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[music - "symphony no. 5"]

[sirens blaring]

[rumbling]

[crowd murmuring]

[footsteps running]

[knocking]

Dr. Furtwangler-- the Reich's minister.

Dr. Furtwangler, I want to apologize personally

for this power failure.

I was so enjoying the performance.

In times like these, we need spiritual nourishment.

[explosions]

But I welcome this unexpected opportunity of talking to you.

When you came to the platform tonight,

I thought your weren't well.

You look tired.

Get away from this bombing, away from the war.

You should go abroad for a while.

Yes, you look tired, even in this light.

[chanting]

Look at them-- men, women, kids.

Ha ha, boy, did they love him.

You see, Steve, Adolf Hitler touched something real deep,

savage, and barbaric.

And it won't just go away overnight either.

It's got to be rooted out.

You know what I, I think they were all Nazis.

Let's face it, their leaders, those bastards

now on trial in Nuremberg, couldn't have done it alone.

It's these people.

They gave all the help that was needed, willingly.

That's him.

Furtwangler-- Wilhelm Furtwangler.

So you've never heard of him.

Nope.

Do you know who Arturo Toscanini is?

Sure.

He's as big as Toscanini, maybe even bigger.

In this neck of the woods, he's like Bob Hope and Betty Grable

all into one.

Jeez, and I never heard of him.

You were in insurance before the war.

Right, claims assessor.

Conscientious, determined, dogged.

He said I was dogged?

Well, they say here that when you went on a case,

you stayed on it.

[chuckles]

Now, we can't take every Nazi in this country

to trial, although I would like to.

It's an impossibility.

So we're going for the big boys in industry, education, law,

and culture.

Like the bandleader.

Well, he's a little more than just a bandleader, Steve.

He's a great conductor, a gifted artist,

but we believe that he sold himself to the devil.

Your number one priority from this moment

on is to connect him to the Nazi party.

Don't be impressed by him.

I want the folks back home to understand

why we fought this war.

Find Wilhelm Furtwangler guilty.

He represents everything that was rotten in Germany.

Stay put, Steve.

There's some other stuff that I'd like for you to see here--

background.

Oh, one thing that may be a problem.

Our occupation authorities in Wiesbaden

have a duty to help these poor unfortunates

with their defense.

They keep repeating, we must be just,

we must appear as being just.

Well, I only have one thing to say

to the liberals in Wiesbaden--

fuck them.

[laughs]

You'll answer to no one but me.

Is that understood?

Show him the film.

Yes, sir.

That is the hand with a the bombs on defenseless Rotterdam,

Brussels, Belgrade.

That is the hand that destroyed the cities, villages,

and homes of Russia.

That is the hand that held the whip over the Polish.

Next reel, please.

French and Norwegian slaves.

That is the hand that took their food.

Sanitary conditions were so appalling

that heavy equipment had to be brought in

to speed the work of cleaning up.

This was [inaudible], Belgium.

[moaning]

Remember men, no fraternization.

In a German town, if you bow to a pretty girl

or pat a blond child, you bow to all

the Hitler stood for, you bow his reign of blood,

you caress the ideology of men, death, and destruction.

You never know who was a member of the Nazi party.

Don't be fooled.

Don't fraternize.

[MUSIC - "CHATTANOOGA CHOO CHOO"]

[banging]

[thunk]

[shatter]

[clapping]

Cigarette, chewing gum?

Mister-- cigarette, chewing gum?

We're going to have the heating fixed by tonight.

Fraulein, this is Major Arnold.

Sir, this is your secretary, Fraulein Emmi Straube.

Her file is on your desk.

They sent her over from admin.

I leave you to it.

You live here in Berlin?

Yes.

You do shorthand and typing?

Yes.

OK, let's see here.

How long were you in the camp for?

Three months.

It says here because of your father.

What's that mean?

My father was one of the officers

in a plot against Hitler.

They arrested the plotters and their families.

And your mother too.

She's suffered longer.

She was in Ravensbr ck.

And your father was executed.

I'm going to call you Emmi.

And you're going to call me Steve, OK?

I got a list of stuff here I'd like you to get for me.

If you need anything, let me know.

Major.

Steve.

There's been messages for you.

A Lieutenant David Wills called, um, from--

from the Allied Kommandatura of Cultural Affairs

office in Brisbane.

I don't know who he is.

And, um, there have been three calls

from Dr. Furtwangler wanting to know when you wish to see him.

I didn't speak to him personally.

Think you can get me any of that?

Oh, yes, Major.

I have recordings of all his symphonies, Sir.

Kept them safe during the bombing.

My favorite is the Seventh Symphony.

Mine is the 11th.

But he only wrote nine, Major.

I'm kidding, Emmi.

What about a record player?

You have that too?

No, ours was damaged.

What's in those files?

The names of the members of the Berlin Philharmonic Orchestra

since 1934, together with the questionnaires.

Major, what am I to tell Dr. Furtwangler?

You tell him nothing, Emmi.

If he calls again, you say you know nothing.

We're going to keep him waiting while I get acquainted

with this case and with the witnesses

and, God help me, with Beethoven.

[indistinct chatter]

[violin music playing]

[indistinct chatter]

[knocking]

Yeah.

Lieutenant Will's reporting to Major Arnold, Sir.

For Christ sakes, I hate that shit.

Cut it out.

Very sorry.

I'm so sorry.

[sighs]

I'm Steve Arnold.

What's your name?

David-- David Wills.

I'm your liaison officer with the Allied Kommandatura

Cultural Affairs Committee, Sir.

Sounds like a lot of fun.

So they sent the big guns to check up on me, huh?

We were recruiting children now?

I guess so, Sir.

You call me sir again, I'll make you listen to Beethoven.

Where are you from, David?

I was born here, in Leipzig.

I escaped in '36.

My parents, they sent me to my uncle in Philadelphia.

They were to follow, but they delayed and--

our family name was [inaudible].

But it doesn't sound well in English,

so my uncle changed it to Wills.

I'm sorry, Sir.

Oh, come in, Emmi.

This is your office too.

Emmi, this is Lieutenant David Wills.

He's here to watch over us.

I guess you admire musicians.

Some.

Don't.

This is like a criminal investigation, David.

Musicians, morticians, doctors, lawyers, butchers, clerks--

they're all the same.

We have a duty--

a moral duty.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

It works.

Hallelujah.

Elder Werner.

Sit down, Werner.

I want you to understand why you're here.

This is an investigation into Wilhelm Furtwangler,

a former Prussian Privy Councilor banned

from public life under Control Council Directive Number 24,

and who's applied to come before the tribunal for artists

of the de-nazification commission.

