All language subtitles for The Monuments Men.en

Claude.

Put these clothes on.

Take only the back roads.

The Germans are coming from the east,
so head south to Brussels.

CLAUDE: Yes, Father.
PRIEST: God be with you, Claude.

Champagne... very nice.

You mustjoin me, Doctor StahL

- Get another glass.
- With pleasure.

Claire?

We need another champagne glass.

It's for Stahl.

GOERING: This one...
and this one...

to Carinhall.

And this will be a present
for the Fuhrer in Berchtesgaden.

What else, Doctor StahW

This is da Vinci's Last Supper.

The British bombers
leveled three walls and a roof.

This is Monte Cassino,
founded in 529 by Saint Benedict.

This is in February.

This is Monte Cassino in March,

after we dropped 20 tons
of explosives on it.

Mr. President, the simple fact is
that we are at a point in this war

that is most dangerous to the greatest
historical achievements known to man.

ROOSEVELT: But, Professor Stokes,
understand that this is war.

And that lives are lost,

and with them, oftentimes,
their greatest achievements.

Yes, sir. There's something more.

This is the Ghent A/tarp/ece.

It is the defining monument
of the Catholic Church.

We now know that the Nazis
have stolen it.

Now, while we must and we will,
sir, win this war,

we should also remember
the high price that will be paid

if the very foundation
of modern society is destroyed.

Let's look at where we are now.

The Russians are here.

The Allies are here

and here.

In the next few months, God willing,
we are all going to end up in Berlin.

Meaning that we will have blasted
our way west,

through Poland, through Hungary,
through Austria,

north through Rome and Florence,

and east through Paris.

Then the question must be asked:

Who would make sure
that the Statue of David is still standing,

or that Mona Lisa's still smiling?

Who would be their protectors?

ROOSEVELT: Well, professor",
it's a very compelling argument.

What would you suggest?

STOKES: I suggest you pull
together young art scholars

to get over there
and identify the great works.

ROOSEVELT. Our young at': scholars
are already over there fighting.

You have a family?

STOKES".
I have a wife and a young son.

ROOSEVELT: I might be asking
a great deal of you, then.

STOKES".
H! do my best, sir.

There's a Michelangelo joke
to be made.

You're just the man to make it.

You hungry?

You buying?

Uncle Sam is.

GRANGER. How's Penny?
STOKES: She's swell.

I do question her taste.
So does she.

How's the ticker?

Still ticking.

Want to get in the war'?

"The Monuments Men."

Signed by Roosevelt.
I see that.

I'm to put a team together
and try to protect what's left,

and find what's missing.

Aren't you a little old for that?
Yes.

You want to go into a war zone
and tell our boys

what they can and cannot blow up.
That's the idea.

Okay. How many men'?
For now, six.

Jesus.
Mm.

With you, that's seven.
That's much better.

We'll go through basic in Shrivenham,
England, then wail for orders.

Basic?
Mm-hm.

Basic training. Us'?

Oh, boy.

You're gonna need a point man
in England.

Yeah, Donald Jeffnes.
He's a drunk.

You're a drunk.
That's true. Pass me that.

But isn't Donald Jeffries in jail?
No, he didn't go to jail.

His father paid the money back.
Mm.

How about his wife?
Did she stick it out?

No, nobody stuck it out.

So when do we start'?

Good to see you! Frank. James.
Donald.

The chaps are all very anxious
to get started.

You're a lieutenant?
They are getting desperate.

Don't let Churchill hear that.
James, how's your lovely wife?

Fine. She told me to send you a kiss,
which I won't deliver.

I'M just shake.
You usually do.

Not anymore. I'm on the wagon.

Since when?
Nine this morning.

GRANGER:
Congratulations.

STOKES:
Thank you, private.

JEFFRIES: This is Private
Epstein, from New Jersey.

STOKES:
You don't say. whereabouts?

Newark. But really the north side.

Of Newark?
Yes, sir. The north side.

That's what I thought.
Indeed.

I was born in Germany.
The north side.

How are the fellas making out?
Like Olympians.

