victor Sullivan: (laughs) I can't leave you alone for a minute, can I?

Nathan Drake: I had everything under control until they blew up the boat.

Victor Sullivan: (chuckles)

Nathan Drake: You all right?

Elena Fisher: Nothing that years of therapy won't fix.

Victor Sullivan: Well, if it isn't the beautiful and talented Elena Fisher.

Elena Fisher: Flattery will get you screen time.

Victor Sullivan: Yeah, I'm more of a behind-the-scenes kind of guy. Victor Sullivan.

Elena Fisher: Oh...

Nathan Drake: Oh, for chrissakes...

Nathan Drake: Whaddaya say we get out of here, before we attract any more attention?

Victor Sullivan: Well?

Nathan Drake: A little present from Sir Francis.

Victor Sullivan: (laughs) So you found the coffin?

Victor Sullivan: Wait a minute, is this what I think it is?

Nathan Drake: (laughs) Drake's lost diary.

Nathan Drake: He faked his death, just like I said, Sully.

Nathan Drake: He must've been onto something big.

Victor Sullivan: Yeah, well let's just keep that between us.

Elena Fisher: Thanks for the loan, Mr. Drake. I think I've earned a look at that diary, when we land.

Nathan Drake: So look, when Drake sailed into the Pacific, he took the Spanish fleet completely by surprise. He captured their ships, he took all their maps, their letters, their journals—and he recorded everything in this diary.

Victor Sullivan: Uh-huh, so this—...

Nathan Drake: But when he got back to England, Queen Elizabeth confiscated all of his charts and logbooks—including this one—and then swore his entire crew to silence.

Victor Sullivan: Yeah, so this—

Nathan Drake: Y'see, Drake discovered something on that voyage, Sully—something so secret, and so valuable, they couldn't risk it getting out.

Victor Sullivan: All right, Nate, just pretend for a minute that I don't really care about any of that stuff, and cut to the chase, would ya?

Nathan Drake: A man only interested in the climax. You must be a real hit with the ladies.

Victor Sullivan: Never had any complaints.

Nathan Drake: Okay then, I'll jump to the good part, just for you.

Victor Sullivan: (laughs)

Victor Sullivan: El goddamn Dorado...

Nathan Drake: He was onto something big, all right.

Victor Sullivan: Does it say anything else?

Nathan Drake: Oh, so now you're interested, huh?

Victor Sullivan: Yeah.

Nathan Drake: Well, unfortunately no—last page was torn out.

Nathan Drake: I'm telling you, Sully... This is it, this is finally it.

Victor Sullivan: Yeah... Only, we got one little problem.

Elena Fisher: Yes, that's what I said, it blew up. It sank.

Elena Fisher: No, that's why we have insurance, right?

Elena Fisher: Oh.

Elena Fisher: Oh no, the camera—No, the camera's fine, don't worry about the camera. No... still as good as new...

Nathan Drake: Sully, the girl can hold her own. You shoulda seen her.

Victor Sullivan: Fine, you go on out there and you tell her, "We just found the lost City of Gold." Maybe her producer can get it on the air tonight.

Nathan Drake: Oh, come on...

Victor Sullivan: Nate, do you trust me?

Nathan Drake: More or less.

Victor Sullivan: Good, 'cause we're gonna have every two-bit scumbag in the world racing us to this treasure, unless we cut her loose right now.

Nathan Drake: You're a real gentleman, Sully.

Victor Sullivan: I know. It stinks. She'll get over it.

Elena Fisher: No, I don't—I don't care if we're over budget. I mean—Do you realize this could be like—the biggest story of the year?

Elena Fisher: Hi...

Elena Fisher: No, I don't trust 'em, okay? That's why we need to move fast. So just get me the camera crew, and I promise you that—...

Elena Fisher: Son of a bitch.

Elena Fisher: Hey!

Elena Fisher: Shoulda seen that one coming.

The Search for El Dorado[edit | edit source]

(At the start of the chapter.)
Victor Sullivan: Hold on. Hold on, kid. I'm not as young as I used to be.

Nathan Drake: You weren't too old for that little barmaid in Lima, were you?

Victor Sullivan: Well, that was different. Although I must admit, equally as strenuous.

Nathan Drake: Well, hang in there, old timer. We're just about there.

Victor Sullivan: Y'know, this reminds me. I ever tell you about the time I pawned a phony 16th-century santo off on Pablo Escobar? (chuckles) Ah, risky move, but by time he figured it out I was— Nate, are you even listening to me?

Nathan Drake: Hanging on every word.

Victor Sullivan: Ah, why waste my breath.

(After passing by the waterfall.)
Victor Sullivan: You really think Francis Drake came all the way up here, huh? We're an awful long way from England.

Dead End[edit | edit source]

Victor Sullivan: Well?

Nathan Drake: I don't get it... according to this we're right on top of the mark.

Victor Sullivan: Maybe you're not reading that thing right. Let me see it.

Nathan Drake: No, this is the place.

Victor Sullivan: There's nothing here, Nate.

Victor Sullivan: Another goddamn dead end.

Nathan Drake: Easy, Sully. Just relax. Let's take a look around.

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Victor Sullivan: Man, this is like trying to find a bride in a brothel.

(After going through the narrow pass.)
Victor Sullivan: Well, now this is more like it!

Victor Sullivan: What do you think this is, Incan?

Nathan Drake: Nah, it's older than that. Like two thousand years older.

Victor Sullivan: Huh.

(Upon approaching the half-broken pillar on the left side.)
On-screen: Press X to climb up onto a ledge

(While climbing across the structures.)
Victor Sullivan: Find anything?

Nathan Drake: Nothing yet.

(While going across the fallen pillar.)
Victor Sullivan: Be careful up there.

(After landing upon the central pillar.)
Nathan Drake: Hey, there's something funny about the ground down there.

Victor Sullivan: It's hollow. We gotta find a way to smash through this.

(Upon jumping onto the second pillar, as the platform partially collapses.)
Nathan Drake: Whoa!

(Upon reaching the plateau on the right-hand side.)
On-screen: Press Circle above an edge to drop down and grab it

(Upon reaching the left side while hanging from the edge.)
On-screen: Push Left analog stick left and press X to jump from edge to edge

(Upon reaching the farthest edge.)
On-screen: Push Left analog stick away from the wall and press X to jump to the opposite edge

(Upon jumping across to the ledge.)
On-screen: Press X to climb up onto a ledge

(After pushing down the stone block.)
Victor Sullivan: Good work, kid!

(Upon going down the staircase.)
Victor Sullivan: Uh, think we're gonna need the flashlights for this one.

(Upon the bats flying away.)
Nathan Drake: Whoa.

Picked Clean[edit | edit source]

Victor Sullivan: What a warm and homey place, huh?

Nathan Drake: (laughs) Not quite what you were expecting, huh?

Victor Sullivan: Yeah, where's all the damn gold?

Nathan Drake: Ah, this place was picked clean centuries ago.

Victor Sullivan: No-good limey pirate.

Nathan Drake: No, it wasn't Drake. Check this out. Looks like the Spanish got here before he did.

Victor Sullivan: (scoffs)

Nathan Drake: What the hell, Sully?

Victor Sullivan: Nate, I'm not looking for a lousy piece of tin! I'm up to my eyeballs in debt!

Victor Sullivan: I was really countin' on this one.

Nathan Drake: Too many big bar tabs in Lima, I guess?

Victor Sullivan: (laughs) That, and well, just a few bad deals.

Nathan Drake: Yeah, well, I always told you to stay away from the bad guys—and the bad girls.

Victor Sullivan: Yeah? Look who's talkin'.

Nathan Drake: What's that supposed to mean?

Victor Sullivan: That reporter. I saw the way you were eyeing her.

Nathan Drake: Elena? Please. I snuffed any chance with her the second we ditched her on that dock.

Victor Sullivan: (laughs) All's fair in love and war, kid.

Nathan Drake: Hm. And what if you can't tell the difference?

Victor Sullivan: Then, my friend, you are in big trouble.

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Victor Sullivan: Those Spaniards sure left a lot of crap behind.

(Upon approaching the pit.)
Victor Sullivan: Careful, Nate, that's quite a drop.

Nathan Drake: You're not kidding.

Victor Sullivan: We gotta find a way across.

(Upon taking too long.)
Victor Sullivan: Hey, that looks like an old powder keg over there.

(Upon taking even longer.)
Victor Sullivan: Try shooting that keg, maybe the powder's still good.

(Upon shooting the powder keg.)
Victor Sullivan: (laughs) That'll work.

(After raising the door and letting it back down.)
Victor Sullivan: Here, let me do that.

(After he finishes raising the door.)
Victor Sullivan: I'll hold it open. See if you can jam it from the other side.

(Upon taking too long.)
Victor Sullivan: Hurry up, Nate!

(Upon looking at the cart, with the Look command.)
On-screen: Push the cart

(Upon taking even longer.)
Victor Sullivan: Hurry up, I can't hold it much longer!

(Upon pushing the cart underneath the gate.)
Nathan Drake: All right, let go. This oughta hold it.

Nathan Drake: Hurry, Sully!

Victor Sullivan: That was a little too close! Let's hope this place has a back door, huh?

(Upon looking at the brazier, using the Look command.)
Nathan Drake: Y'know, this looks familiar. I think there's something in Drake's journal about this.

(Upon looking through the journal.)
Nathan Drake: Yeah, here it is! Looks like this thing is some sort of lamp, or brazier. See if you can light it.

Victor Sullivan: So, after all your bitching about the cigar, now it comes in handy, huh?

(Upon taking too long to clear the wood.)
Victor Sullivan: We gotta figure a way to clear this debris.

(Upon taking even longer to clear the wood.)
Victor Sullivan: This wood's pretty dry, I bet we could burn it.

(Upon taking even longer to clear the wood.)
Victor Sullivan: Try shooting one of those lamps down.

(Upon shooting one of the braziers and destroying the blockage.)
Nathan Drake: Nice!

Victor Sullivan: Beautiful!

(Upon entering the next room.)
Victor Sullivan: Now what?

(Upon looking at the wall, using the Look command.)
On-screen: Press X to jump and grab the peg

(Upon climbing across the wall.)
Victor Sullivan: Uh, Nate, I mighta been able to do that thirty years ago.

(Shortly after reaching the bottom.)
Victor Sullivan: I think there's a ladder behind all this rubble.

(Upon taking too long to clear the rubble.)
Victor Sullivan: See if you can figure out a way to clear all of this crap out of the way.

(After shooting the powder kegs.)
Victor Sullivan: (laughs) Wow.

(After Sully reaches the bottom.)
Victor Sullivan: Let's get goin'.

(Upon entering the next room.)
Nathan Drake: Ah, now what?

Victor Sullivan: What do ya make of this?

(Upon passing by the symbols in the room.)
Nathan Drake: Wait, I recognize these symbols...

(Upon viewing Drake's journal.)
Nathan Drake: "The order of these signs have some importance."

(Upon pressing the first symbol.)
Victor Sullivan: Hey, something's happening!

(Upon pressing a wrong symbol.)
Nathan Drake: Ah crap. Wrong one.

(Upon clearing the puzzle.)
Victor Sullivan: Whoa!

Nathan Drake: Ha-ha!

Victor Sullivan: Pretty deep.

Nathan Drake: Yeah. Looks like there's a ladder cut into the side. Wait here while I check it out.

Victor Sullivan: All right. Just be careful.

(After dropping off the ladder.)
Victor Sullivan: Hey, watch your step down there.

(After pushing the block all the way.)
Nathan Drake: Okay, getting somewhere.

Victor Sullivan: Aw, don't tell me you're gonna swim in that!

Nathan Drake: I've been in worse!

(Upon climbing out of the water.)
Nathan Drake: (sighs) I am really wet.

(After climbing all the way up.)
Nathan Drake: I made it! I'm on the other side!

Victor Sullivan: Can you get this open?

(After shooting the powder kegs.)
Victor Sullivan: Nice one!

(Upon reaching the next gate.)
Victor Sullivan: I've got this one.

(Upon entering the next room.)
Nathan Drake: Ah, this looks safe.

(Upon going across the scaffolding.)
Nathan Drake: Whoa. Uh-oh...

Victor Sullivan: Uh, Nate... Get out of there, now!

Nathan Drake: Oh no, no no no no no no!

(Upon making it to the other side.)
Nathan Drake: (laughs) I made it! I'm okay!

(Upon going up the staircase.)
Victor Sullivan: Now it looks like we're getting somewhere.

Nathan Drake: After that, we'd better be.

The Golden Man[edit | edit source]

Victor Sullivan: Oh man...

Nathan Drake: The temple must've been built around this...

Victor Sullivan: Around what?

Nathan Drake: A statue... a gold statue.

Victor Sullivan: A huge gold statue! And look, here, these people—they're worshiping the damn thing. At least I think they're people.

Nathan Drake: Of course. 'El Dorado', 'the Golden Man'! Sully, it wasn't a city of gold, it was this. It was a golden idol.

Victor Sullivan: Man, could you imagine what that thing would be worth now?

Nathan Drake: Look over here—tracks. I bet the Spanish dragged it out on cut logs. Huh... We're four hundred years late for this party.

Victor Sullivan: So the trail's cold?

Nathan Drake: Yeah, it looks that way.

Victor Sullivan: Sonofabitch!

Nathan Drake: Unless...

Victor Sullivan: Unless what?

Nathan Drake: We follow the tracks.

Gameplay (continued)[edit | edit source]

(Upon reaching the end of the tracks.)
Nathan Drake: Huh. They stop here.

Victor Sullivan: Yeah, it looks like the back wall of the temple was blown out.

Nathan Drake: Yeah. The Spaniards must've made themselves a shortcut to get the treasure out.

Victor Sullivan: Swell, now what?

(Upon going through the pass, once the sound of a waterfall starts.)
Nathan Drake: Wait, Sully, do you hear that?