I'm interested what he was up to from 1933

to the end of the war, understood?

Yes.

Rudolf Otto Werner, wind section since 1936.

What instrument did you play?

First oboe.

I have your questionnaire here.

It says you were never a member of the Nazi party.

Absolutely not.

No, I was never a Nazi.

I have no interest in politics.

I'm a musician.

Hey hey, slow down.

Fraulein Straube has to take down what you say.

Straube-- any relation to Colonel [? jochim ?] Straube?

My father.

It's a great honor to meet you, Fraulein.

Your father was a great patriot.

Dr. Furtwangler is a great musician.

He actively opposed the Nazis.

And later on, he helped many Jews to escape.

Then how do you explain him being made a Prussian Privy

Councilor?

That was Hermann Goering.

I was told he just made the maestro his Privy Council,

no questions asked.

But Dr. Furtwangler stood up to him and to Dr. Goebbels.

He also conducted for Hitler, didn't he?

Yes, that's true.

But he refused to give the Nazi salute in Hitler's presence.

It was a brave act.

Brave?

To celebrate Hitler's birthday with some heroic piece

by Wagner but without the Nazi salute.

Bravo.

It was Beethoven's Ninth.

Do you really think it was brave?

Didn't he bowed to him and shake his hand?

No.

No, no, I give you my word.

I never was a member of the Nazi party, never.

I'm in the percussion section.

I play the tympani.

Anyway, they would never have allowed it.

My brother was married to a Jewess.

May she rest in peace.

And, uh, Goebbels said, uh-- uh--

please take this down carefully, because it's

most important Fraulein.

Straube.

Straube-- oh, are you by any chance related to Colonel

[? jochim ?] Straube.

My father.

Oh, he was-- he was a great hero.

Uh, Goebbels-- yes, Joseph Goebbels said,

there's not a single filthy Jew left in Germany on whose behalf

Dr. Furtwangler has not intervened.

No, no one could have been less of a Nazi than Dr. Furtwangler.

This was the same guy who conducted for Adolf

on his birthday.

He was forced to do that.

But he refused to give the Nazi salute in front of Hitler.

He kept the baton in his hand.

You can't salute with a baton in your hand.

And what about the Nuremberg rally?

No, we, uh-- we played on the evening before the rally.

Oh, the evening before.

I see.

Yes, sir.

Dr. Furtwangler was absolutely clear about this.

Politics and art must be kept separate.

Politics and art must be kept separate.

I'll remember that.

Um, but let me see if you're going to help me with something

I just don't understand.

I'd really like to know why all you

guys are so crazy about him?

What's his secret?

Well, it's hard to explain.

I can only tell from my own experience.

Soon after I joined the orchestra,

we rehearsed the Third Symphony of Beethoven, the Eroica.

And there are several rather difficult passages

for the tympani, one particular crescendo.

During the break, I asked him how he wanted to play it.

He was studying his score.

He didn't look up.

He said, just watch me.

And so, of course, I did.

I never stopped watching him.

The moment came, and suddenly he turned to me.

And our eyes were locked.

And there was something in his look

that simply demanded the crescendo.

I shall never forget this look.

It was a moment of--

of magic.

You ever seen Adolf Hitler's eyes

when he was making a speech?

I've seen him on films.

Yes.

Was looking at Furtwangler like that?

I don't know what you mean, Major.

When you got to the crescendo.

You think a whole orchestra, 120 so guys could be orchestrated.

Yes, it's possible.

So what does the Russki want?

Colonal Dymshitz asks specially to see you.

Dymshitz?

I'm talking now with General [inaudible],,

who is in charge of the French sector.

[indistinct chatter]

(WHISPERING) What the hell are they doing?

They're trying to sort out some of the works of art

the Nazis stole from occupied territories.

Who really owns what?

That-- that's Colonel Dymshitz on the far side.

Art historian, head of the famous Leningrad Museum of Art.

He's an expert on German culture.

[speaking french]

Henry, what did he say?

He's saying that picture is the property of France.

[speaking french]

I know who Georges Braque is.

I know, Captain.

We can produce the provenance of his Braque.

You say provenance?

Hello, Major.

[inaudible] Dymshitz.

Colonel, good to see you.

Pleasure.

So Major, tell me, have you questioned Dr. Furtwangler.

Not yet.

I had two meetings with him.

He's great musician, maybe the greatest conductor

in the world.

His Brahms, Beethoven, Schubert--

unequal.

I'll come straight to the point.

I offer him very attractive position, conductor of

[inaudible].

And he refused.

But I want him.

I want him badly.

And I want your help.

Now, just a moment.

Uh, you should have discussed this with me first.

I'll discuss it with you now.

Major, I'll allow you to drop your investigation,

save everybody time and trouble.

We can't just drop a case just like that.

I'll give you another conductor in exchange, writers, musicians

next.

What-- what do you care?

But I like Furtwangler.

He's my favorite conductor.

Mine and Hitler, he's our favorite conductor.

[indistinct chatter]

I click my heels and I bow at the same time.

[click]

[giggling]

That's because you had a proper upbringing.

That's right.

I was raised very strictly.

We were very German.

So don't speak before you spoken to.

Oh, and don't wave your hands about.

Respect your elders and your betters.

And no elbows on the table.

Eating is eating.

And--

Talking is talking.

Well, I think we better get on.

[clears throat]

Right, so this is going to be very formal too now.

Lieutenant David Wills requests the pleasure

of the company of Fraulein Emmi Straube at dinner,

any night she cares.

[snickering]

David, I need to ask you something.

Have you heard this rumor the British found something

called the Hinkel Archive?

Yes.

So what is it?

Uh, the British occupied the building

where this guy, uh, Hinkel--

Hans Hinkel ran a Nazi ministry of culture.

And it seems they've discovered a secret archive.

What's that mean?

I don't know.

But the British are very excited about it.

I know that.

The rumor is that Hinkel kept a file on every artist working

in the Third Reich.

Jeez, and you think the British will share it

with their allies?

Major Richards said he called to let us know.

Well, that's big of him.

OK, better question the next witness.

I'll bet you a bottle of French champagne

he tells us the baton story inside 10 minutes.

Five minutes.

It's a bet.

You're the witness, Emmi.

Helmut Alfred Rode, second violinist since 1935.

What does it mean, second violinist?

It means I wasn't good enough to be a first violinist.

Good.

And according to your questionnaire, Helmut,

you never joined the Nazi party.

Me, never.