MAN:
Yes, sir.

JEFFRES: We have your architect from
Chicago, Sergeant Richard Campbell.

And we have a Frenchman,
Lieutenant Jean-Claude Garment,

director of design at the Chalet School
of Fine Arts before the war.

STOKES: ls Preston here?
JEFFR\ES: Private Preston Savitz.

STOKES:
Private? That won't sit well with him.

JEFFRIES:
It doesn't.

Finally we have your sculptor,
Sergeant Walter Garfield.

He's a good egg. I worked with him
on the World War I memorial

in St. Louis.
Uh-huh.

GARFIELD:
Hey, Stokes!

How are you, old boy'?

STOKES: Hey, Walter. How
are they treating you?

Been taking it pretty easy on us.
I think they feel sorry for us old guys.

STOKES: I don't much fancy
an obstacle course.

It's not so bad.

You're just crawling on your belly while
teenagers shoot blanks over your head.

Well, yes and no.

How's that?
Yes, they are teenagers.

And no?
They're not blanks.

We're meeting up after mess.
Let the other chaps know, will you?

Try not to get shot in the meantime.

STOKES". I'm guessing you have all
gotten to know each other by now.

Basic training will do that.

You've been selected by myself
and Lieutenant Jeffries

because we need your knowledge
and skill.

We have been tasked
to find and protect

buildings, monuments, and art.

Private, will you get those lights?

Did you know they were shooting
at us with real bullets'?

Yes.

JEFFRIES:
Everyone's favorite dictator.

Age 19, and before his romantic novel
Mein Kampf,

he was a failed an student
at the Academy of Fine Arts in Vienna.

GARFIELD: Hitler painted that?
It's not bad.

Eh, it's not good.
JEFFRIES: This photograph

has been obtained by the OSS.

It's a model of his planned
Fuhrer Museum,

to be built in his hometown
of Linz in Austria.

Fuhrer Museum?
It'd be one of the biggest in the world.

GRANGER:
Gonna take a lot of art to fill that up.

Exactly right.

We already know he's stealing art from
Amsterdam, Warsaw, and from Paris.

The French are hiding it,
the Germans are finding and taking it.

This is why Hitler
didn't bomb Paris.

He bombed London.

Yes, I know.

Have they started building?

JEFFRIES:
No. That's the point.

They're stealing the art
and hiding it somewhere.

We think they're hiding it in homes
in this area and towards the east.

Our boys are m Normandy
giving them hell,

so that means it's our turn next,
over the Channel and into France.

When?

Soon.
We're gonna start with James.

He has a friend in Pans,
director of the National Museum.

If he's still alive.
If he's alive, he'll have some idea

where the French art has been hidden.
We need that information.

Lieutenant,
you'll cross the Channel to Deauville.

A contact named Emile
will get you into Paris.

Well, it's a good thing
I'm fluent in French.

Do we get to kill anybody?

I don't know about you guys,
but I'd like to kill somebody.

You want to shoot Hitler, private?
I wouldn't mind it.

And Richard, if you call me "private"
again, I will take a shot at you.

STOKES:
Okay, so that's it.

We'll ship out in the next few days,

Although the war is coming to an end,
it isn't any less dangerous.

So walk carefully,
take no undue chances.

And remember that your lives
are more important than a piece of art.

Sarge, can you tell us where to find
command and control?

Just got here?
Yeah.

Top brass command post is about
a quarter-mile that way, past KP.

Thanks!

What?

JEFFR\ES: If you'd read the orders...
I don't give a shit.

The orders say,
"Don't knock out old buildings- ?

STOKES: To be fair...
Do not interrupt me!

If you think I'll write home
to some kid's mom

saying her boy's dead because we couldn't
take out a church tower, I will not.

So have at it.

Anything else?

No, sir.

I think that went well.

Looks like we're walking.

Don't stand there.

Come in.

What are you doing here?

Looking for you.

Sit down.

Do you know why I'm here?

Mm.
You have a brother. Peter, yes?

Yes, you do.

Are you close?