(Upon taking the submarine in full view.)
Nathan Drake: Now there's something you don't see everyday.

Victor Sullivan: My God!

A Surprising Find[edit | edit source]

Nathan Drake: Whoa.

Victor Sullivan: I'll be damned.

Nathan Drake: Must've come up the river during flood season and gotten stuck. Let's check it out, huh?

Victor Sullivan: Nah... Wait, wait, wait. Something about this feels kinda hinky.

Nathan Drake: Hinky? You act like you've never seen a German U-boat in the middle of the jungle before.

Victor Sullivan: No, I'm being serious, Nate.

Nathan Drake: (laughs) Tell you what... Why don't you stay here. I'll check it out myself. I'll call you if I run into any Nazis.

Victor Sullivan: Yeah right, you do that.

Nathan Drake: Oh, wait, wait, wait, wait... Hold onto this for me, will ya?

Nathan Drake: Okay... Looks like I'm gonna have to do this the hard way.

A Surprising Find[edit | edit source]

(Upon entering the water.)
On-screen: Press Left analog stick in the direction you want to swim

(Upon climbing out of the water past the waterfall.)
Victor Sullivan (radio): Looks like you're gonna have to monkey across those cliffs to get into the U-boat.

(While hanging from the first vine.)
On-screen: Move Left analog stick from side to side to swing on a vine

(After the third vine, upon jumping to an opposite ledge after going across a bend.)
Victor Sullivan (radio): Hey, watch yourself up there. It's a long way down.

(Upon reaching the last ledge on the far edge of the cliff.)
On-screen: Press Circle to drop to a lower edge

(Upon reaching the final edge directly above the U-boat.)
Victor Sullivan (radio): Nate, you should be able to drop right down onto the U-boat from there.

(Upon walking across U-boat.)
Victor Sullivan: Nate! When was your last tetanus shot?

Nathan Drake: Oh, that's funny.

(Upon entering the U-boat.)
Nathan Drake: All right, I'm in.

Victor Sullivan: What do you see?

Nathan Drake: Something nasty happened to these guys. There's blood everywhere. And soup.

Victor Sullivan: What?

The Coin[edit | edit source]

Nathan Drake: Eugh...

Nathan Drake: Huh. Now where did you get this, my decomposing friend?

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Nathan Drake: I think the trail just got warm again.

Victor Sullivan: How so?

Nathan Drake: Well, I just met a guy with pockets full of Spanish gold, only the coins are stamped with a mint mark I've never seen before.

Victor Sullivan: You're kidding me.

Nathan Drake: Looks like our German friends had a little secret.

(Upon reaching the sleeping quarters.)
Nathan Drake: Cozy.

UK2642[edit | edit source]

Nathan Drake: I'm in the Captain's quarters and get this: He's still here.

Victor Sullivan: What's that supposed to mean?

Nathan Drake: Looks like he was killed, ripped to shreds actually. What a way to go.

Victor Sullivan: Sounds terrible, take his wallet.

Nathan Drake: You're all heart, Sully.

Nathan Drake: No way...

Nathan Drake: You've got to be kidding...

Victor Sullivan: Find anything, kid?

Nathan Drake: UK2642... U-K... U-K... UK2642... Gotcha!

Victor Sullivan: Are you all right?

Nathan Drake: Sully, you're not gonna believe this.

Victor Sullivan: Try me.

Nathan Drake: I think I found our missing page.

Victor Sullivan: You're kidding.

Nathan Drake: It looks like Drake and our German pals were after the same treasure, and I've got the map that's gonna lead us right to it.

Victor Sullivan: Nate, this better not be another wild-goose chase. We've got to get something out of this trip or—...

Nathan Drake: Or what? Sully... you there? Sullivan?

Gameplay (continued)[edit | edit source]

(After going through another hatch.)
Nathan Drake: Ooh, oh—don't, don't— That's probably bad.

Time's Up[edit | edit source]

Gabriel Roman: Hello.

Nathan Drake: Hey, hey—

Nathan Drake: Friends of yours, Sully?

Gabriel Roman: I'm Gabriel Roman.

Nathan Drake: Yeah, I know who you are, asshole.

Gabriel Roman: Manners, young man. This is just business.

Atoq Navarro: Get over there.

Nathan Drake: Easy!

Atoq Navarro: Put your hands up.

Nathan Drake: All right, they're up.

Gabriel Roman: See, your friend owes me money, Mr. Drake. A lot of money. So when he told me that you two were onto something big—"the find of a lifetime," he said. Well, I was intrigued. But he's made grand promises before. Haven't you, Victor? And here we are again, another fool's errand.

Nathan Drake: Sheesh, does he always go on like this?

Gabriel Roman: Take it easy, Navarro. (chuckles) So, I'm afraid the time is up. Unless of course you found something in there, Mr. Drake... that might compensate for all this unpleasantness?

Victor Sullivan: He's screwing with you, Nate. They heard everything. Just give 'em the map.

Atoq Navarro: Slowly.

Atoq Navarro: What does a Kriegsmarine map have to do with El Dorado?

Victor Sullivan: What, you think this is a coincidence? The Germans were after the same treasure, that map has something to do with it.

Victor Sullivan: So, we square?

Gabriel Roman: For now. But just in case you need a reminder...

Victor Sullivan: Hey, come on, leave him out of it.

Nathan Drake: Yeah, don't you guys usually just cut off a finger or something?

Gabriel Roman: That's far too vulgar. No, I think this will hurt him a bit more.

Victor Sullivan: Now whoa, whoa, whoa—C'mon, Roman, he's got nothing to do with—

Nathan Drake: Sully! Sully!!

Nathan Drake: You sonofabitch!

Gabriel Roman: Stop him!

Gameplay (continued)[edit | edit source]

(Upon approaching the bend.)
On-screen: Press Square Triangle Square for a brutal combo

(Upon throwing the first punch.)
On-screen: Press Triangle after the first punch lands

(Upon throwing the second punch.)
On-screen: Press Square after the second punch lands to finish the combo

Whoa there, Cowboy[edit | edit source]

Elena Fisher: Whoa there, cowboy!

Nathan Drake: Oh...

Nathan Drake: Ow!

Elena Fisher: That's for leaving me at the dock.

Nathan Drake: What the hell are you doing here?

Elena Fisher: Listen, I'm a good enough reporter to follow a couple of no-luck tomb robbers! (gasps).

Nathan Drake: Shhh!

Mercenary #1: He went this way!

Mercenary #2: I'll radio ahead!

Nathan Drake: Well, you're down to one tomb robber now. Sully's dead.

Elena Fisher: What?

Nathan Drake: Yeah, and we're next if we don't get out of here.

Elena Fisher: Oh God... I'm sorry.

Nathan Drake: Please tell me you have a gun.

Elena Fisher: Of course.

Nathan Drake: Oh, thanks. All right, c'mon.

Gameplay (continued)[edit | edit source]

(Upon going through the first corridor in the temple.)
Elena Fisher: You always seem to be getting shot at.

Nathan Drake: They're shooting at you too, you know!

(Upon grabbing onto the ledge.)
On-screen: While hanging, press L2/L1 to aim, press R2/L1 to shoot

(While going across the fallen pillars.)
Nathan Drake: Stay close.

(While going through the next corridor.)
Elena Fisher: What the hell is this place, anyway?

Nathan Drake: Long story. Tell you later.

(Upon reaching the puzzle room without a full magazine, and spare ammo available.)
On-screen: Press R2/L1 to reload

(Upon entering the room with the brazier.)
Elena Fisher: Never a dull moment, huh?

Nathan Drake: Just keep your head down. These guys aren't messin' around.

(Upon jumping across the large gap with the fallen pillar.)
Nathan Drake: C'mon. Back this way!

(Upon approaching the staircase entrance.)
Nathan Drake: C'mon, stay with me.

(After the final shoot-out.)
Elena Fisher: Over here, I think—yeah, this way!

Uncharted Island[edit | edit source]

Elena Fisher: You always been this popular?

Nathan Drake: Well, I do seem to attract the scum of the earth. Ah, no offense.

Elena Fisher: None taken.

Nathan Drake: Do you have a good memory?

Elena Fisher: Yeah, why?

Nathan Drake: UK2642... you got that?

Elena Fisher: Yeah, what is it?

Nathan Drake: It's Kriegsmarine coordinates. I think I know where the Spanish took El Dorado.

Elena Fisher: El Dorado?

Nathan Drake: The problem is, so do the bastards who killed Sully. Damn it! If the Spanish found the treasure, they had to move it to that island, and Drake followed 'em.

Elena Fisher: Well, what are you waiting for? I'll get the story, and you get... whatever it is you're after.

Nathan Drake: Yeah. (laughs)

Elena Fisher: C'mon...

Nathan Drake: Hey, this isn't going to be a vacation, you know.

Elena Fisher: I can take care of myself. Besides, you owe me one.

Nathan Drake: I suppose I do.

Elena Fisher: We're on the trail of the lost treasure of El Dorado, and it's brought us here, to this tiny island in the middle of the Pacific Ocean.

Nathan Drake: Let's get a closer look... and hope we're the first ones here.

Elena Fisher: Will we discover the ruins of a forgotten colony and a fortune in Spanish gold? Or does the island have darker secrets in store for us?

Elena Fisher: That should keep 'em from changing the channel.

Elena Fisher: Whoa! What the hell was that?!

Nathan Drake: Anti-aircraft fire? This is so not cool!

Elena Fisher: Oh crap! We're on fire!

Nathan Drake: Enough with the damn camera! We gotta bail out!

Elena Fisher: Bail out!? Does this thing even have parachutes?!

Nathan Drake: Now would be a good time to look!

Elena Fisher: I hope these things still work!

Nathan Drake: Well, we'll find out in a second.

Elena Fisher: Have you ever done this before?

Nathan Drake: Of course, you just jump, count to five, and pull the cord. Now go!

Elena Fisher: Are you coming?!

Nathan Drake: Kinda busy right now! Get going!

Elena Fisher: See you on the ground?

Nathan Drake: Right behind ya!

Elena Fisher: Yeah... I'll be okay.

Elena Fisher: (screams)

Nathan Drake: What am I doing?

Nathan Drake: Ow!

Nathan Drake: Okay... you just jump... count to five, and you pull the cord. How hard could that be?

Nathan Drake: Oh crap!

Nathan Drake: (screams) Onetwothreefourfive!! (shouts)

Nathan Drake: Oh crap crap crap crap crap crap! (shouts)

Nathan Drake: (shouts) Ah, shit.

Nathan Drake: Ah, hell.

Plane-wrecked[edit | edit source]

(After the cutscene.)
Nathan Drake: Ah, strangers trying to kill me, leave my map on a burning plane; Elena's missing, most likely dead. That's great. Great start Nate.

(Upon finding the first unknown object in the jungle, using the Look command.)
Nathan Drake: What's this?

(Upon encountering the first set of pirates.)
Nathan Drake: Here they come.

(After jumping down from a plateau, while hanging onto the remains of a wall.)
On-screen: Press Circle to drop to a lower edge

(Upon taking cover against an object you cannot vault over.)
On-screen: Press Left analog stick forward and X or Circle to run around cover

(Upon taking cover against an object you can vault over.)
On-screen: Press Left analog stick forward and X to vault over cover

(Upon finding another unknown object to the right behind the trees, using the Look command.)
Nathan Drake: Well, that's weird.

(Upon finding another unknown object in the tunnel prior to the bridge, using the Look command.)
Nathan Drake: Cheery.

(Halfway through crossing the stone bridge, after jumping down onto a collapsing platform.)
Nathan Drake: Whoa!

(Upon shooting the explosive barrel on the back of the jeep.)
Nathan Drake: Bingo!

(While climbing across the jeep.)
Nathan Drake: Excuse me. Pardon me.

(Upon finding the crash site of the Hog Wild.)
Nathan Drake: Oh man.

(Upon looking at the frontal remains of the Hog Wild's fuselage, using the Look command.)
Nathan Drake: Doesn't look good.

The Wreckage[edit | edit source]

Nathan Drake: Whoa. Okay.

Nathan Drake: Sweet.

Nathan Drake: Oh no, Elena.

Nathan Drake: Whoa.

Gameplay (continued)[edit | edit source]

(After the first trap impales a pirate.)
Nathan Drake: Oh! Better watch where I'm going.

(Upon looking at the fortress, using the Look command.)
Nathan Drake: Hang on, Elena.

(While climbing across the cliff wall, while hanging onto the final edge.)
Nathan Drake: Oh, jeez.

The Fortress[edit | edit source]

(Upon reaching the base of the fortress.)
Nathan Drake: You have to be kidding.

(Upon reaching the third edge.)
Nathan Drake: Eyes ahead, don't look down.

(Upon reaching the windowsill.)
Nathan Drake: Ah, thank you God.

(Upon reaching the next window.)
Nathan Drake: Oh, you can't be serious.

(Upon exiting through the window.)
Nathan Drake: Oh god, wasn't I just out here?

(Upon reaching the final edge.)
Nathan Drake: Ah, gonna have to bust through that window.

(Upon pressing triangle while hanging on the vine.)
Nathan Drake: Alright, alright, it'll hold me...

(Upon reaching Elena's parachute.)
Nathan Drake: No sign of her... that's either very good, or very bad.

Buka Pintu[edit | edit source]

Nathan Drake: Elena. What the hell's she doing?

Nathan Drake: Hmmm...

Guard: Ha-low? (Hello?)

Nathan Drake: Buka pintu. (Open the door.)

Guard: Siapa ini? Bicara sekarang! (Who is this? Speak now!)

Nathan Drake: Ah, crap. Sialan lo! Cepatan, buka pintu! (Damn you! Hurry up, open the door!)

Guard: Ah, tai! (fuck!)

Nathan Drake: (laughs) It worked.

Pirate 1: There he is!

Pirate 2: Up there!

Pirate 3: Get on the gun!