Never, I-- I know everyone else says they were never Nazis,

but in my case, it is absolutely, 100% true.

I'm a Catholic.

It would have been totally against my conscience.

Is it true you're going to interview

Dr. Furtwangler today?

I'll ask the questions, Helmut.

Excuse me.

Did you know that he refused to give the Nazi salute when

Hitler was present in the audience?

The-- the problem was, how could he

avoid giving the devil salute when Satan was actually

sitting there?

And I said, Dr. Furtwangler, why not

enter with a baton in your right hand.

Hitler will be sitting in the front row.

And if you give the salute with a baton in your right hand,

it'll look like you're going to poke his eyes out.

[chuckles]

He was-- he was really grateful to me for that.

After the concert, I--

I stole that baton as a memento of a great act of courage.

I still have it.

I should have brought it to show you.

I hope I'm not going too fast for you, Fraulein, uh--

Straube.

Straube-- any relation to Colonel [? jochim ?] Straube?

My father.

I'm deeply honored to be in your presence, Fraulein Straube.

Your father was a true patriot, a man of God.

You have a question for Helmut, David.

Uh, yes, what was the orchestra's reaction

when they asked you to play it for Hitler's birthday?

We didn't play for his birthday.

We played the evening before.

It was the 19th of April, not the 20th.

Do you know Hans Hinkel?

Do I know Hans Hinkel?

That's what I asked.

Do I know Hans Hinkel?

You seem to understand the question.

Now, how about answering it.

Hans Hinkel was in the Ministry of Culture.

How could I know such a man?

I hear the-- the British have his archive--

records and files.

Do you know what's in this archive?

How could I know what's in the archive?

OK, you can go, Helmut.

Get out.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR]

[speaking german]

Furtwangler.

Major-- Major, he's here.

Shut the door, Emmi.

Sit down.

We're going to keep him waiting.

Emmi, get us some coffee, will you?

Don't offer him coffee.

Don't even greet him.

[whistling]

Fraulein--

[door closes]

Fraulein, how long am I to be kept waiting?

OK, Emmi, go get him.

Dr. Furtwangler.

I didn't hear anyone invite you to sit down.

Sit there.

I want you to understand why you're here.

You're automatically banned from public life

under Controlled Council Directive Number 24.

We're here to look into your case

before you appear in front of the tribunal for artists

of the de-nazification commission.

Do you understand that?

I've already been cleared by de-nazification tribunal

in Austria.

What they do in Austria it doesn't

interest me one little bit, OK?

I have your questionnaire here.

Gustav Heinrich Ernst Martin Wilhelm Furtwangler,

born Berlin, January 1886, orchestral conductor.

And you say here you were never a member of the Nazi party.

Yes, that is correct.

Could you tell us about being made a Prussian Privy

Councilor?

How did that happen to a non-party member?

I received a telegram from Hermann Goering informing me

that he had made me a privy councilor.

I wasn't giving the opportunity either to accept or refuse.

And after the-- the dreadful events of November 1938,

the violent attacks on the Jews, I--

I stopped using the title.

What about Vice President of the Chamber of Music.

You used that title, didn't you?

But then, I suppose you had no choice there either,

because I suppose that the Goebbels just

sent you a telegram saying, Dear, Mr. Vice President.

I don't think Dr. Goebbels sent me a telegram.

I was simply told in a letter, I believe.

I don't remember exactly.

Hell, Goebbels and Goering were sure heaping honors on you.

One makes you a privy councilor, the other

makes you Vice President of the Chamber of Music.

And you weren't even a member of the party.

How do you explain that?

Well, there was a constant battle

between Goering and Goebbels, as to which of them would

control German culture.

And I was simply a pawn.

Anyway, I resigned from [inaudible] at the same time

I resigned as musical director of the Berlin Philharmonic

Orchestra in 1934.

Why was that?

Why did you resign, Dr. Furtwangler?

I wrote an open letter to the newspapers

condemning what they were doing to music,

making these distinctions between Jews and non-Jews.

For my part, the only divide in artists

is between good and bad.

Eventually, Goebbels summoned me and told me

I could leave the country if I wanted to.

But under no condition would I ever be allowed to return.

I've always believed that you have to fight from the inside,

not from without.

I asked myself, what is the duty of an artist,

to stay or to leave?

And then Goebbels demanded that I

acknowledge Hitler as solely responsible

for cultural policy.

Well, that was a fact.

Seemed pointless to deny.

I simply acknowledge that Hitler and the Minister of Culture

appointed by him were solely responsible

for the cultural policy of the Reich.

What I wanted to express was that I, personally,

had no responsibility whatsoever for their cultural policy.

I've always held the view that art and politics should have

nothing to do with each other.

Then why did you conduct at one of their Nuremberg rallies?

I-- I did not conduct at-- at the rally.

I conducted on the evening before the rally.

[scoffs]

That sounds like the small print in one of our insurance

policies, Wilhelm.

And what about April 19, 1942, the eve of Hitler's

53rd birthday, the big celebration?

You conducted for Hitler, didn't you?

Was that in keeping with your view

that art and politics have nothing to do with each other?

But that-- that was a different matter.

I was tricked.

How come?

Could I have a glass of water, please?

Please, Fraulein--

Straube.

Thank you.

Thank you.

I was in Vienna rehearsing the Ninth Symphony of Beethoven

when Goebbels called and said I had to conduct

at Hitler's birthday.

I'd always managed to wriggle out of such invitations

by pleading previous engagements, illness, having

my doctors state I was not well, and so on, and so on.

I was also fortunate that [inaudible] [? von shaeback, ?]

who controlled Vienna, hated Dr. Goebbels

and would do anything to thwart his wishes.

But this time Goebbels got to my doctors before me.

And they were frightened off.

[? von shaeback ?] was threatened, bullied,

and gave in.

So I had no alternative but to conduct for Hitler.

Believe me, I--

I knew I had compromised.

And I deeply regret it.

Doesn't sound like much of a trick to me.

Sounds like you made a deal.

I made no deal.

I don't buy that.

It's the truth.

I keep hearing you helped a lot of Jews to escape.

How did you do that?

I don't remember in detail.

There were so many.

Did you call someone you knew?

Oh, I may have.

As I said, I simply don't remember.

Let me help you.

You picked up the phone and made a call.

Hello, Adolph, Wilhelm speaking.

Listen, old pal, there's a Jew boy musician

I'd like you to help.

He needs a permit to get to Paris.

Or maybe you call, Goebbels or Goering.

You were so close.

You were in the same shithouse as them.

May I ask you a question?

Sure.

When will my case be heard by the tribunal?

Your guess is as good as mine.

I need to work.

I need to make my living.

I live off the generosity of friends.

Tough.

Tough!

Then why is it, please, that another conductor, who actually

was a member of the party, who used to play the [inaudible]

before his concerts, has already been cleared

and he's working again, while I have to wait and wait and wait?

I don't know.

It wasn't my case?

Why did you escape to Switzerland

just before the war ended?

What?

Why did you escape to Switzerland

just before the war ended?

It was because I learned that the Gestapo was

about to arrest me.

Why were they going to arrest you?

I believe it was because of another letter

I'd written to Goebbels, lamenting

the decline of musical standards due to racial policies.

You didn't complain about the racial policies, just about

the musical standards?

Is that right?

So how did you learn that the Gestapo was out to get you?

During an enforced hour-long interval

because of a power failure at a concert here in Berlin.

Albert Speer, the Minister of Parliament said to me,

you look very tired, Mr. Furtwangler.

You should go abroad for a while.

I knew exactly what he meant.

You sure knew a lot of people in high places.

[sighs]

Well, it would be true to say I think that a lot of people

in high places knew me.

You were real close to all of them--

to Adolf, to Hermann, to Josef, to Baldur, and now Albert.

So let's hear the truth, Wilhelm.

Let's come clean.

What was your party number?

[scoffs]

If you're going to bully me like this, Major,

you better do your homework.

You obviously have no idea how impertinent and stupid

your questions are.

[chuckles]

David, you remember, I said I had a question for Wilhelm

that he wouldn't be able to answer.

Well, I'm going to ask it now.

You ready for this, Wilhelm?

It's a tough one.

Why didn't you get out right at the start

when Hitler came to power in '33?

Why didn't you leave Germany?

I have a list of names, people in your profession who got out

in '33--

Bruno Walter, Otto Klemperer, Arnold Schoenberg,

Max Reinhardt.

They were Jews.

They had to leave.

They were right to leave.

I could not leave my country in the deepest misery.

After all, I am German.

I-- I-- I stayed in my homeland.

Is that my sin in your eyes?

See, David, he can't answer the question.

I'm going to ask it again, Wilhelm.

But don't give me any more airy-fairy

intellectual bullshit.

[phone rings]

Major Arnold's office.

Yes, he is.

It's Major Richards for Lieutenant David Wills.

David Wills.

Yes, sir.

What, you want me to tell him?

OK, uh, Major Richards wants a word with you, Sir.

Why can't he just ask for me?

Why does he have to ask for you first?

God damn British, so correct.

Steve Arnold.

Huh?

I've had enough of this.

I'm leaving.

Dr. Furtwangler.

Dr. Furtwangler, please-- please.

Don't.

It's not advisable.

When I was a child, my father, he took me to--

took me to one of your concerts.

I remember you conducted Beethoven's Fifth Symphony.

I was deeply moved.

And I've loved music ever since.

I was grateful to you and I've admired you.

How could you-- how could you serve those criminals?

How many?

Jesus, that's dynamite.

OK.

Dr. Furtwangler.

Well now, aren't we all sociable?

I've got to hand it to the British, David.

You know what those guys are?

Decent.

Tell me here, Dr. Furtwangler, you know Hans Hinkel.

I know of him.

Despicable human being.

He was in the Ministry of Culture.

His job was to get rid of Jews in the yards.

Yep, that's him.

That's the guy.

You know what else the little creep did?

He kept files-- close to 250,000 files.

And you know what's in those files?

Certainly not, but I--

I knew he had informers everywhere,

even in my orchestra there was someone.

Who?

I wasn't told.

I just knew.

How?

I was warned.

Who warned you?

Goering, because Hinkel was working for Goebbels.

What did Goering say?

He told me to be careful as one of Goebbels' men

was watching me.

He read a report on me.

Everything I said was quoted word by word.

[laughing]

Oh, boy, you're going to love this.

Take your time with this now.

Those files contain the details of every working

artist in this country.

Those files are going to tell us who joined the party, who

informed, and who was helpful.

Your name, please?

David Wills, sir.

Over there.

Fantastic.

Only condition is we have to do the work here.

I want you to collect all the files on the boys in the band.

[pigeons cooing]

Maybe you can have a look at this.

[whispering]

[music - string quintet in c]

[rain pattering]

[cheering]

Dr. Furtwangler, moving, [inaudible] you agree.

[inaudible] Schubert.

I am more.

You agree?

The tempi were a little too correct for my taste.

But I expect that is--

that's because of the rain.

Uh, Doctor, uh, I understand you have difficulties

with the Americans.

I want you to know I am your champion.

We can help.

What does he mean too correct?

I don't know.

[music - "route 66"] Go through St. Louie, Joplin, Missouri,

and Oklahoma City is mighty pretty, you see Amarillo,

Gallup, New Mexico, Flagstaff, Arizona, don't forget Winona,

Kingman, Barstow, San Bernandido,

won't you get hip to this timely tip.

When you make that California trip,

Get your kicks on Route 66.

Go through St. Louie, Joplin, Missouri, and Oklahoma

City is mighty pretty, see Amarillo, Gallup, New Mexico,

Flagstaff, Arizona, don't forget Winona, Kingman, Barstow, San

Bernandido, won't you get hip to this timely trip.

When you make that California trip.

Get your kicks on Route 66.

[applause]

[music playing]

[indistinct chatter]

Thanks.

Well, what is this, the office party?

May I join you?

So what have you two been up to tonight?

Hey, don't I owe you a bottle of French champagne?

[laughs]

You know, David, you're a lucky guy.

I invited Emmi here, but she turned me down.

You must have hidden depth, David.

[music - "route 66"]

Come on, Emmi, let's dance.

I'll teach you how to jive.

I'm very sorry, Major.

But I promised her mother, we have to go.

[music - "route 66"]

(SINGING) Get your kicks on Route 66.

[inaudible] from Chicago to LA.

More than 2,000 miles all the way,

get your kicks on route 66.

Don't see me to my door.

There's no need.

But I promised your mother.

Well.

Sleep well.

Excuse me, Major.

I found this on Helmut Rode, you remember, the second violinist.

Look, he's Austrian not German.

But it's this that's more important, I think.

[whistles]

Psst.

David Wills, telephone.

What is this, a railway station?

David Wills, hello?

Uh-- uh, who-- who in his band?

Major.

Helmut.

Guess what I'm holding in my hand?

You like guessing games?

Love them.

I give up.

What are you holding in your hand?