Nathan Drake: Oh boy...

Gameplay (continued)[edit | edit source]

(Directly prior to entering the underground room with the many pillars.)
Nathan Drake: This place could use a good plumber.

(Upon encountering the hidden pirates.)
Nathan Drake: Son of a bitch! Where did they all come come from?

Unlocking the Past[edit | edit source]

(Shortly before entering the courtyard.)
Nathan Drake: Jesus, Elena, where are you?

(Upon entering the courtyard.)
Nathan Drake: Huh, wait a minute...

Nathan Drake: Now what's so important about that tower?

Nathan Drake: Whoa! Son of a bitch!

(Upon approaching the winch.)
Nathan Drake: Aha. What's this?

(Upon approaching the locked door and opening Drake's map.)
Nathan Drake: Same symbol, but what's that got to do with the tower?

(Upon stepping onto the crumbling platform directly prior to reaching the tower.)
Nathan Drake: Oh no, oh no no no no no no no no!

(After pressing Triangle at the skeleton.)
Nathan Drake: Yuck. Excuse me. Thank you.

(After pressing Triangle at the locked door.)
Nathan Drake: Hm. No. (chuckles) All right.

(Upon entering the fourth room.)
Nathan Drake: Where the hell is she?

(Upon approaching the table in the room with the chart.)
Nathan Drake: Hmm... these aren't Spanish, they're English.

Nathan Drake: Whoa.

Nathan Drake: Fletcher, we have gone to the great tower. I pray that you'll meet us there. Francis Drake. Wow... So you made it, but what were you plotting?

(Upon spotting the tower after going outside.)
Nathan Drake: That must be Drake's tower.

(Upon reaching a broken ledge after crossing a broken staircase.)
Nathan Drake: Where'd she go?

(Upon approaching the balcony at the top of the tower.)
Nathan Drake: This must've been Drake's...

Nathan Drake: So what were you looking for, hm?

That Looks Familiar[edit | edit source]

Nathan Drake: Well now, that looks familiar... Huh. The ships never left.

Nathan Drake: Elena, where did she come from—

Pirate: Hey, there she is.

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Pirate: Watch this.

(If you fail to help Elena in time.)
Nathan Drake: Oh my God, Elena.

Elena Fisher: (screams)

(After shooting one pirate.)
Nathan Drake: Oh crap.

Pirate: We got him!

Jailbreak[edit | edit source]

Elena Fisher: I know I'm not a big-time treasure hunter like you, but I doubt you're gonna find El Dorado in there. How'd you get yourself in this mess?

Nathan Drake: Trying to rescue you, as a matter of fact.

Elena Fisher: Oh, that's so sweet.

Elena Fisher: Traditional sandstone brick and stucco... limestone mortar... huh.

Nathan Drake: How'd you get to know so much about this?

Elena Fisher: My show, episode 4, "Architects of the New World." Yep, it'll just take a tug to pull these bars out.

Nathan Drake: What? No, wait... are you sure—

Eddy Raja: Get out of my way, bodoh! (stupid)

Eddy Raja: Cepatan (Quick), open this goddamn door!

Nathan Drake: Oh crap.

Eddy Raja: Hey, Drake.

Nathan Drake: Eddy Raja. I shoulda guessed.

Eddy Raja: Fascinating document, huh?

Eddy Raja: Seems like this "Sir Francis" was in my line of work.

Nathan Drake: Don't flatter yourself, Eddy.

Eddy Raja: (laughs) Always ready to be enemies, eh? Tell you what, lead me to the gold, and I just might let you live.

Nathan Drake: Is that it? Is that my deal? Die now, or help you, and die later. It's a tough call, but you know what? I'll take "die now."

Eddy Raja: Tai kamu! (Fuck you!) Listen to me, maggot, I was promised treasure on this goddamn rock! And now my men are dying. They can't even go outside and take a piss without an armed guard, and I have nothing to show for it!

Eddy Raja: I am making you a fair offer. You help me find the treasure, and the last man alive gets the gold... and the girl, of course.

Nathan Drake: The girl? Oh, Eddy, the girl's long gone. She's probably off the island by now, going for help.

Eddy Raja: Tai kucing (Damn you), you were never very good at poker. I will find her, trust me. How much trouble could one girl be?

Elena Fisher: Well?! Come on!!

Nathan Drake: Thank you.

Eddy Raja: Hey, goddamn it—

Nathan Drake: Okay. Nice work!

Elena Fisher: Thanks.

Eddy Raja: Hey, hey, buka pintu! (open the door!)

Elena Fisher: Hang on!

Eddy Raja: Hentikan mereka! (Stop them!) After them!!

Out of the Frying Pan[edit | edit source]

(When the chapter starts.)
On-screen: Press L2/L1 to fire grenades

Nathan Drake: Go! Go!

(While almost through the courtyard.)
Nathan Drake: Do you know where you're going?

Elena Fisher: No!

(After exiting the courtyard.)
Nathan Drake: Here they come!

(Once the pirates start coming in from the side.)
Elena Fisher: They're coming in from the side!

(Once the pirates start coming in from the side again.)
Elena Fisher: On the left!

(Once Elena passes by a cliff.)
Nathan Drake: Whoa whoa whoa, watch the cliff!

(Once Elena almost drives into the cliff.)
Nathan Drake: Oooh no no no no no!

Elena Fisher: Oh crap!

Nathan Drake: I said watch the cliff!

Elena Fisher: All right back there?

Nathan Drake: Just drive!

(Once the truck comes in view.)
Elena Fisher: Look out!

(Once the pirates start coming in from behind again.)
Elena Fisher: They're behind us!

(Upon approaching the blockade in the tunnel.)
Elena Fisher: Nate?! Shoot it out!

(Upon exiting the tunnel.)
Nathan Drake: W-wh-whoa cliff!

Elena Fisher: I see it!

(Once Elena reaches the fence.)
Elena Fisher: Uh... Nate?

Nathan Drake: Step on it! Punch it!

Elena Fisher: (laughs) We made it!

Nathan Drake: I can't believe that worked!

Elena Fisher: So, who was that guy?

Nathan Drake: Just an old business asso—Oh look out!

Elena Fisher: Oh no! Hold on!

(Randomly said by the pirates during the chase.)

  • Fire!
  • Closer!
  • Faster!
  • Get them!
  • Ram them!
  • I got this!
  • After them!
  • Blast them!
  • Follow them!
  • (Indonesian)
  • I've got them!
  • Run them down!
  • I've got them!
  • There they are!
  • I almost got them!
  • Don't let them escape!
  • Force them off the road!

(Randomly upon being attacked.)

Nathan Drake
  • Whoa!
  • Damn!
  • Floor it!
Elena Fisher
  • Whoa!
  • Shit!
  • Dammit!
  • Oh shit!

(Randomly said by Nathan Drake as he destroys the vehicles chasing them.)

Nathan Drake
  • Yeah!
  • (laughs)
  • Got 'em!
  • Yeah! (laughs)
  • Yeah, eat that!
  • (laughs) Eat that!
  • Have some of that!
  • (cheers) All right!

Out of Road[edit | edit source]

Elena Fisher: Okay... Here, grab my hand.

Elena Fisher: Okay.

Nathan Drake: All right. You okay?

Elena Fisher: Yeah, I'm fine, oh but, you're bleeding.

Nathan Drake: Yeah, it goes with the territory.

Nathan Drake: Let's get the hell outta here.

Elena Fisher: What?

Nathan Drake: C'mon!

Eddy Raja: Going somewhere?

Nathan Drake: Hey, Eddy!

Eddy Raja: Did you really think you could escape from moi?

Nathan Drake: Oh, no, Just giving the young lady the ten dollar tour.

Eddy Raja: Shut it! I bet you're working for them, too.

Nathan Drake: What?

Eddy Raja: You thought you could set me up and keep everything for yourselves, hm?

Nathan Drake: Get down!

Elena Fisher: Damn it! This guy's crazy!!

Nathan Drake: Eddy, take it easy buddy!

Eddy Raja: Well, you're out of luck now, and out of road.

Eddy Raja: Now, give me that map.

Nathan Drake: Hold on.

Nathan Drake: All right, you got me, fair and square.

Eddy Raja: Hey, don't move!

Nathan Drake: Relax, Eddy, just getting the map, like you asked.

Nathan Drake: I said, hold on.

Elena Fisher: I am.

Eddy Raja: Well, hand it over.

Nathan Drake: Well now, you told me not to move. Looks like you're gonna have to come get it.

Eddy Raja: Tai kamu! (Fuck you!)

Elena Fisher: Nate!

Nathan Drake and Elena Fisher: (shouts)

The Drowned City[edit | edit source]

(After the cutscene.)
Nathan Drake: Go! Go!

(Upon encountering the next group of pirates.)
Nathan Drake: Oh, for God's sake!

Elena Fisher: Ugh, these guys never quit!

Our Ticket Outta Here[edit | edit source]

Nathan Drake: This was a big mistake.

Elena Fisher: No kidding. You know, I should've turned before the bridge.

Nathan Drake: That's very funny.

Elena Fisher: Oh, come here a minute, I wanna show you something.

Nathan Drake: That thing still works?

Elena Fisher: Uh-huh. Check this out.

Elena Fisher: Okay, see this building in the harbor? That's where all of the boats coming into the colony would've unloaded their cargo. So, if the El Dorado treasure came to this island, it would've had to have come through here.

Nathan Drake: Wait a minute. What—what was that?

Elena Fisher: What?

Nathan Drake: Rewind it.

Elena Fisher: Yeah...?

Nathan Drake: Wait, stop.

Elena Fisher: Uh-huh.

Nathan Drake: Right there.

Nathan Drake: That's our ticket out of here. Come on.

Elena Fisher: Our ticket out of here? Are you giving up?

Nathan Drake: Maybe you hadn't noticed, but we're kind of outnumbered.

Elena Fisher: We're doing fine so far...

Nathan Drake: Elena, I don't need your bullet-riddled corpse on my conscience. Let's go.

Elena Fisher: Oh, please. You quit if you want to, but don't use me as an excuse.

Nathan Drake: Fine. It's me, okay? I am quitting. Are you coming or not?

Elena Fisher: So that's it? You're just going to forget about the treasure and forget about Drake?

Nathan Drake: (chuckles) Goddamn it, this is not worth dying over.

Elena Fisher: Okay. Okay. Listen, either way we have to head back to the harbor. Don't worry about it. We can argue about it later. It'll be great.

Nathan Drake: Wait...

Nathan Drake: This time, I drive.

Elena Fisher: Okay.

Gameplay (continued)[edit | edit source]

(Upon mounting the jet ski.)
On-screen: Hold X or L1 to accelerate

(Upon going through the first bend.)
On-screen: Hold Circle or Square to brake and reverse

On-screen: Press L1/L2 to aim, press L1/R2 to shoot

(After accelerating.)
Elena Fisher: I don't get it. How does a whole colony just drop out of history?

(Upon encountering the first pirate.)
Elena Fisher: Oh no.

Nathan Drake: Looks like we've got company.

(Upon approaching the barrels.)
Nathan Drake: Hit the barrel!

(After going through the first archway.)
Elena Fisher: What happened to this place?

Nathan Drake: Whole city's completely flooded.

(After approaching the next archway.)
Nathan Drake: You're gonna to have to cover us!

(Upon going up the ramp.)
Nathan Drake: Hold on!

(After landing.)
Elena Fisher: There it is!

Nathan Drake: Yeah, now we just gotta find a way in.

Elena Fisher: You know, I read a story once about a cursed Inca treasure... You don't supposed that—

Nathan Drake: Please don't tell me you believe in that stuff.

Elena Fisher: I'm just saying... something bad happened here. A whole colony doesn't just up and vanish.

Nathan Drake: (chuckles) Yeah.

Elena Fisher: Well, how do you explain it?

(Upon helping Elena off the jet ski.)
Elena Fisher: Thanks.

(Upon turning the first corner.)
Elena Fisher: Looks like that cable would get us up there.

Nathan Drake: Let's go check it out.

Elena Fisher: I'll stay here and keep an eye on our ride. See if you can figure a way to get us to that tower.

To the Tower[edit | edit source]

(Shortly after opening the gate.)
Elena Fisher: Down here!

Elena Fisher: You okay?

(Upon encountering more enemies.)
Nathan Drake: Take 'em out, Elena!

(If you take too long to shoot the chains at the end of the jet ski section.)
Nathan Drake: Shoot the chains!

(Upon disembarking.)
Elena Fisher: You've got to get to that tower. I'll meet you back at the customs house.

(Upon moving the second lever.)
Nathan Drake: Another one...

(Upon landing inside the customs house.)
Elena Fisher: Hey, Nate! Let me in!

(If you take too long to let Elena inside.)
Elena Fisher: Nate!

Nathan Drake: Elena!

(Upon pressing Triangle to kick open the door.)
Nathan Drake: Stand back.

Nathan Drake: All right, let's find a way to the harbor, and hope the boat's still there.

The Customs House[edit | edit source]

Sic Parvis Magna[edit | edit source]

Nathan Drake: Wow... these must be all the old ship manifests.

Nathan Drake: Still seem to be in pretty good shape.

Nathan Drake: Hey, check this out, this looks right. The Esperanza. Sailed from Callao, Peru. Carrying 800 bars of gold, 1200 silver. Emeralds... Golden masks, ornaments...

Elena Fisher: Whoa, reading 16th-century Spanish. Not just a grave robber after all, huh?

Nathan Drake: Right here. Gold statue, weight: 20 arrobas. That's over five hundred pounds. That's gotta be it.

Elena Fisher: Wow...

Nathan Drake: There you are...

Elena Fisher: That thing kinda gives me the creeps.

Nathan Drake: Huh. That's the last entry...

Elena Fisher: That somebody special?

Nathan Drake: What? Oh, uh yeah. I guess you could say that.