It's, uh, Dr. Furtwangler's baton which I--

which I stole.

The one he kept in his right hand?

Yes, yes, you remember.

How could I forget?

Show me.

Show you?

Yeah, show me.

I want to see you do it.

Pretend I'm Adolf.

You're the maestro.

And you have the baton in your right hand,

but you give me the salute just the same.

Not here, Major.

There are people--

Do it, Helmut.

--which will see.

Please-- please, Major.

Do it right.

You look great doing that.

And I see what you mean.

You nearly poked my eye out.

Exactly.

Don't worry, Helmut.

It'll be our secret.

Mister, mister, here.

Here, mister.

[laughs]

Great catch kid.

So you wanted to see me?

You usually don't work on Sunday, Major.

All in the cause of humanity, Helmut.

Or should I call you 10493310.

What?

10493310-- Or do you mind if I just call you One?

[sighs]

You know what I say you are, Helmut?

I say you're a piece of shit.

[retching]

That bastard.

Who's the bastard, Helmut?

Hinkel?

Why?

He promised to remove your file.

And what about before that?

What were you a member of in Austria?

I was a member of--

Speak up.

I was a member of the Communist party.

I was a communist.

That's-- that's what Hinkel had over me.

He knew everything.

He held it over me.

And that's how he met me corporate.

Oh, I see.

He made you cooperate.

And now are you a communist again?

You don't know what it's like to wake up every single morning

of your life terrified!

You don't know that!

I would never, in my wildest dream,

ever become a second violinist in the Berlin Philharmonic.

[sighs]

When they-- when they got rid of the Jews in the orchestra,

it gave people like me a chance.

Helmut, you ever heard of plea bargaining?

Talk about power.

I have the power to give you work and make your life easier.

Your past won't be mentioned.

I could give you a job tomorrow.

But I have to get something in return.

See, Helmut, that's plea bargaining.

I could give you a freedom of movement, freedom to work,

freedom, Helmut.

But I need something in return.

Major, we are discussing a man of genius.

Fuck that, Helmut.

You want to discuss symbols here.

This guy was a front man.

He was the Piper, but he played there too.

Do you get my philosophical meaning?

I'm not after small fish, I'm after Moby Dick.

Come on, Helmut, hard facts.

Well, the only thing I know is he's an anti-Semite.

Of course.

You too, like everyone else in this goddamn country.

I remember something else.

Yeah?

Furtwangler sent Hitler a telegram for his birthday.

He did?

One of your people told me.

One of my people?

Yes, a corporal, US Army, a Jew.

He said he'd seen the telegram in the chancellery.

Son of a gun.

We'll find the corporal.

We'll find the telegram.

But I need documentary proof.

You know of anything like that?

No, but that's why we hated him.

We admired him as a conductor, but we all

hated him because he didn't have to join the party

and yet he had a better life than any of us.

He didn't have to go and deliver a report after every trip

abroad.

He got everything from them--

everything.

He was filthier than any of us party members.

There's a rumor-- I don't know if it's true or not,

but ask him about von der N ll.

I've never heard of him.

Who is he?

Edwin von der N ll, music critic.

He gave Furtwangler terrible reviews

while he raved about Herbert von Karajan.

Who's he?

Also a conductor, very, very brilliant, young.

von der N ll called him the "Miracle von Karajan."

And Furtwangler was outraged and they say,

he had von der N ll conscripted into the army.

Same thing happened to another critic.

Well, true or not, it's not such a bad idea.

Critics give you bad reviews and you have

them sent to the Russian front.

But if you really want to get Furtwangler,

ask him about Herbert von Karajan.

The miracle kid.

Yes.

Yes, you may notice that he cannot even bring himself

to utter his name.

He refers to him as K. And, um, ask him about his private life.

His private life?

Yes.

It's all in here, his women.

And who gave you the assignment to gather the information

about his private life?

Hinkel?

[bell ringing]

Where do you stand on all this?

On all what?

On Furtwangler.

I don't know.

You represent the United States of America now.

We have a moral duty to be just.

And we have to be seen to be just.

Major Arnold believes he has a moral duty too.

Our duty is to help Furtwangler with his defense.

That's why I want you to look at this.

These are part of the transcripts

of the trial of Nuremberg.

We can't get it translated fast enough,

but I guess you understand German, right?

Mm-hmm.

That's the evidence of a guy named Delaris.

He's a Swede, friend of Hermann Goering.

I want you to study it.

And I want you to use it.

We're going to find some other stuff to supply you with.

We have other suggestions.

We need to build up a case for the defense based

not on feelings, not on prejudice, but on facts.

[indistinct chatter]

Lieutenant Wills.

[inaudible] cello, Schmidt, viola.

They are willing to help.

We have already ordered ourselves coffee.

[inaudible]

Of course.

The whole orchestra will vouch for him.

He was always there to support us.

We need names, if possible with addresses, because it's urgent.

And names of musicians saved by Dr. Furtwangler, people

he helped to escape abroad.

Let's go somewhere less public.

[glasses clink]

I was in Vienna.

I had with me an Austrian chauffeur.

He spent time in the camps.

And we were looking at these Viennese

cleaning up the bomb damage, scavenging for rotting food,

butt ends, anything.

I said, to think, a million of these people

came out to welcome Adolf on the day he entered the city--

a million of them.

Now look at them.

And Mac said, oh, no, not these people, Major.

These people were all at home hiding Jews in their attic.

Ah, you get the point, Colonel.

[groans]

The point is they're all full of shit.

Furtwangler is in a different category.

We're dealing with the degenerates here.

Degenerate--

[laughing]

[inaudible]

That's why he didn't get out of here when he had the chance.

I put that to him.

He couldn't answer.

Why did he go and direct in America,

like that Italian Toscanini?

Huh, perhaps he believed they could at least

try to preserve something important things,

like an orchestra, a school.

[inaudible] maybe he has a mother who can't be left alone.

Maybe he has brothers, sisters--

Colonel, he had no sisters, no brothers,

only a lot of love affairs.

Anyway, Major, why-- why he should

leave his country, his mother tongue, his family,

his history, his past, his future, just because now

suddenly there is a dictatorship?

Why?

But what-- before that turns rotten,

what if they surround the space with barbed wire, Colonel?

Don't talk about things you know nothing about.

He was in a dictatorship.

Art and politics, right?

I heard about that.

[inaudible] belong to the party.

If you want to be a conductor, you have to have an orchestra.

And you can only get the orchestra

if you have contact with the power.

All the-- all the world, you need the right contacts

and you have to make compromises.

This is what I'm saying.

He must have had party contacts.

Ah, there are good party members who help.

And there are dirty non-party members who inform you.

Of course they gave him privileges.

And suddenly-- Steve, suddenly you notice they like you.

They honor you.

And suddenly, you're the director of the best museum

in the world, for example.

What museum?

[inaudible] museum.

Ah, not-- I say orchestra, sorry.

Believe me, Steve.

Help me, Steve.

You say you answer for someone from high up.

I too ordered it from high up--

very high up.

We want Furtwangler.

I'll give you in the return the whole orchestra--

four, five conductors.

I need him, Steve.

No can do.

Let Furtwangler go, please.

I have a duty.

Duty!

I'm sorry.

Duty, duty-- fucking duty.

American want everybody to live like you!

We liberated Berlin, Major Steve, not you!

Oh.

They have duty also to bring back

the best of German culture!

I'm going to get that fucking band leader.

No deal!

No fucking deal.

Then you are going to kill me.

[film reel rattling]

You'll see ruins.

You'll see flowers.

You'll see some mighty pretty scenery.

Don't let it fool you.

You are in enemy country.

The Nazi party may be gone, the Nazi thinking, Nazi training,

and Nazi trickery remain.

Somewhere in this Germany, there are

two million ex-Nazi officials.

out of power but still in there, and thinking,

thinking about next time.

Remember that only yesterday, every business,

every profession was part of Hitler's system.

Practically every German was part of the Nazi network.

[chanting]

They believed they were born to be masters.

Don't argue with them.

You're not being sent into Germany as educators.

You are soldiers on guard.

You will observe their local laws,

respect their customs and religion,

and you will respect their property rights.

You will not be friendly.

You will be aloof, watchful, and suspicious.

[indistinct chatter]

[speaking german]

[indistinct chatter]

[bicycle bell ringing]

Yesterday, I read that Furtwangler

was asked to lead the New York Philharmonic back in '36.

Toscanini suggested it.

Had he accepted, he would have become

the-- the most celebrated conductor in America.

When he made his decision, he couldn't

have known everything, especially not the way people

like you do.

[inaudible] return from exile and feel that you have a right

to pass judgment because you are blameless,

you think you know best who's a sinner

and who deserves forgiveness, but you have

no idea how people lived here.

When he met Hitler at his birthday,

he shook hands with him.

Was he pleased?

I don't know.

But you and I already know that he has saved lives.

Emmi, this Bruckner Seventh, do you

know where the adagio begins?

Of course.

Put it on ready to play and I'll tell you when to play.

Mm-hmm.

It's now 9 o'clock precisely.

I do not intend to be kept waiting again.

Don't talk to me like I was a second violinist.

Go back in the waiting room.

Miss Straube will come and get you when I am ready to see you.

Jesus, God.

Who the hell does he think he is?

Who the hell does he think he is?

Would you perhaps like to have a glass of water, Officer?

What is this man doing here?

Dr. Furtwangler, come in.

Come in.

Sit down.

No, no.

Take think this one.

It's more comfortable.

If it's too hot.

Open your tie.

I wish to say something.

Go ahead.

Be my guest.

When I last saw you, I was unprepared.

I did not know what to expect.

But in these past weeks, I've been thinking more carefully

and making some notes.

You have to understand who I am and what I am.

I am a musician, and I believe in music.

I'm an artist, and I believe in art.

Art in general, and music in particular,

has for me mystical powers which nurture man's spiritual needs.

I must confess, however, to being extremely naive.

I insisted for many years on the absolute separation

of art and politics.

My entire life was devoted to music, because--

and this is very important--

because I thought that I could, through music, do

something practical.

And what was that?

To maintain liberty, humanity, and justice.

Gee, that's a thing of beauty.

Honest to god, a real thing of beauty.

I'm going to try to remember that.

Liberty, humanity, and justice.

Beautiful.

But you use the word naive, are you

now saying that you think you were wrong,

that art and politics can't be separated?

No, I believe art and politics should be separated

but that they weren't kept separate.

I learned to my [inaudible].

And when did you first learn that,

when you sent the telegram?

Was that the surrender signal, the waving of the white flag?

What telegram?

Happy birthday, dear Adolf, love Wilhelm or words

to that effect.

That sounds to me like you were dropping on your knees

and saying, OK, Adolf, you win.

You're the number one man.

Have a swell party.

I have no idea what you're talking about.

The birthday greetings you sent to your old pal Adolf Hitler.

I never sent him in birthday greetings

or any other kind of greetings.

Oh, think carefully, Wilhelm.

Maybe not in your own name, but as Privy Councilor

or Vice President.

I don't have to think carefully.

This is utterly ridiculous.

[clears throat]

Yes, David.

Why not show Dr. Furtwangler the evidence?

It may refresh his memory.

You won't find it, because no such telegram exists.

Well, I tried.

You've got to admit, I tried.

I thought I just might trap you there, Wilhelm.

But David hear was too quick for me.

Smart move, David.

Smart move.

No, I don't have a telegram, but I know it exists.

And I want you to know, Wilhelm, we're

going to keep looking for it, because I believe you sent it.

Well then, you're wrong.

Art and politics, art and politics.

Let's take a look at that.

You in the Berlin Philharmonic toward the Third Reich

played in countries the Nazis had conquered.

Are you saying that conducting in occupied territories

from 1939 on wasn't a commercial for Adolf and all he stood for?

No we never, never officially represented the regime

when we played abroad.

We always performed as a private ensemble.

I think I already told you that I was a freelance conductor.

You know something, you should have written our insurance

policies for us, because you've got more exclusion

clauses than double indemnity.

What do you imagine people thought?

The Berlin Philharmonic's taking over

by Dr. Goebbels and the propaganda ministry,

but Wilhelm's a freelance, so art and politics are now

entirely separate.

Is that what you believed ordinary people thought?

I have no idea what ordinary people thought.

No.

No, because I had only one intention.

My only intention, whatever I did,

was to-- to show that music means more than politics.

Tell me about von der N ll.

Von der N ll.

Yes, von der N ll.

Von der N ll?

How long is this going to go on, Wilhelm?

I say von der N ll, you say von der N ll.

I say von der N ll, you say von der N ll.

We could go on all day.

You know who von der N ll is, don't you?

Edwin von der N ll, music critic.

Yes, I know who he is.

Isn't it true that because he gave you bad reviews

and praised this young guy, von Karajan,

called him a goddamn miracle, said he was a better conductor

than you, that you had von der N ll conscripted into the army

and no one's heard from him since?