Elena Fisher: Huh. I had you pegged as more of a "woman-in-every-port" kinda guy.

Nathan Drake: (laughs) Don't I wish. No, this was ah... this was Francis Drake's ring. I, y'know, kind of inherited it.

Elena Fisher: 'Sic Parvis Magna'?

Nathan Drake: "Greatness from small beginnings", it was his motto. Check out the date.

Elena Fisher: 29th of January, 1596.

Nathan Drake: One day after he supposedly died.

Elena Fisher: Wait, what are these numbers right here?

Nathan Drake: Coordinates. Right off the coast of Panama.

Elena Fisher: Oh, so that's how you found the coffin.

Nathan Drake: Yeah, that's right. See, Drake left this as a clue to pinpoint the exact burial site.

Elena Fisher: For someone clever enough to figure it out.

Nathan Drake: Yeah, nice try. But we're still going for that boat.

Nathan Drake: I'm afraid this is as close as we're getting to El Dorado.

Harbor View[edit | edit source]

Elena Fisher: I don't see any boat, Nate. Looks like we missed our chance.

Nathan Drake: No, there it is, on the other side of the harbor. C'mon.

Elena Fisher: Hey, you know what, why don't I just wait here, and you can uh, swing around and come back and pick me up.

Nathan Drake: (chuckles) Okay, what are you up to?

Elena Fisher: Nothing. I just wanna, y'know, stay here and get some more footage. I'll be safe.

Nathan Drake: All right, fine. But promise me you'll stay put.

Nathan Drake: Whatever that means.

Trapped[edit | edit source]

(Upon looking at the helicopter flying past, using the Look command.)
Nathan Drake: Who's this now? Wait, that's not one of Eddy's...

You Need to See This[edit | edit source]

Pirate: Get this all on the boat now!

Elena Fisher: Hey.

Nathan Drake: How did you get here?

Elena Fisher: You really need to see this.

Nathan Drake: Now is really not the best time.

Elena Fisher: No, Nate...

Nathan Drake: What are you doing?!

Elena Fisher: You really need to watch this. Just—

Nathan Drake: What?

Pirate: Don't forget the stuff on the dock.

Elena Fisher: And... Hello. He's alive.

Nathan Drake: Huh.

Elena Fisher: I don't know, Nate... I mean, how much do you trust this guy? It's not exactly like they're holding him at gunpoint.

Nathan Drake: I know. Yeah, it seems weird.

Nathan Drake: But no. Sully's a lot of things, but he's not a back-stabber.

Nathan Drake: Which way were they headed?

Elena Fisher: Uh... North-ish. Yeah, towards the mountains.

Nathan Drake: Okay, it's gotta be the monastery. Let's go.

Elena Fisher: What if it turns out he's working with them?

Nathan Drake: We either rescue him or we beat the crap out of him. Hell, I might just beat the crap out of him anyway.

The Bridge[edit | edit source]

Elena Fisher: How does something like this happen?

Nathan Drake: See those scorch marks?

Elena Fisher: Uh-huh?

Nathan Drake: Somebody packed this place with enough gunpowder to blow it wide open.

Nathan Drake: Whoa, watch your step. Some of these boards are really falling app—

Elena Fisher: (screams)

Nathan Drake: Elena, I can't hold on! Give me your other hand! You've got to let it go!

Elena Fisher: Damn it!

Nathan Drake: Okay.

Elena Fisher: Oh, shit.

Nathan Drake: It's okay. C'mon... c'mon.

Heading Upriver[edit | edit source]

(At the start of the chapter.)
Nathan Drake: This river ought to take us right up to the monastery.

(Upon encountering the group of pirates dumping barrels into the river.)
Nathan Drake: For God's sake, Elena, hit the barrel!

(Upon helping Elena off the jet ski.)
Elena Fisher: Thanks

Sanctuary?[edit | edit source]

(At the start of the chapter.)
Nathan Drake: All right?

Elena Fisher: Yep.

Nathan Drake: Okay, let's head up to the monastery and see what's going on.

(While heading up a long stone staircase.)
Nathan Drake: Would you slow down? One of Eddy's goons could be up ahead.

Who Made This?[edit | edit source]

Elena Fisher: Come on, we left those clowns in the dust ages agoooooOh my God!!

Elena Fisher: That's disgusting! Oh, I wish I had my camera. So... what? The Spanish booby-trapped the island to protect their gold?

Nathan Drake: This wasn't made by the Spanish. Take a closer look at the spikes.

Elena Fisher: You have got to be kidding me.

Nathan Drake: This is from our plane.

Elena Fisher: Wait, that doesn't make any sense, though. Why would anyone set traps like this when their own men are calling all over the island?

Nathan Drake: They wouldn't.

Nathan Drake: Something's been here since the trap was sprung.

Elena Fisher: Something or someone? Wait, do you think that—

Nathan Drake: (shushes) Do you hear that?

Elena Fisher: Hear what?

Nathan Drake: Nothing... absolutely nothing.

Nathan Drake: We're being watched.

Elena Fisher: Watched?

Nathan Drake: Yeah, you know what, it's probably nothing.

Elena Fisher: Um...

Nathan Drake: Let's just get out of here before we run into whatever's been chewing on this guy.

Elena Fisher: Okay...

Gameplay (continued)[edit | edit source]

(Upon encountering the mercenaries with laser sights.)
On-screen: Roll to evade laser targeting
Press Circle and push left Left analog stick to roll

Nathan Drake: Keep your head down! These guys have laser sights!

(While heading up the stone staircase.)
Nathan Drake: Roman and Navarro can't be far off, if they've left their attack dogs at the gate.

(Upon reaching the monastery.)
Mercenary: Go ahead.

Atoq Navarro: I want the library secure. Don't let them get to Sullivan.

Mercenary: Yes sir. They've got the old man working on the east side of the complex. I don't even know why they brought him along. That son of a bitch can't be trusted.

(Upon going through the doorway into the monastery building.)
Elena Fisher: Nate, I've got a bad feeling about this place.

Nathan Drake: Yeah, I know, me too. Let's just find Sullivan and get the hell out of here.

(Upon making it almost halfway through the courtyard.)
Mercenary: Now!

(Upon shooting the pile of powder kegs.)
Elena Fisher: Nice job!

(Upon trying to open the gate.)
Elena Fisher: Here, I'll hold that while you brace the gate open.

(Upon taking too long.)
Elena Fisher: Hurry up!

(Upon standing underneath the door.)
Elena Fisher: You ready?

Nathan Drake: Okay, let it go... gently!

Nathan Drake: (grunts) I said gently...

(Upon taking down the next group of mercenaries.)
Elena Fisher: That must be the library, over there.

Nathan Drake: Well we're not gonna waltz right in the front door. Let's find another way in, scope things out.

Dead Man Talking[edit | edit source]

Victor Sullivan: She worked in this little bar in the Philippines... Oh man, she had a smile that'd melt your heart.

Victor Sullivan: But oh, I swear to God, she'd just as soon kill you as kiss you if she caught you steppin' out. Just a wee bit of a thing. She couldn't have been more than four-eleven. They called her a "spinner" because she—

Mercenary 1: Will you shut up, old man? You told us that one a dozen times already.

Victor Sullivan: Oh yeah, right. 'Course I did. Memory's not what it used to be.

Mercenary 1: What the hell's taking you so long anyway?

Victor Sullivan: Well, maybe you hadn't noticed, but most of these books are half-rotten, and written in Spanish.

Mercenary 1: Yeah well, hurry it up. The boss is waiting on you.

Mercenary 2: Hey! Up there!

Nathan Drake: Ah, crap!

Gameplay (continued)[edit | edit source]

(During the shootout.)
Elena Fisher: This better be worth it!

(During the shootout, if you walk by Sully's hiding place.)
Nathan Drake: Sully, just stay down!

Nathan Drake: Keep your head down, Sully!

Awkward Reunion[edit | edit source]

Victor Sullivan: Ah, man. It's about time you showed up.

Nathan Drake: Well, you're looking awfully good for a corpse.

Victor Sullivan: So, you brought the girl after all, huh?

Elena Fisher: "The girl"?

Nathan Drake: Hey, if it wasn't for her, you wouldn't be getting rescued right now.

Elena Fisher: If this is a rescue.

Victor Sullivan: What the hell does that mean?

Nathan Drake: You gotta admit, Sully, this all looks a little shady.

Elena Fisher: Yeah.

Nathan Drake: I mean you tipping those guys off.

Elena Fisher: And miraculously showing up alive.

Victor Sullivan: Now wait a goddamn minute. Roman had a contract out on me. I needed to buy some time. All right, stupid mistake. I didn't realize they'd try and track us.

Nathan Drake: Sully, we would have been headed home with the treasure by now if you had just for once kept your mouth shut.

Victor Sullivan: And you might've thought of checking for a pulse before running off and leaving me for dead. Look, none of that matters now.

Elena Fisher: All right, so how is it you're standing here breathing and all, huh?

Victor Sullivan: (chuckles) You are not gonna believe this.

Victor Sullivan: Huh?

Nathan Drake: No way! Ol' Francis took a bullet for you?

Victor Sullivan: Yeah.

Nathan Drake: I thought this kinda thing only happened in the movies.

Victor Sullivan: Yeah, well, it still hurt like a son of a bitch, I'll tell you that.

Nathan Drake: (laughs)

Elena Fisher: I bet.

Victor Sullivan: Anyway, once they realized I wasn't dead, I convinced Roman that they'd never find the treasure without me. So I've been trying to mislead them ever since, waiting for you to show up.

Elena Fisher: Well, where are they now?

Victor Sullivan: Well, they're chasing a little red herring I sent 'em on, on the other side of the monastery, to get rid of 'em.

Nathan Drake: (chuckles)

Victor Sullivan: Look, Drake had it all figured out. See, that's the symbol the Spanish used to mark their secret vaults. The treasure is hidden right here in this monastery. Find the symbol...

Nathan Drake and Victor Sullivan: ...and we find the vault.

Victor Sullivan: We have everything we need right here. All the clues to take us right to the treasure. We can do this, kid.

Elena Fisher: All right, you boys aren't gonna get all chummy and leave the girl behind again, are you?

Nathan Drake: Don't even think about it, Sully. She's got a mean right hook.

Victor Sullivan: I'll keep that in mind.

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Victor Sullivan: There's more to this room than meets the eye, I'm sure of it.

(Upon looking at the statues, using the Look command.)
Nathan Drake: Hm... something about these statues...

(Upon rotating a statue for the first time.)
Nathan Drake: Okay.

(Upon rotating a statue in the wrong direction.)
Nathan Drake: No, that's not right.

(Upon rotating a statue in the wrong direction again.)
Nathan Drake: Ah!

(Upon taking too long.)
Elena Fisher: Try checking the diary again.

(Upon taking even longer.)
Victor Sullivan: C'mon, hurry it up, Nate. We don't have much time before they realize something's wrong.

(Upon solving the puzzle.)
Nathan Drake: Bingo!

Elena Fisher: Whoa...

(After entering the secret room.)
Victor Sullivan: Oh, another library?

Elena Fisher: Huh. What now?

(Upon approaching one of the torches.)
Nathan Drake: Y'know, this looks familiar.

(Upon opening the diary.)
Nathan Drake: "The inverted torch leads to the land of the dead."

Watch Your Head[edit | edit source]

Nathan Drake: Well, this looks promising.

Nathan Drake: Here, let me see that.

Victor Sullivan: Yeah.

Nathan Drake: Okay, you two sit tight. I'm gonna check things out.

Elena Fisher: Whoa, whoa, wait. No, you're not going out there alone.

Victor Sullivan: Yeah, Roman's men are swarming all over this place.

Nathan Drake: Yeah, and one person will make a lot less noise than three.

Nathan Drake: C'mon, I'll be fine. And you guys will be safe here. They don't even know about this room.

Victor Sullivan: Okay, take this with you. Leave it on channel 13, they don't use that one. And keep us posted.

Nathan Drake: All right, you got it. Close this thing back up.

Victor Sullivan: Yeah.

Elena Fisher: Nate? Be careful.

Nathan Drake: C'mon, I always am.

Nathan Drake: (yells) I did not see that.

Going Underground[edit | edit source]

(At the start of the chapter.)
Nathan Drake: Okay. Land of the dead. Here we go.

(After finishing the mercenaries and approaching one of the bells.)
Nathan Drake: Wait, there's something about this...

(Upon looking at the locked door marked with an inverted torch, sing the Look command.)
Nathan Drake: Bet I can guess where this leads. How do I get it open?

(Upon opening the diary.)
Nathan Drake: Two bells resound in perfect harmony.

(After trying a few times and failing to ring the bells at the same time.)
Nathan Drake: Ehh, I'm not doing something right.

(Upon solving the puzzle.)
Nathan Drake: Yeah, all right!

(Upon climbing down the ladder.)
Nathan Drake: We got all the clues, right here. We can do this, kid. How the hell does he think he's gonna get that statue outta here, anyway?

(Upon encountering more mercenaries.)
Nathan Drake: Oh jeez, these guys are everywhere.

Eavesdropping[edit | edit source]

Gabriel Roman: This is completely unacceptable.

Eddy Raja: Well, what do you expect from me, Roman? My men are getting massacred!

Gabriel Roman: I find it hard to believe that one man could wipe out your entire crew.

Eddy Raja: (groans) It's not just Drake, goddammit! I'm telling you, this island is cursed!

Gabriel Roman: Enough! Take your sorry mob and go!

Eddy Raja: Wait, you can't cut me loose. You owe me a share of the gold!

Gabriel Roman: Your share, Eddy, was contingent upon you doing what I required. You assured me that Drake was captured, and the island secure.

Eddy Raja: Oh, this is bullshit Roman, and you know it!

Gabriel Roman: We're done here, Mr. Raja.