That's an outrageous lie.

You sure you to call one of your close buddies and say,

god in heaven, did you see with that guy,

von der N ll wrote about me, the greatest conductor on Earth?

I want him out of the way.

He.

Had the nerve to accuse me of not

playing enough modern music.

Send him to Stalingrad.

Isn't that what you did?

You don't like criticism, do you, Wilhelm?

You certainly didn't like him saying

there was another conducted better than you.

Are you seeing the name von der N ll was never mentioned

in your talks with Goebbels?

Well, once he-- he said he-- he had read

what this man wrote about me.

What did he say?

Well, he said, don't mind him.

His job is to criticize.

Your job is to conduct.

And what happened to von der N ll.

I have no idea.

You really have no idea?

I'll tell you what happened.

He died in Stalingrad.

Well, I'm sorry.

Now, that young conductor-- what's his name?

That miracle kid, you know who I mean, von Karajan.

But you called him something else.

Come on, what did you call von Karajan?

Say it.

I'll say it then.

Little K, is that right?

You couldn't even bear to say his name.

Please, stop playing these games with me.

Why you should bring up the name of--

why you should bring up the name of another conductor

is beyond my understanding.

I'll tell you why.

You remember, we talked about you

playing for Hitler's birthday.

And you told me that Goebbels got to your doctors

first, that you were tricked.

Yes, that's what happened.

I have a different story to tell.

I don't think you were tricked, not in the way you described.

I believe something else happened.

I've seen the Hinkel archive.

I've seen records of phone calls.

And putting it all together, this is what I think happened.

I think Goebbels said, Wilhelm, if you won't conduct for Adolf,

we'll get the miracle kid, the guy that critic von der N ll

thinks is the greatest conductor in the world.

He's not just willing to conduct for Adolf,

he's offered to sing Happy Birthday as a solo.

Come on, admit it.

K worried you, didn't he?

He always worried you.

In 1942, he's 34 years old.

You're already 56.

And Goebbels and Goering keep saying, if you won't do it,

little K will.

Never mind art and politics, and airy fairy bullshit

about liberty, humanity, and justice, because I

don't care how great you are, it's

the oldest story in the book.

The aging Romeo jealous of the young buck.

The real reason you didn't leave the country

when you knew you should have was that you were frightened.

You were frightened that once you were out of the way,

you'd be supplanted by the miracle kid, the party's boy

twice over--

flashy, talented, Little K.

This is absolute nonsense.

Well, I'm just beginning to develop my theme.

Isn't that what you call it in classical music,

developing a theme?

OK, Wilhelm, so they play to your insecurity.

That's human, understandable.

But there's one guy who doesn't like Little K

as much as he likes you.

Yeah, the number one man, your old pal Adolf.

He thinks you're the greatest.

And when he says, I want Wilhelm for my birthday,

boy, they better go out and get Wilhelm.

So Joseph calls and threatens you with Little K.

And you said to hell with the night in Vienna,

I'll give it to Adolf as a birthday present in Berlin.

That's the trick they played.

They got you by the balls and they squeezed hard.

Why did you stay?

Why did you play for them?

Why were you the flag carrier for their regime?

Jealousy.

Of course, there was a conspiracy against me,

a campaign, even abroad.

You see, Wilhelm, I'm talking about ordinary, everyday

reasons, which is why I want to discuss your private life.

How many illegitimate children do you have?

Major, I don't see how this line of questioning

could have possibly anything to do with--

Hey, David!

What are you, counsel for the defense now?

Did you hear the question?

I have illegitimate children.

What?

I said, I-- I have illegitimate children.

I don't know how many.

You like the women, don't you, Wilhelm?

Isn't it true that before every concert

you've got a woman in your dressing room

and gave her the old conductor's baton?

Isn't that true?

Major, this is deeply offensive and repugnant.

You bet.

And totally irrelevant!

Not so Councilor, that's secretary of yours,

she wasn't just your secretary.

She procured women for you.

Didn't she?

As many in as often as you wanted.

Stop this.

Please, please stop this now.

No, I'm not going to stop.

Hitler himself offered you a beautiful house

and a personal bomb shelter.

I absolutely refused the house in the bomb shelter.

But you see what I'm getting at.

You get a gorgeous house, you're highly paid,

what are you going to do, stay or leave?

One voice comes back at me.

Stay.

Major, that's not a good argument.

If Dr. Furtwangler indeed did enjoyed

all these-- these privileges, he enjoyed him of who he is

and what he is.

That's true of any leading artist

in any country in the world.

But it still doesn't make them safe.

They've still got to get up and piss in the middle

of the night, don't they?

They can still be vindictive and envious

and mean, just like you and me!

Well, just like me.

Can't they?

OK, Wilhelm, go home now.

Go home and think about these past 12 years.

I don't understand what you mean.

No, that's your problem, Wilhelm.

You understand nothing.

We'll call you.

Go.

[sighs]

Major.

What?

Your manner--

My manner?

Why don't you go downstairs, get a cup of coffee, and calm down.

Now, sir.

What's the matter, Emmi.

What's going on with you.

What's wrong?

I'm sorry, but I have to leave.

I [inaudible].

You have to get someone else [inaudible]..

What is this, Emmi?

I can't do this.

It's not right.

What's not right?

I've been questioning if I could [inaudible] just like that--

just like-- just like you question him.

Emmi, stop.

I want to show you something.

Let me show you something.

And then if you want to leave, you can leave, please.

Please.

His friends, they did this.

And he gave them birthday concerts.

But he had no idea.

A lot of people had no idea.

I-- I only realized what was really

going on when I got arrested.

If he had no idea, why did the Jews need saving?

This is my question, Emmi, to all Germans.

Why did the Jews need saving in this country?

Why?

The people had no idea.

I would like to go now, please.

[door slams]

[music - "embraceable you"]

(SINGING) I love all the many charms about you.

Above all, I want my arms around you.

Don't be a naughty baby.

Can I ask you a favor, Major?

Yeah.

When you question him again, could you

treat him with more respect?

With more what?

More what?

Major, he may just be the--

the greatest conductor of this century.

And that merits respect.

David, I don't understand a thing about you.

You're a Jew.

Are you a Jew?

Yes, I am a Jew.

But I like to think first, I'm a human being.

A human being, oh, good.

I'm relieved.

I thought you were going to say you were a music lover.

This man-- this great artist has made anti-Semitic

remarks like you wouldn't believe.

I got letters.

Major, show me somebody who hasn't

made anti-Semitic remarks and I show you the gates of paradise.

What is it with you?

Where are your feelings, David?

Where's your hatred, your-- your disgust?

Where's your fucking outrage, David?

Think of your parents and then think

of him conducting (SINGING) happy birthday, dear Adolf.

I'm mean.

Christ's sake, whose side are you on?

Grow up.

Just grow the fuck up.

I want you to come back to the office.

May I come in?

If you're there, you can influence what happens.

What good can you do by leaving?

If you go, you're giving up.

And how can you help Furtwangler, hmm?

Don't think about leaving.

Stay.

Everybody says what a great benefactor

you were to the Jews.

But I have things here you said and wrote.

Listen to this.

"The Jew composer Schoenberg is admired

by the Jewish International."

And what about this?

"Jewish musicians lack a genuine affinity with our music."

"Jewish musicians are good businessmen, with few scruples,

lacking roots."

You deny you said these things?

Those attitudes do not exist in me.

I believe that.

But just answer the questions.

Don't give me explanations.

I was speaking to party members.

I-- I used the language.

Of course I did.

Everyone did.

But it's not me.

Then who is it?

Who was speaking?

Uh, Major, sorry to interrupt, but maybe we have to--

maybe we have to balance those things against this assistance

to his Jewish colleagues.

This is, uh-- this is a transcript from the proceedings

at Nuremberg.

A. Swedish businessman, Birger Dahlerus,

testified in cross-examination that he had several meetings

with Hermann Goering.

"I First saw Goering," Dahlerus testified,

"embroiled in a stormy interview with Dr. Wilhelm Furtwangler,

the famous conductor of the Berlin Philharmonic,

who was vainly seeking permission

to keep his Jewish concertmaster."

Uh, Emmi, pick one of these, any one

and read it out loud, please.

"Please remember that Dr. Furtwangler risked his life

to help anyone who asked him.

I personally testified to having seen literally hundreds

of people lined up outside his dressing room

after concerts to ask for his help.

He never turned anyone away.

After he heard me play--

I'm a violinist-- he gave me money

because I was unable to feed myself or my family.

And then he helped me to escape to Sweden.

He helped countless people in similar ways."

And that's only one of these letters, Major.

And I have lots of them.

How many times have I got to tell you, I was in insurance.

You think I can't smell a phony policy

when it's shoved under my nose?

Sure, he helped Jews, but that was just insurance, his cover,

because all the while, he was maestro of all he surveyed.

See, Wilhelm, I think you were their boy, their creature.

You were like an advertising slogan for them.

This is what we produce, the greatest conductor

in the world.

And you went along with it.

The truth of the matter is, Wilhelm,

you didn't need to be a member of the party.

I made a mistake when I asked you for your party number.

I should have asked you for your non-party number,

just like some other well-known artists.

Emmi, put the record on.

[MUSIC - "SYMPHONY NO.

7 IN E MAJOR"]

You know what that is?

Of course I know what it is.

OK, so what is it?

Bruckner's Seventh-- The Adagio.

Who's conducting?

I am.

Do you know the last time it was played under these air waves?

How could I know such a thing?

I'll tell you then.

The last time this music was played on these airwaves

was after they announced that your pal

Hitler had shot himself.

Listen to it.

Did they pick Little K's recording?

Did they pick some other conductor?

No, they picked you.

And why?

Because you represented them so beautifully.

When the devil died, they wanted his band leader

to conduct the funeral march.

You were everything to them.

I've always tried to analyze myself carefully, closely,

saying how I believed I--

I walked a tightrope between exile and the gallows.

You seem to be blaming me for not having

allowed myself to be hanged.

I did not directly oppose the party

because I told myself that it wasn't my job.

If I had taken any active part in politics,

I could not have remained here.

But as a musician, I'm more than a citizen.

I am a citizen of this country in that eternal sense

to which--

to which the genius of great music testifies.

I know that a similar performance

of the great masterpiece is a stronger and more vital

negation of the spirit of Buchenwald and Auschwitz

than-- than words.

Have you ever smelled burning flesh?

I smelled it four miles away.

Four miles away, I smelled it!

Have you ever seen the gas chambers, the crematoria?

Have you seen the mountains of rotting corpses?

You talk to me about culture, art, and music.

You putting that on the scales, Wilhelm?

You setting culture, art, and music

against the millions put to death by your pals?

They had orchestras in the camps!

They played Beethoven, Wagner.

The hangmen playing chamber music

at home with their families.

I don't understand the German's relationship with music.

What do you need music for?

Your powers you could call to save a few Jews when millions

of them were being annihilated?

Yes!

I blame you for not getting hanged.

I blame you for your cowardice.

You strut it and swagger, you fucking piece of shit.

King pig in a shithouse.

You talk to me about walking a tightrope

between exile and a gallows, and I [inaudible]..

I love my country.

I believe in music.

What was I to do?

Look around you!

See the country you served.

Look at people who had real courage, who

took risks, who risked their lives, like Emmi's father.

Emmi-- Emmi, take your fingers out of your ears.

I'm talking about your father.

My father only joined the plot when he realized

that we could not win the war.

What kind of world do you want, Major?

What kind of world are you going to make?

Do you honestly believe that the only reality

is the material world?

If so, you will be left with nothing, nothing but feculence,

feculence more foul smelling than that which pervades

[inaudible].

[snap]

How was-- how was I to understand?

How was I to know what they were capable of?

No one knew.

I don't want to stay in this country.

I guess I should have left 1934.

It would have been better if I left.

[crash]

Get him out of here.

Thank you, Fraulein.

You've been most kind.

Sons of bitches.

Major Arnold, get me General Wallace.

General, about Furtwangler--

I don't know if we've got a case against him.

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

[inaudible]

Hey, turn that down, will you.

Can you see I'm the phone?

Never mind.

We got a journalist who will do whatever we tell them.

[RECORD PLAYER PLAYING DISTANTLY]

[record player playing loudly]

Turn it off!

[MUSIC - "SYMPHONY NO.

5 IN C MINOR"]

We handed Wilhelm Furtwangler over to the civil authorities.

And he was charged with serving the Nazi regime with uttering

anti-Semitic slurs, performing at an official Nazi party

function, and with being a Prussian Privy Councilor.

Dr. Furtwangler was acquitted.

I didn't nail him, but I sure winged him.

And I know I did the right thing.

Furtwangler resumed his career, but he was never

allowed to conduct in the United States.

He died in 1954.

Little K succeeded him as head of the Berlin Philharmonic.

[MUSIC - "SYMPHONY NO.

5 IN

C MINOR"]