Eddy Raja: Tai kamu! (Fuck you!) (spits) Mati aja lo! Sialan! (Just die! God damn it)

Gabriel Roman: Remind me again why you employed that superstitious idiot?

Atoq Navarro: You wanted someone cheap.

Gabriel Roman: Well, you get what you pay for, I suppose.

Gabriel Roman: And what about you, Navarro? Are you worth what I'm paying you?

Atoq Navarro: The vault's here. I'm sure of it. If Sullivan can be trusted—...

Gabriel Roman: Which he can't!

Atoq Navarro: Look, he knows we'll kill him if he's lying.

Gabriel Roman: Don't be stupid. He knows we'll kill him once we find the treasure. He has no incentive to tell the truth. Really, Navarro, sometimes I think you left your brains back in that slum where I found you.

Atoq Navarro: I just need a little more time.

Gabriel Roman: Chasing this treasure of yours is proving to be more trouble than it's probably worth.

Atoq Navarro: I assure you, El Dorado is worth more than you can possibly imagine.

Gabriel Roman: It had better be...

On the Trail of the Treasure[edit | edit source]

(After defeating the first group of enemies.)
Victor Sullivan (radio): Nate, you read me?

Nathan Drake: Yeah. Sully, I'm just going in circles here.

Victor Sullivan (radio): Well, the girl and I been reading some of the books down here and, looks like there's some kind of secret gallery at the top of the church. Can you get there?

Nathan Drake: Think so. Yeah.

Victor Sullivan (radio): All right, give us a call if you find anything.

(At the end of a cutscene showing a symbol.)
Nathan Drake: That's gotta be it.

(Upon opening Drake's diary.)
Nathan Drake: Aha...

(While walking around the secret gallery.)
Nathan Drake: Huh.

(Upon approaching the correct window.)
Nathan Drake: Well, hello there.

Cutscene (title unknown)[edit | edit source]

Nathan Drake: You gotta be kidding...

Nathan Drake: Hey, Sully.

Victor Sullivan (radio): I'm here.

Nathan Drake: Remember Roman and Navarro, and that red herring you sent them on, to get them out of the way?

Victor Sullivan (radio): Yeah?

Nathan Drake: Well, they're sitting right on top of the treasure vault.

Victor Sullivan (radio): Oh, of all the goddamn luck—

Nathan Drake: Look, I'm gonna need a diversion to get them out of there.

Victor Sullivan (radio): You got it, kid. One diversion, coming right up.

Nathan Drake: And Sully—

Victor Sullivan (radio): Yeah?

Nathan Drake: Once they're gone, meet me in the mausoleum. But come through the catacombs, it's safer that way.

Victor Sullivan (radio): Gotcha.

Nathan Drake: Now I've just gotta get past all these goons without getting noticed.

Gameplay (continued)[edit | edit source]

(Upon reaching the vine.)
Atoq Navarro: Sullivan has escaped! Spread out! Find him!

(Upon entering the largest mausoleum.)
Nathan Drake: Hey.

Elena Fisher: Hey.

Victor Sullivan: I knew you could do it, kid! So what's next?

Nathan Drake: I don't know, I'm figuring it out as I go. This is definitely the right place, though.

(Upon approaching one of the symbols on the walls.)
Nathan Drake: Wait a second, it's something to do with these symbols.

(After some time has gone by.)
Victor Sullivan: (chuckles) Oh man, Roman and Navarro really tore this place up.

(After some more time has gone by.)
Victor Sullivan: You sure we're in the right place?

Passage to the Vault[edit | edit source]

Nathan Drake: (laugh) Looks like we're in business.

Elena Fisher: Yeah.

Nathan Drake: Heads up!

Victor Sullivan: Whaddya make of it?

Nathan Drake: I dunno, could be a dead end.

Elena Fisher: Wait, it looks like their might be a passage this way—

Elena Fisher: Uh-oh.

Nathan Drake: Oh shit.

Victor Sullivan: What the hell's that?

Nathan Drake: Sully! Get outta there!

Victor Sullivan: Huh?

Nathan Drake: It's a trap!

Nathan Drake: Sullivan, are you okay? Sully?!

Victor Sullivan: Yeah, yeah, fine. Still in one piece. You knocked me on my ass, though.

Nathan Drake: Yeah well, you better get back to the library. We're gonna have to find another way outta here.

The Treasure Vault[edit | edit source]

(At the start of the chapter.)
Nathan Drake: Well, there's no way but forward.

Elena Fisher: Yeah.

(Upon entering the vault.)
Elena Fisher: What is this place?

Nathan Drake: A really elaborate way to hide the damn treasure.

Elena Fisher: Which way do we go?

(Upon approaching a roman numeral sign.)
Nathan Drake: Huh, wait a second...

(Upon opening Drake's diary.)
Nathan Drake: There are Roman numerals on the corner of Drake's map, this has got to mean something.

(Upon straying too far from Elena.)
Elena Fisher: I'll stay here and keep a lookout while you figure out how we're going to get across.

(Upon spending too long roaming around aimlessly.)
Nathan Drake: Oh, man. I'm completely lost.

(Upon spotting something in the distance, using the Look command.)
Nathan Drake: What was that?

(Upon reaching the waterwheel mechanism.)
Nathan Drake: This has gotta be good for something.

(After activating the mechanism.)
Nathan Drake: Something's happening!

Elena Fisher: Nate, did you do that? Things just started moving down here!

(Shortly after the first lantern.)
Nathan Drake: Sully, you read me?

Nathan Drake: Damn. Nothing.

(Upon reaching the highest point.)
Nathan Drake: Hey! I made it!

Elena Fisher: Hey, be careful! That thing doesn't look very safe—Nate!

Nathan Drake: It's all right! (chuckles) I'm okay! (sighs)

(Upon stepping onto the wooden elevator.)
Nathan Drake: Whoa... (screams) Okay...

(Upon climbing through the open window.)
Elena Fisher: See if you can find a way to get this gate open. I'll wait here.

(Upon looking at something in the distance, after jumping down from the window, using the Look command.)
Nathan Drake: What the hell?

(Upon stepping onto the wooden elevator.)
Nathan Drake: What the? (screams)

Elena Fisher: Thanks Nate!

(Upon running into Eddy Raja.)
Eddy Raja: Hey, bule! (foreigner) Last man alive gets the gold! You lose.

Pirate: (laughs)

Eddy Raja: Kill them both.

Nathan Drake: (sighs) This just keeps getting better and better.

(Upon using the Look command, after defeating the pirates.)
Nathan Drake: I think there's some kind of ladder mechanism up there.

(While heading up a staircase.)
Nathan Drake: Hope this leads somewhere.

(While heading up a second staircase.)
Nathan Drake: Let's try this way.

Drake's End[edit | edit source]

Elena Fisher: There's nothing here.

Nathan Drake: This is getting so old.

Elena Fisher: Nate...?

Nathan Drake: It's Drake. He never found it. He just... died here.

Nathan Drake: So much for 'greatness.' Wasted his life... for nothing.

Elena Fisher: Nate, are you ready to get moving?

Nathan Drake: Yeah... More than ever.

The Heart of the Vault[edit | edit source]

(At the start of the chapter.)
Elena Fisher: There's gotta be a way outta here.

(If you head back into the vault.)
Elena Fisher: Nate, that's the way we came in!

(If you continue heading back into the vault.)
Elena Fisher: Hey, come back! Don't leave me alone in here!

(Upon looking at the area above you, using the Look command.)
Nathan Drake: It looks like there's some kind of machinery up there.

Elena Fisher: Hey, there's a ladder. Here, I think I can reach it if you give me a boost.

(Upon pressing Triangle below the ladder.)
Nathan Drake: All right, climb on.

Nathan Drake: (groans) Oh, you're heavier than you look. Can you reach it?

Elena Fisher: Uh, mhm.

Elena Fisher: Looks like an old hoist or something! There's a rope, I'll try to lower it down to you!

Elena Fisher: Oh, I see a tunnel, we can get out this way!

Hello, Boys[edit | edit source]

Nathan Drake: Hello boys.

Nathan Drake: Easy, Eddy. Easy.

Nathan Drake: What the hell's going on out there?

Eddy Raja: Didn't you see them?!

Prakoso: Oh no... Oh God, no...

Eddy Raja: We're trapped!

Nathan Drake: Jesus, what is that?

Eddy Raja: We're dead! We're all dead!

Prakoso: (screams)

Eddy Raja: No! No!

Nathan Drake: Eddy, get back here.

Nathan Drake: Oh crap.

Eddy Raja: Drake, if we don't make it out of here, I just want you to know—I hate your guts.

Nathan Drake: Yeah, likewise pal. Now let's do this.

Gameplay (continued)[edit | edit source]

(At the start of the chapter.)
Elena Fisher: What the hell is going on down there?!

Nathan Drake: Just get that rope down here! Fast!

(After some time has passed.)
Elena Fisher: Damn! It's totally rusted, it won't move!

(After some more time has passed.)
Nathan Drake: Elena?!

Elena Fisher: It's stuck!

(Randomly during the fight.)

Eddy Raja
  • Oh God!
  • You want some of this?

(If Drake dies.)

Eddy Raja
  • No!
  • Drake!

Don't Mess With Eddy Raja[edit | edit source]

Eddy Raja: That's right, you ugly konyok! (monkey)

Eddy Raja: Don't mess with Eddy Raja!

Nathan Drake: Eddy!

Nathan Drake: Eddy! Hold on!

Eddy Raja: (screams)

Nathan Drake: Oh, you have got to be kidding me... Elena, hurry up!

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Elena Fisher: Hold on, Nate!

(After some time has passed.)
Elena Fisher: I got it! It's moving!

(Once the rope is lowered.)
Elena Fisher: Grab the rope!

(While climbing up the rope.)
Elena Fisher: C'mon, Nate.

(Upon reaching the top of the rope.)
Elena Fisher: I'll swing you over, hold on!

(Upon going through the tunnel.)
On-screen: Hold Left analog stick and press L1/R2 to run-and-gun

Nathan Drake: Run!

(While going through the tunnel.)
Elena Fisher: Oh my—

Nathan Drake: Go!

Nathan Drake: (pants) Not good! Not good! Not good!

Elena Fisher: This way!

Where Are We?[edit | edit source]

Nathan Drake: Go! Go! Go! Run!

Elena Fisher: What the hell were those things?!

Nathan Drake: I don't know. I don't know. Are you okay?

Elena Fisher: Yeah. Nate...

Nathan Drake: Okay, I don't think they can get through this.

Elena Fisher: Nate...

Nathan Drake: What?

Elena Fisher: Where are we?

Nathan Drake: I'm not sure.

Nathan Drake: Go!

Elena Fisher: Whoa...

Nathan Drake: Wow, this explains the U-boat in the Amazon.

Elena Fisher: Nate, c'mere. Look at this.

Nathan Drake: So they found it... They must've broken into the vault and cleared it out.

Elena Fisher: Yeah, but what's the monastery got to do with it?

Nathan Drake: I-I don't know... It doesn't make any sense. If that's where the statue is now... Oh man, we-we were right on top of it.

Elena Fisher: I bet this'll take us to the surface.

Nathan Drake: Guess the Nazis didn't pay their electric bill.

Elena Fisher: Damn it!

Nathan Drake: You know, I bet if we can make it to the generator room, we could get the power turned back on. We just gotta find a way out of here first.

Nathan Drake: Wait, what are you doing? What are you doing?!

Elena Fisher: Found a way out.

Nathan Drake: Nice work.

Elena Fisher: Yeah.

Nathan Drake: All right, let's go.

Elena Fisher: Nope, this one's all you, cowboy.

Nathan Drake: Whaddya mean?

Elena Fisher: Nate, you know I can't make that jump.

Nathan Drake: There is no way I'm leaving you here alone with those things.

Elena Fisher: We don't have a choice. Just go turn the power on, come back and get me, and then we'll get the hell out of here. Okay? Just go.

Nathan Drake: I will be right back.

Elena Fisher: Yeah.

The Bunker[edit | edit source]

(After the climbing section.)
Victor Sullivan (radio): (static)

Nathan Drake: Sullivan, come in.

Victor Sullivan (radio): (static)

Nathan Drake: It's no use, I can't get a signal in here.

(Upon entering the room with the projector.)
Nathan Drake: What the hell happened here?

(Upon encountering descendants.)
Nathan Drake: Oh, shit!

(Upon reaching the generator room.)
Nathan Drake: This has got to be the generator room.

(Upon activating the generator.)
Nathan Drake: Thank God.

Unwelcome Guests[edit | edit source]

(At the start of the chapter.)
Nathan Drake: Oh no.

(After escaping the room.)
Nathan Drake: This is turning out to be a really lousy day.

(Upon finding a Nazi corpse, using the Look command.)
Nathan Drake: Oh man, those things must've got to them.

(While walking through the corridors.)
Nathan Drake: How am I gonna get outta here?

Last Testament[edit | edit source]

Nathan Drake: "My end is near... The devils hunt for me in the darkness. The gold of El Dorado bears a terrible curse; the Spaniards have unleashed hell, and become as demons. My men have all been murdered, leaving the task to me alone. No ship will depart this island; I destroyed them all, and drowned the cursed city. A thing of such great evil must never leave these shores. In my final hour, I commend my soul to God. May He have mercy on this unholy place. Francis Drake."

Nathan Drake: My God...

Descendants: (growls)

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Nathan Drake: Oh, no, not again!

Hostage Situation[edit | edit source]

Gabriel Roman: Can you hear me in there?

Nathan Drake: Loud and clear, jackass.

Gabriel Roman: Oh, no microphone on your end? What a shame.

Elena Fisher: Nate! Get outta there before—

Nathan Drake: Elena! Leave her alone, you sons of—

Gabriel Roman: Navarro, if you can't maintain control over a small girl...

Atoq Navarro: It won't happen again.

Atoq Navarro: Trust me.

Gabriel Roman: I'm sorry for the interruption. I just wanted to uh, thank you for leading us to El Dorado.

Nathan Drake: Of course.

Gabriel Roman: Oh, I hope you don't mind if we borrow Miss Fisher a little while longer. Just to discourage you and your partner from trying anything creative. So long, Nate. It's been fun.

Nathan Drake: Yeah, keep smiling, asshole. I'll see you soon.

Mercenary: After him!

Nathan Drake: Whoa.

Mercenary: Take him out!

Nathan Drake: Oh, hell that can't be good. (sighs)

Mercenary: Go, go, go!

Race to the Rescue[edit | edit source]

(At the start of the chapter.)
Nathan Drake: Sully, are you there? Dammit, Sully, come in!

Victor Sullivan (radio): Thank God Nate, where are you?

Nathan Drake: Heading your way. They've got Elena, we have to stop 'em.

Victor Sullivan (radio): Got problems of my own. Bastards have me pinned down outside the church.

Nathan Drake: Almost there.

(Upon reaching Sully.)
Victor Sullivan: You cold-blooded sons of bitches!

(Upon killing one mercenary.)
Victor Sullivan: Nice one, kid!

(After the mercenaries have been defeated.)
Nathan Drake: We gotta stop 'em, Sully. They don't know what they're dealing with!

Victor Sullivan: What are you—

Nathan Drake: I don't know how, but that statue destroyed the whole colony, and it killed the Germans too.

Victor Sullivan: Whoa, come again?

Nathan Drake: There's no time! We've got to get to the church!

(After entering the church.)
Nathan Drake: Dammit! They're everywhere! Hang back, Sully!

(After the mercenaries have been defeated.)
Nathan Drake: C'mon Sully, there should be a hidden passage right under the altar.

Cutscene (title unknown)[edit | edit source]

Victor Sullivan: Holy shit...

Nathan Drake: Whoa...

Gold and Bones[edit | edit source]

(At the start of the chapter.)
Victor Sullivan: You wanna tell me what the hell's going on!?

Nathan Drake: Drake didn't want to get the treasure off the island, Sully. He was trying to stop it from leaving!

Victor Sullivan: What?

Nathan Drake: It's cursed or something.

Victor Sullivan: Oh, Nate, for God's sake...

Nathan Drake: Look, I know it sounds crazy. You just gotta trust me.

El Goddamn Dorado[edit | edit source]

Nathan Drake: Oh man.

Victor Sullivan: Whoa...

Gabriel Roman: (chuckles) You two should realize by now that I plan for every contingency. Now, drop your weapons. Down there.

Gabriel Roman: No heroics please, or I will kill her.

Gabriel Roman: Good. Now, if you'll just hang tight, we'll be with you in a moment.

Gabriel Roman: It's magnificent. The craftsmanship, I've never seen anything like it before.

Atoq Navarro: That is only a shell. The real treasure of El Dorado lies inside. (laughs) Open it!

Nathan Drake: My God...

Gabriel Roman: (coughs)

Atoq Navarro: Watch this.

Gabriel Roman: (gasps) Navarro... (growls) (screams)

Atoq Navarro: Adios, jefe. (Bye, boss.) So little imagination. (chuckles)

Atoq Navarro: Bajen la red! (Lower the net!)

Mercenary: Bajen la red! (Lower the net!)

Nathan Drake: Navarro, that thing wiped out an entire colony. You don't know what you're doing.

Atoq Navarro: Wrong. I'm the only person on this island who knows what the hell he's doing!

Atoq Navarro: Cargue la estatua. Cuidado! (Load the statue. Watch out!)

Atoq Navarro: You are so pathetic, all of you scrambling around for your petty treasures. Do you have any idea what this is worth, to the right buyer?

Atoq Navarro: Levantalo! (Raise it up!)

Mercenary: Levantalo! (Raise it up!)

Descendants: (growls)

Nathan Drake: Oh no...

Victor Sullivan: What the hell is that?

Victor Sullivan: Jesus, what are those things?

Nathan Drake: It's the Spaniards, Sully. They never left.

Mercenaries: (screams)

Nathan Drake: My God, if that thing gets off the island...

Victor Sullivan: You gotta stop him. I'll cover you from here.

Gameplay (continued)[edit | edit source]

(After the cutscene.)
Victor Sullivan: Go!

(When the helicopter is almost gone.)
Victor Sullivan: He's getting away!

Helicopter Ride[edit | edit source]

Mercenary: Hey!

Nathan Drake: Crap!

Blaine: (screams)

Nathan Drake: (shouts)

Nathan Drake: Oh my God.

Atoq Navarro: Matenlo! (Kill him!) Kill him!

Showdown[edit | edit source]

(Upon ascending the staircase at the end of the boat.)
Nathan Drake: Nowhere to hide, now!

(At the start of the cutscene.)
Nathan Drake: Elena!

(After the cutscene.)
Nathan Drake: Oh crap, now what?

The End[edit | edit source]

Nathan Drake: Elena!

Nathan Drake: Elena! Oh God... Elena.

Nathan Drake: C'mon. Can you stand?

Elena Fisher: I'm okay... I'm okay.

Nathan Drake: Are you all right?

Elena Fisher: Oh, Nate!

Nathan Drake: Watch out.

Nathan Drake: Adios, asshole.

Atoq Navarro: Huh? (screams)

Elena Fisher: Oh my—

Elena Fisher: Oh... Quite a day.

Nathan Drake: Yeah, yeah, save the world, triumph over evil, pretty typical.

Elena Fisher: (laughs) Really.

Nathan Drake: It's a shame we're leaving empty handed, though.

Elena Fisher: Oh well, you know, I... I did manage to save one small thing.

Elena Fisher: Here, I... I thought you might miss this.

Nathan Drake: Thanks.

Elena Fisher: Yeah.

Victor Sullivan: You two got a funny idea of romantic.

Nathan Drake: Sully! Wow. You—you look like hell.

Victor Sullivan: You should see the other guys.

Elena Fisher: (chuckles)

Victor Sullivan: Got us a boat.

Elena Fisher: Uh, we already have a boat.

Nathan Drake: Yeah. Big boat.

Victor Sullivan: I like this one better.

Elena Fisher: (gasps)

Victor Sullivan: (laughs)

Nathan Drake: Sully, you beautiful son of a bitch!

Victor Sullivan: Borrowed it off a couple of pirates who were too dead to care.

Nathan Drake: (laughs)

Nathan Drake: Sorry you didn't get your story.

Elena Fisher: Ah, that's all right. There'll be other stories. You still owe me one.

Nathan Drake: I'm good for it.

Miscellaneous[edit | edit source]

Nathan Drake[edit | edit source]

(Sometimes upon picking up a weapon.)

Nathan Drake
  • Sweet.
  • Huh, new toy.
  • This could help.
  • That'll come in handy.
  • I'll take that, thank you.
  • Ah, sweet. Just what I needed.

(Sometimes after reloading.)

Nathan Drake
  • Okay.
  • All right.
  • Here we go.

(Sometimes upon being spotted by enemies.)

Nathan Drake
  • Great.
  • Oh shit
  • These guys keep coming for me.
  • Where do these guys come from?!
  • (sighs) Oh you gotta be kidding me!
  • (sighs) Where do these guys keep coming from?

(Sometimes upon taking cover during combat.)

Nathan Drake
  • Okay.
  • Oh, man.
  • Oh, boy.
  • Oh, shit.
  • Oh, crap.
  • Ah, crap!
  • Now what?
  • Oh, great.
  • All right.
  • Here we go.
  • Oh for the love of God.
  • Oh you gotta be freaking kidding me!
  • How do I always get myself into this crap?

(Sometimes upon taking cover during stealth.)

Nathan Drake
  • Okay, steady...

(Sometimes after kicking an enemy.)

Nathan Drake
  • Oh crap.
  • No children for you!
  • I will kick you to sleep!

(Sometimes after defeating an enemy with melee.)

Nathan Drake
  • All right!

(Sometimes upon making a headshot.)

Nathan Drake
  • Nice.
  • That had to hurt.
  • That's gonna hurt in the morning.

(Sometimes upon throwing a grenade.)

Nathan Drake
  • Let's see

(Sometimes if a grenade lands nearby.)

Nathan Drake
  • Whoa!
  • Oh boy.
  • Oh shit.
  • Oh great.
  • Oh, oh no.

(Sometimes upon being shot.)

Nathan Drake
  • Whoa!
  • Damn!
  • Dammit!

(Sometimes upon being attacked by a descendant.)

Nathan Drake
  • (Screams)

Elena Fisher[edit | edit source]

(Sometimes upon being spotted by enemies.)

Elena Fisher
  • Oh no.
  • Look out.
  • Watch out.
  • Oh my god!
  • Do you ever get used to this?

(Sometimes after reloading.)

Elena Fisher
  • Okay.

(Sometimes if Nate gets hit.)

Elena Fisher
  • Oh, watch out!

(Sometimes if Nate dies.)

Elena Fisher
  • No!
  • Nate!
  • Oh no!
  • Oh God, Nate!
  • Oh god, no!

Victor Sullivan[edit | edit source]

(Sometimes if Nate dies.)

Victor Sullivan
  • No!
  • Nate!
  • Oh God, Nate!
  • Oh my God, no!

Eddy Raja's pirates[edit | edit source]

(Sometimes upon spotting Nate.)

  • Get him!
  • He's here!
  • I see him!
  • There he is!
  • He's over here.
  • He's over there!

(Sometimes if Nate is out of ammo.)

  • He's out of ammo!

(Sometimes if Nate stays behind cover.)

  • Come on out!

(Sometimes if a pirate cannot reach Nate.)

  • I can't get him!

(Sometimes if Nate exits cover.)

  • Come out, bule!
  • He's coming out!
  • He's coming out, slash him!

(Sometimes upon going for cover.)

  • Take cover!

(Sometimes upon moving closer.)

  • I'm going for it!
  • I'm going for him!

(Sometimes during combat.)

  • Fire!
  • Move!
  • Shoot!
  • Come on!
  • Stop him!
  • Drop him!
  • Blast him!
  • I got him!
  • I got you!
  • After him!
  • You're mine!
  • Take him out!
  • He's trapped!
  • Pin him down!
  • Shoot to kill.
  • Flush him out!
  • We've got him!
  • Son of a bitch!
  • It's over, bule!
  • I almost had him!
  • You're dead, bule!
  • I've got you anjing! (dog)
  • You're already dead!
  • You're mine, asshole!
  • He doesn't have a chance!
  • We've got you surrounded.
  • I've got him in my sight!
  • You're gonna die, airplane man!
  • You won't be so lucky this time!
  • Right between the eyes, anjing! (dog)
  • Show me your head bangsat! (son of a bitch)

(Sometimes prior to or upon throwing a grenade.)

  • Blast him out!
  • You'll wish you were never born!
  • You're dead, bangsat! (son of a bitch)

(Sometimes if a grenade lands nearby.)

  • Run!
  • Shit!
  • Get out!
  • Grenade!
  • Look out!
  • Watch out!

(Sometimes upon hitting Nate.)

  • He's hit!
  • I hit him!
  • I've got you!
  • Finish him off!
  • Hurts, doesn't it?!

(Sometimes if Nate dies.)

  • (laughs)
  • He’s finished!
  • It's over, bule!
  • You're finished!
  • Lights out, Drake!
  • Not so tough after all.
  • We'll send your pieces home!
  • Right between the eyes, bule!

Atoq Navarro's mercenaries[edit | edit source]

(Sometimes upon spotting Nate.)

  • I got him!
  • I see him!
  • He's here!
  • Over here!
  • Over there!
  • He's over there!

(Sometimes upon spotting Nate and Elena.)

  • There they are!
  • They're over there!
  • Don't let them get past!

(Sometimes if Nate is out of ammo.)

  • He's out of ammo!

(Sometimes if Nate stays behind cover.)

  • Come on out!

(Sometimes upon going for cover.)

  • Get down!
  • Take cover!
  • Get your head down!

(Sometimes upon leaving cover.)

  • Coming out!

(Sometimes during combat.)

  • Get him!
  • Got you!
  • Come on!
  • Spread out!c
  • You're mine!
  • You're dead!
  • You are dead!
  • Pin him down!
  • Take him out!
  • I've got him!
  • Shoot to kill!
  • Take him down!
  • You're trapped, Drake!
  • Don't let him get away!
  • Keep him in your sights!
  • He doesn't have a chance!

(Sometimes prior to or upon throwing a grenade.)

  • Blast him out!
  • Flush him out!
  • It's over, Drake!

(Sometimes if a grenade lands nearby.)

  • Move!
  • Look out!
  • Watch out!
  • It's gonna blow!

(Sometimes if another mercenary dies.)

  • Son of a bitch!
  • We need reinforcements!

(Sometimes upon hitting Nate.)

  • How's that feel, hero?!

(Sometimes if Nate dies.)

  • I got him!
  • We got him!
  • He's history!
  • He's finished!
  • Not so tough after all!

(Sometimes upon being attacked by descendants.)

  • Help me!
  • Get away!
  • Oh my God!
  • What are these things?!

Francis Drake's diary[edit | edit source]

(Note that Drake's writing is based on 16th century English. Question marks indicate unintelligible words and letters, generally obscured by Nate's fingers. Brackets indicated letters inferred from context, and also mark the bullet holes.)

Amazon map[edit | edit source]

(At the top-left of the map.)
Map: El Dorado

(On the left side of the map, two cities.)

  • Quito
  • Guayaquil

(At the bottom end of the map.)

  • 1 deg. 54 min. S (1°54'S)
  • 71 min. N (71'N)

Brazier page[edit | edit source]

(During the brazier puzzle, on the left page, below the brazier.)
Diary: One of the great brasiers described by our Indian pilot

(During the brazier puzzle, on the right page.)
Diary: The whole land is through growne wood. The trees for the most part are of large and high stature, very straight and clean, without bowes, save onely in the very top. The leaves whereof are not much unlike our hoomes in England. Among these trees, night by night, Did show themselves an infinite swarme of fierie-seeming-wormes flying in the aire hose bodies (no bigger than an ordinarie flie) did make a show, and give such light as if every twigge on every tree had beene a lighted candle, or as if that place had been the stairy spheare. Lo these wee may adde the relation of another, almost as strange creature, which here we saw, and that was an innumerable multitude of huge bats or reare mice, equalling or rather exceeding a good H??ne in bignesse. They flie with m??? swiftnesse, but their flight ???and when they light, they ??? the bowes with their back ????.

(During the sign puzzle, on the right page of the diary, amidst two symbols.)
Diary: The order of these signes has some importance

Rica de Oro map[edit | edit source]

(At the top-left of the map.)

  • Juan de Velasco
  •  ??? afa
  • 1678

(A few locations are marked in Spanish, there is also rather unintelligible handwriting by Drake in the corner, accompanying a drawing of a tower and two crossed keys.)

  • Castillo (Fortress)
  • Puerto (Port)
  • Aduana (Customs)
  • Ciudad (City)
  • Monasterio (Monastery)

Library puzzle page[edit | edit source]

(During the library puzzle, on the left page, below each drawing.)

  • Matthew
  • John
  • Luke
  • Mark

(During the library puzzle, on the right page, going clockwise.)

  • N Matthew
  • E John
  • S Luke
  • W Mark

(During the torch puzzle, on the right page.)
Diary: The inverted torch leads to the land of the dead

Bell puzzle page[edit | edit source]

(During the bell puzzle, on the left page.)
Diary: Two bells resound in perfect harmonie

(During the bell puzzle, on the right page.)
Diary: In the port of Guiaquil, we descried a ship which we took loaden with fruit, conserves, sugars, meale and other victuals, and a certain quantity of jewels, and precious stones, 13 chests of Ryals of plate; 80 pound weight in gold; 26 tonne of uncoined silver; two very faire quilt drinking-bowls, and the like trifles. We then departed the haven, having first set all the Spaniards on land, saving one Juan de Velasco, a Dominican friar who, after some persuasion, told us of an Island the Spaniards call Rica de Oro.

Being a cosmographer of some faire skille, he vowed to draw for us a map of this Island. Velasco described a great church wherein the builders had conceived all manner of hidden passages and underground [bullet mark]s to confound the enemies of the Spaniards, should they discover the Island. Their City is indeede riche in hold, for the Viceroy of Peru ??? of Panama, and Eastwar??? ??? Ocean to Spain i??? cross the West Ocean to th??? bor.

Heart symbol page[edit | edit source]

(During the church section, on the left page.)
Diary: ???st of Chili we mette an Indian who came to us and tolde us of a [Spa]nish ship laden with treasure from [the ki]ngdom of Peru. On the 13 day of [Jan]uary we came to the port of Lima and entered the haven, finding there about twelve sayle of ships lying fast moored at anker, having all their sayles carried on shore; for the masters and merchants were here most secure, having never bene assaulted by enemies, and at this time feared the approach of none such as we were. Among them we discovered the shippe the Indian had spoken of, indeede laden with treasure. We rifled the ship and found in her great riches, as jewels and precious stones, four score pound weight ?? golde, five and twenty tonnes of sil[ver] [bullet mark], [m]any strange and diverse objects of gold [and] silver set with goodly great emeraudes. The pilots name of this shippe was Rodrigo, whom we took aborde and carried with us. We staid no longer there, but cutting all the cables of the shippes in the haven, we let the??? drice wither they would, either to sea or to the ???, and we sailed to a place called Guiaquil.

(During the church section, on the right page, above the heart symbol.)
Diary: The Spaniards hide their riches carefully, and mark their vaults with strange and secret signs. An unwary thief, ignorant of the symbols' meaning, will surely meet his death.

Diary: I compelled Rodrigo to reveal this sign to me:

(During the church section, on the right page, below the heart symbol.)
Diary: The Spanish vaults are m??? with the curious emblem ??? heart, pierced by two [keys] ???.

Bonus featurettes[edit | edit source]

The Making of Uncharted - Part 1[edit | edit source]


Evan Wells: When we set out to work on our next-gen game for the PlayStation 3 we really wanted to do something special. Something that was completely different, that nobody's ever seen before. You know we looked at what was out there, the landscape of games there were being developed, and everything sort of had this dark and gray or brown look to it. So we wanted to get completely opposite of that, and we wanted to have a game that when somebody just caught it out in the corner of their eye, walking past it in the store, they'd be drawn to it right away, and just have to check it out and see what's this game all about.

Christophe Balestra: I think one of the keys of Uncharted that is gonna really stand out is the fact that everything looks real, and the player is gonna be immersed completely into that game, because you like, you can believe that you are in that jungle. You're gonna see plants moving. You're gonna see real-time lights like the sun, and the refraction from the water. Like, all these things, all these details that you see every day, and we were able to reproduce all of that.

Amy Hennig: When we set off to make a brand new franchise, what we wanted to do was sort of embrace the action adventure genre in its sort of classic form, but in a contemporary context.

Richard Lemarchand: So we looked at a load of those matinee serials from the thirties: lots of chases, running around looking for treasure, unlikely allegiances, with a whole crazy cast of characters, lots of narrow escapes and risky situations. So we took all of this stuff and then started to look at how we might be able to reinvent it for the 21st century.

Art direction

Evan Wells: With the look of Uncharted, we wanted it to stand out from all the other games that are being developed for the next-generation consoles. We wanted it to have this lush, organic feel. We didn't want to have the same gritty and dark corridors that so many of these games have you running around, shooting aliens, and fighting monsters in. We wanted you to be in this lush, tropical jungle that really immersed you and made you feel like you could feel the moisture in the air.

Amy Hennig: It's a stylized reality and there's a little bit of vividness in the colors we're choosing and everything's got this sort of larger than life quality.

Bruce Straley: Naughty Dog has a legacy to try and put its mark in the art world and games. So shapes and color both have a lot to do with the readability of an environment leading the player into an environment, and how you're supposed to feel inside of that environment.

Evan Wells: So with the power of the PlayStation 3 we really felt like we could create environments that were believable and authentic. So we did a lot of research and tons and tons of photo reference. But we also tried to put a twist on it and give it our own style. So, our concept artists would take these photos, embellish them, and really set the direction for the overall look of Uncharted.

Richard Lemarchand: We invested a lot of time in our rendering engine to make sure that the differences in texture between a glossy palm frond, and the rough surface of some stone would really be a good, clear read for the player, and just lend all of this believability to the environment.

Christophe Balestra: We always try to have some things in the game that never been done before. Water was one of them and we are really happy because it adds a to the realism of the jungle.

Evan Wells: Whether it's ocean, whether it's a river, a stream, a puddle, a waterfall—we really wanted to make sure that water was everywhere. And that we were going to try to display it in a way that was never possible before on previous generation hardware.


Evan Wells: So we wanted the story in Uncharted to have historical relevance. So we decided to focus on a historical figure that everybody knew from their fourth grade social studies class. You know, Sir Francis Drake, who was out there basically robbing the ships that were coming back to Spain with all this gold from the new world. And we wanted to explore the areas that were kind of foggy in the history books where, you know, maybe not all the details were clear. And then wat we did is we ran with it and explored the "What if—". What if Sir Francis Drake did have children? So our hero, Nathan Drake, believes himself to be a descendant of Sir Francis Drake, and there's treasure out there all over the place, and it's Nathan's job to go find it.


Evan Wells: So the gameplay in Uncharted is unique. We really wanted to bring together elements that were in other games, but combine them in a way that you've never seen in a single game before. So we have three pillars of gameplay: we have our traversal—our platform mechanics, that, you know, we've explored heavily in our past games, in Crash Bandicoot and Jak and Daxter. But we wanted to combine that with some really fast action, over the top gunplay, and then mix it in with the hand-to-hand melee combat as well. A combination of mechanics and interactions that, you know, you really haven't seen put together in the same way ever before.

Travis McIntosh: My main focus on making Uncharted was gameplay. How does the game feel? How does the game interact with the player? How does the world interact with the player? How enjoyable is the game? What's the fun factor on the game? If it isn't fun, we try again, we come up with something new and, and do it again. We iterated hundreds of times on almost every major mechanic in the game. Our first several attempts at Drake looked... fantastic, just like the final product. But they didn't feel good. It has to feel like a Naughty Dog game. It has to be on a dime responsive. It requires just a lot of back and forth between a programmer and an animator. Making games is not a science, and we don't have a magic formula. We just put in the hard work to make something good, and we just keep trying things until we find something that works.

The Making of Uncharted - Part 2[edit | edit source]


Evan Wells: We drew a lot of our inspiration for our characters from the classic pulp action adventure stories that you've seen in book, and movies, and comics.

Amy Hennig: One of the hallmarks of this genre is the fact that you have a very relatable hero who is kind of an "every man".

Richard Lemarchand: All of the heroes are really recognizable human beings, with all of our strengths and flaws. And we figured out that was something very important for helping audiences connect with the character.

Amy Hennig: It's not just the fact that you have chases, and gun fights, and a heroine, and all this other kind of stuff. It's the fact that the character are real people. They can make mistakes but be heroic.

Richard Lemarchand: Nathan Drake is our hero, and he's the kind of guy who knows how to handle himself in a tight situation. But he's really just a guy in a t-shirt who finds himself in a difficult situation, and has to rely on his wits a lot to save the day.

Richard Lemarchand: Elena is a really cool character. I think she's something a little bit new and different for video games. She's a bright, self-sufficient young woman. She's very curious, she has a strong intellectual drive, has a kind of unconventional beauty. And there's this immediate chemistry between her and Nathan that really helps drive the story forward.

Richard Lemarchand: Then there's the character of Victor Sullivan. He's kind of that "guy's guy" adventurer. He's that consummate conman in the world of conmen.

Motion capture

Evan Wells: For the first time in Uncharted, we actually had to cast actors who had stage, or TV, or film experience, because we're doing motion capture for all of our cinematic cut-scenes. So we have real stage and film actors coming in, getting in the motion capture suit, recording their voice while they're acting out the scene. Which I think is really important, because you, you capture that moment rather than having them try to pantomime to some voice dialogue they've already recorded.

Emily Rose: The physicality that is demanded in doing motion capture, and creating, you know, an action film, essentially, has been tricky. All the stunt work we have to do here, I mean, I go, "Is this my job? This is so much fun." But at the same time, the next day I'm like "Oh my word, I am so incredibly sore".

Gordon Hunt: Well, I think the coming together of film, stage, and video, and games, is happening right here on the mocap stage. I really stage things as if I was doing a play, or a scene from a movie.

Richard McGonagle: I had no experience. I was flying by the seat of my pants the whole time. Scared to death, and having a great time. Y'know in front of a camera for film or for TV, you've got a set, and the other actors that are there with you are in their costumes. Here, you all look very silly. You look like you're wearing a wetsuit with dots on it. And so, it really requires you to exercise your imagination even more.

Emily Rose: It's like the three of us have this tree house that we built. And we're doing missions, and it really makes you feel like you're on an adventure.

Nolan North: I have a seven year old little boy who asked me; "Dad, what do you do?" And I said; "Well, you remember when your buddy came over the other day and you guys ran around the backyard, and the clubhouse became a pirate ships, and you were jumping off it?" He said; "Yeah." I said; "That's what I do."


Amy Hennig: This is not a period historical adventure. It's a contemporary adventure. And so if we went with completely a classic approach to the music with a big orchestra, big traditional instruments used in traditional ways—to me it would've felt out of sync.

Jonathan Mayer: Working in the action-adventure genre, musically you can frequently find yourself falling into a lot of cliché, sort of action-adventure things musically. So we've tried really hard throughout the project to do things that people have never heard before.

Amy Hennig: So the composer that we sought out actually, is a guy named Greg Edmonson. Really great guy, really talented, and he's the guy that did all of the music for the television series "Firefly". The way he was able to take unexpected instruments, and use them to sort of support the story in this adventure; I thought, well, here's a guy who I think we can get what we're after.

Greg Edmonson: Because you are on this island, and you do not know where you were, and you were searching for something primitive, they thought this would be fun to use unusual instruments that don't get used a lot. To use things that we do hear, but not to use them in a normal way. And that sounded really intriguing to me. I like that kind of stuff. You can get all sorts of strange, unusual, weird ethnic instruments and play them in any number of ways. And it's just fun to do.

Clint Bajakian: He left a lot of room in the music, and he infused a lot of rhythmic excitement into the music. So that it's both engaging melodically and texturally, but it's also very malleable for us in post. We can shape it to the world, and let the world breathe, and let the sounds of the jungle come through.

The adventure begins

Evan Wells: One of the things that we try to do with each game we create at Naughty Dog is make it a technical showcase for the PlayStation hardware. So we've got a team of the best engineers in the industry working on this game and I think we are really going to set the bar for the PlayStation 3.

Travis McIntosh: We wanted this game to be fun with a ton of different interactions, a ton of different mechanics. But at the same time, we wanted a really good story. To have Drake be a real guy, a character—somebody that I can play, that I can interact with. That was the goal and that's what we accomplished.

Richard Lemarchand: We've created a contemporary action-adventure set in the real world. It's not a fancy game, it's very much rooted in the reality that we all know, and yet we really recapture all that romanticism in the original sense of telling a tale of heroic actions. So all of this stuff is really coming together to lend an incredible reality to our player character that I think audiences have really connected to.

Amy Hennig: I think there's a huge value in going outside your comfort zone. You just don't go right to the obvious, now that makes everything much harder, but in the end, it's all worth it. Get something that people haven't seen before.

Evan Wells: I'm most excited about how fun it is to play, and how you just lose yourself in the environment, and the world that we've created. You know when you pick up that controller, it's real easy to have fun, to be powerful, and feel like you are the action hero.

Meet the Dogs[edit | edit source]

(Lots of people say greetings in their native language.)

Evan Wells: Our philosophy at Naughty Dog is to make the best games possible, and then for our own personal satisfaction make sure that we have fun while we're doing it.

Christophe Balestra: We are very ambitious, in a good way. The way that we want to make the games that are gonna show off our passion and our talent.

1: The basic philosophy is pretty much just to invest every bit of yourself into the products we make.

Christophe Balestra: We have a group of very talented people. I think we probably have the best people in the industry.

2: Lots of freedom, lots of responsibilities.

3: A lot of tape, duct tape.

4: It's a lot of fun, I mean, I get paid to make video games.

3: Elmer's Glue is pretty good.

Amy Hennig: The guys have really fought to keep that sort of garage developer mentality.

3: Blood, Sweat, tears, a lot of heart.

2: Gonzo, kick-ass game making.

Amy Hennig: It's organized chaos.

3: It amazes me every single time I see it.

Evan Wells: Since Naughty Dog's inception, we've always wanted to have a Naughty Dog signature. So everything we do, we bring that artistic flair to it.

5: Attention to detail and to the story.

6: A wish to make the absolute best experience for the player.

Evan Wells: We count on each other to push each other further than we thought we could go.

7: Whatever an individual can not solve alone, we can always come up with something together.

Amy Hennig: The artists contribute to the game design, the game designers are working on art direction, the look.

Neil Druckman: We argue a lot and we fight all the time because a lot of this stuff is subjective, but I think at the end of the day it is all that argument that is really putting all the ideas on the table, and the best idea rises to the top.

Christophe Balestra: What we're driven by is making the best game possible.

Amy Hennig: A piece of art that we want to be proud of—a game that we want to play.

Neil Druckman: It's not ego or anything like that. It's just all about the game.

Christophe Balestra: That's the key of the success.

?: Trying to get the damn game to work.

?: I'm in deep shit.

?: Can I see my family now?

Evan Wells: Naughty Dog actually started off back in the eighties when Jason Rubin and Andy Gavin called the company JAM Software for Jason and Andy Magic. Well we got on the big stage back in 1996 with the release of Crash Bandicoot on the PlayStation 1. And then we moved on to the PlayStation 2 we developed the Jak and Daxter franchise. And now, here we are on the PlayStation 3, launching our brand new franchise—Uncharted: Drake's Fortune.

Evan Wells: We've grown to, you know, almost ninety people now, so the company's getting pretty large, but we're really trying to maintain that smaller company feel. And uh, just keep things fun and relaxed around the office.

8: For me, Naughty Dog is my second family.

3: Guys here are family. You know, close.

6: We do a lot of long hours, but we have fun.

9: Casual Friday all the time.

10: The humor is really open, it's a great work environment.

Christophe Balestra: We have yoga classes.

7: It's very California.

Christophe Balestra: It's good for them to find the resources and the strengths to work here.

3: We have foosball, right—reigning champion.

Christophe Balestra: And then we have ping-pong.

9: They're just a bunch of kids.

Christophe Balestra: Ah, dodge ball...

3: One time we went on a river rafting trip.

11: Very often we'll just play the game ourselves and try to beat each other.

7: I'm not so much of a game player.

Neil Druckmann: Last demo we had, five minutes and thirty-seven seconds.

Evan Wells: Programmers know that they really have to foster a good relationship with the artists.

3: I think the best one was the paint-ball game.

Evan Wells: It takes a team effort.

3: Shooting people with paint-balls is just fun in general. Especially when they are co-workers.

?: Ah, get a ticket, call the call center, that's all I can do.

Christophe Balestra: There is two French people in the company. There is me, and there is Pogo. She is a French bulldog.

Amy Hennig: Pogo's a bitch. (laughs)

Christophe Balestra: She's probably the most important French person in the company.

Amy Hennig: She's the little princess.

Christophe Balestra: She's our dog here, and the naughty dog.

12: Little beast.

Evan Wells: It's always been a tradition to have a dog mascot.

Amy Hennig: When Evan walks around with her, it's like Dr. Evil and his cat.

Evan Wells: She's my French bulldog.

3: Coming in, in the morning right...

Christophe Balestra: She's naughty, sometimes you can smell it, if you know what I mean.

3: Sitting down, getting ready to work...

Christophe Balestra: She's always looking for food.

12: Digging through trashcans.

10: Pogo is awesome. Especially when she is in my trashcan and spills everything on the floor.

Neil Druckmann: Nowhere else in the game industry is the company's president walking around cleaning after the dog.

Evan Wells: One of the greatest feelings you can ever have in the game industry is shipping a game. When it finally goes Gold Master, and you know that all that effort has paid off.

12: For a long time you think; "Is this really a game? Do we really have a game?" And then this moment comes along and you play it one day, and all of a sudden you realize; "Hey, this is actually a video game, and it's fun."

Christophe Balestra: For me is when I see that people can really create and work, and they have everything they need to do what they really want to do for the game.

12: I have young nephews that always look forward to playing my games. It's always something special to see them playing around Christmas and seeing their face light up, and you actually get to have a hand in making something that creative, and that wonderful to play.

Tech Dive - Facial Animation[edit | edit source]

Judd Simantov: Art direction, it's really always been a big thing for us at Naughty Dog. With Uncharted, it wasn't any different. We really wanted to set the tone artistically, and go with believable humans and take on this big challenge. But we wanted them to have a certain style to them. A lot of that involved really painting textures. All our textures are hand painted. We don't use any photos for our textures. That was a big part of it. We also knew that Uncharted was going to be a very, very heavily, story-driven game. And so we had these characters that needed to act.

Judd Simantov: The PS2 versus the PS3 was a really big jump for us. When we were working on the PS2, we were able to have two to three textures per character. For Uncharted, we're looking at anywhere between twenty to thirty textures per character, which is a huge jump for us. In terms of the models of the characters, we were able to go up to high-detailed, thirty million polygon characters, which is then converted into texture maps, but that was unheard of during the PS2 times. On the PS3, however, we have the power now to really take on human characters and make them believable. This is something that, you know, was an incredibly overwhelming task, but we really took on head first. The PS2 was able to allow us to create subtleties that we wouldn't be able to do previous: skin detail, pore detail, have anatomically correct body structures, elaborate facial expressions. These are all things that the power of the PS3 has really allowed us to actually create.

Judd Simantov: For our modeling pipeline, we have a certain mesh that is a clean mesh that we take into a program, like Z-Brush. We then sculpt the geometry and create these high, detailed sculptures, the kind of sculpture with wrinkles and pore detail. And from that, we take that information, we create a new, re-optimized mesh, which is what actually ends up in the game. The purpose for that really allows us to define strong silhouettes. When you look at the character in the game, it has a very strong silhouette to it. To achieve cinematic quality, we looked at a lot of films and the kind of things they were doing. One of the things in film that we weren't able to do on the PS2 that we're able to do on the PS3 now, is to have complex shaders and complex rendering techniques. That allows us to create multiple layers of textures that we can pipe into a shader that gives us complex skin. We also looked at a lot of rendering techniques that take place in film: post-blur effects, specific lightning per character, soft shadows.

Judd Simantov: All of these things is what really brings cinematic quality characters to life and we try to emulate those things in-game. In order to create these characters, we knew as well that we were going to need an extensive amount of facial poses. Initially, before on Jak games, we had somewhere between sixty and eighty poses. We figured for Uncharted, we were going to need anywhere between two hundred to three hundred poses per character. There's so many small things inside of a character that really brings him to life. If one of those things is not working, or is wrong, it breaks everything. So we have to really make sure that every aspect of the character was at the highest possible fidelity to keep them alive. Initially we focused a lot on the mouth, making sure that the mouth could hit the correct accents when someone was talking. But soon we brought people in, people were looking at it, and everybody focuses on the eyes. It's a natural human thing to look people in the eyes when you talk to them. So we realized we really had to put a lot of attention into the eyes. This involved creating movement of the eyelids. When your eyeball moved around, we could change the shape of the eyelids. We also added in soft-shadowing where the eyeballs meets the eyelid. That area was often very bright, and glowed. So we created a custom shader that allowed us to actually darken and soft-shadow the area inside of the eye.

Judd Simantov: Not only was the face an important aspect of the character, but even his body and the way he moved. We also spent a lot of time developing systems that allowed us to emulate muscle structure inside of the body. So, when the character actually flexes his arm, there's a bicep bulge. When he moves around his actually has volume and form to it. So we created underlying joint structures that actually emulated muscles. And now when Drake moves around, he has a solid mass and solid form, and he really feels like a believable character that's there and that's tangible.

Tech Dive - Gameplay animation[edit | edit source]

Jeremy Yates: Here at Naughty Dog, animation has always been really important to us, and has been heavily focused on. And so, we knew we wanted to raise the bar of what we're doing and what the industry's been doing as a whole. And one of those things is to really allow the character in the game to show emotion. And so you'll really be able to see that he's showing fear, that he's intimidated, that he's confident, or that he's insecure, that he's determined. And so all of that will come out, and just really add a lot more life that wasn't there before in any game.

Jeremy Yates: We had three main goals animating this character on this project. One of them was to achieve realistic movement with a really good sense of weight, and the other is fluidity. We wanted him to smoothly go from move to move without popping from state to state the way we see in a lot of other games. And you put those two first goals together, and you get really fluid animation. It looks really good, but it's really slow and unresponsive. So the third goal, and the most important goal, is to get responsiveness.

Jeremy Yates: One of the things that makes Drake so life-like is the sheer volume of animations that we're doing on this game. We're doing about ten times more than we've ever done in the past. Which is huge, I mean it's a huge step, ten times the amount of animation. With the variety that we're adding, the layers that we're adding on top to try to mask all of that, so you don't see the same thing, and so you see a lot of organic nature of the character. And that really gives it this humanness.

Jeremy Yates: What makes this game truly next-gen has been the focus that we're doing on movement. In the next generation we'll be seeing a lot of great rendering, great shading, polygon counts are up higher, lighting's looking really good. So we've seen a lot of good-looking games from a rendering perspective. And they all look really good from a still frame, but once you start to see them move, that's when they start to break down. The animation quality hasn't risen to that same level at this point. What we've found is that it's Drake's imperfections that make him believable; it's him stumbling, it's not perfectly landing correctly every time. And so one of the things that we wanted to do with him is make him a kind of an everyman put into an extraordinary situation. And we hope that comes across, that he doesn't do everything perfectly every time.

Jeremy Yates: PlayStation 3 really opened up the flood gates for us to achieve the goals that we wanted to with the animation. We need much more CPU power than we've ever had before. And the amount of memory that we have to work with now just really allows us to have the quantity and quality that we need. Especially with the layers that we're doing, and all the processes that are going on right now. It just could not be done in any other way. And if we can do that, then we can tell more of the story during gameplay while he's in the middle of action, and while the player is actually going through the levels and going through the game.

Jeremy Yates: In the past, the line between cinematics and gameplay has been very clear. You play the game, and then you go into a story-telling moment, then you play the game again. What we're trying to do with Uncharted is to blur that line a little bit more, so that you'll be playing the game along and things start happening around you as you're playing, so you're still interactive. A lot of the ways that we're able to tell the story is through the environment, and through the other characters in the scene. We don't have to cut to a cutscene in order to deliver a line of dialogue or a story, or things that we want to portray to kind of lead the character on, and lead Drake and the player on to the bigger story that's unveiling. So all that will happen while you're playing the game.

Tech Dive - Environments[edit | edit source]

Bruce Strayley: You know, we had to get our heads around shaders and the whole concept of shaders because last generation was polygons, and this generation of the PS3, it's more about surface details, which comes from shaders. So, that's using any number of textures in conjunction to get a rendering effect on the surface of the polygon. So, on the PS3, we had to take on a new concept of lighting. HDR lighting, the high-dynamic-range lighting, gave us the ability to really stretch the values, that scale of contrasts: lights and darks, in image space to a broader range.

Bruce Strayley: So that on the fly as we're pulling and stretching these ranges and changing the apertures of the camera as we're moving in and out of dark areas to light areas, we're also trying to make it easy on the player's eye, and make the screen still readable and playable. For that instant that you come out of the dark and you move into the light, we want that effect of like; "Ooh, there's a lot of light out here. It's this bright sunny day," and we'll pull it back into range. To do it on the fly and to control it in a way that's manageable, and still it excites the visual aspects, but it doesn't interfere with the gameplay is very important to us and the next-gen technology.

Bruce Strayley: PlayStation 3 is like, you know, allowing us to do these amazing things run-time. We're hitting over, I mean easily, over thirty frames a second in some complex environments that have all this wind gusting around. And it could be this nice little breeze, and we can then push through an actual gust that, like, churns it up a little bit, and then it settles back down. And then we're actually getting a run-time shadow calculated on the background, and then the hero walks into it, and he gets it too, so he gets this dappled, beautiful dappled light of these shadows and lights playing across his body.

Bruce Strayley: And we decided to take on water. And if you're gonna do water, it has to look kick-ass. You want to make really nice water. So it has to feel wet, it has to look like the player's interacting with it. And if you shoot the surface, you want it to react to that shot. If you shoot near the surface, maybe there is some sort of an impact on the soil that you also want to kinda... that wind would impact, and we get that as well. And the water has to flow, and it has to fall, and it has to break up, and it has to have volumetric particles at the bottom. It has to... water's hard.

Bruce Strayley: We have a volumetric shader that is used for our waterfalls. So it actually has—what that means is there's a depth to it. Volumetric, meaning it has a parallaxing effect. So, we get a faster inner-moving, a slower out-moving, and then we add volumetric particles on top of that of a mist. It's a pretty complex system. Without the PlayStation 3, and without Naughty Dog being crazy. (screams) I mean, we wouldn't be doing water, that's for sure because it's crazy.

Community content is available under CC-BY-SA unless otherwise noted.