He's my brother.

Why didn't you tell me
he fought for the Resistance?

He doesn't.

He doesn't now.
He was shot this morning.

He was trying to steal a truck.

A truck filled with artwork
going to Germany.

And he was shot dead.

How do you think he knew
about that truck?

You see, Claws,

because you know the museum,

all the collectors, the art,

you have a value to me.

And yet I have no doubt that
if I were to search this apartment,

I'd find things that would make
our working together impossible.

Shall I?

Do as you wish.

I will.

If I find you interfering,
you won't be fired.

You'll be handed over to the SS.
Is that clear to you'?

I want his body.
Then swim to the bottom of the Seine.

Granger?

Worried was me for minute.

I thought maybe Vichy were you
or I was wrong spot.

You speak English?

Yes.
MAN: Speak English.

0K3'! -

ls there a chance of getting a ride
into Lisieux?

Not a chance, lieutenant.

Any luck finding some radios?
No, sir.

You got Lucky Strikes, hash,
a pair of boots, size 11.

What size are you?
Nine.

STOKES:
Hey, Sam!

Hey, Sam! Epstein, hey!

Hey!
Hey, lieutenant!

Hey, you are a sight for sore eyes.
What are you driving?

Nazis were in hurry, left a few things.
I'm glad you didn't get left on the beach.

I got pulled when they found
I spoke German.

What are you, a translator?
No, I'm nothing till we get to Germany.

That's too bad.

Who's your CO?

Hey, private?

I'm looking for Major Feilding.
Yes, sir. Just over here.

Major Feilding, sir!
Stokes.

Hey, John, how are you'?
I wasn't sure we'd find you.

I had to hitch a ride.
What have you got?

Look at this.
I think this fellow's a Monet.

That's a Vermeer.
That's why I asked for you.

We took a convoy of Germans hotfooting it out of Vernon.
A dozen crates filled with these.

STOKES: A dozen paintings?
FEILDING: A dozen crates.

Sometimes 30 paintings inside.

Can I talk to those Germans?

I don't know. Can you?

Ask them where they got the paintings.

STOKES:
Are there any more trucks like these?

STOKES:
Ask them again.

Take care.
Good luck.

He said they were going to a town
called Siegen.

Five truckloads were taken
from this area.

Five truckloads.

Did he say that?
No, he said it.

He is their commander.
They switch uniforms.

Goddamn.

When I see Hitler, I'll
be sure to give him your best...

Captain.

My family were home builders...

my father, his father.

I wanted a simmer life.

Yeah.

It is noble when work in dirt.

You know. James,
your French is not good.

Where did you learn it?

Here and there.

I studied in Canada for a while.
Canada?

Montreal.
Oh, no, no.

I see you, Stahl!

Where will you hide?

I see you!

STOKES:
Hey, fellas. Look what we found.

You remember Sam from Newark.
GARFIELD: Hey, sport.

STOKES:
We got ourselves a translator.

EPSTEIN:
I think he wanted my car.

STOKES: Where's Campbell?
JEFFRIES: Savitz shot him.

STOKES: So now we know K's
not random, it's systematic.

Every one of those paintings
is a masterpiece.

They're all headed to the town
of Siegen in Germany.

The Nazis are on the run,
but they've taken everything with them,

so we have to get as close
to the front as we can.

Preston,

you and Campbell
head towards Belgium.

Specifically, Ghent.

What's in Ghent?
STOKES: It used to be the Altarpiece.

They took the Ghent AIlarp/ece?
I'll go with Garfield.

No, Garfield, you and Jean-Claude

get as close to Germany as you can,
to the city of Aachen.

We'll leave in the morning.

Why don't you take
Sam from Newark with you,

and I'll head up to my old
stomping ground, Bruges'?

There's a Madonna there
I used to see when I was young.

Looks like we're gonna be
together, buddy.

These are German,
but they might fit.

That one will do just fine.

Watch this.

Any news of Granger?

Well, word is they liberated Pans,
so we should know something soon.

Turn that knob right there.

Well, I'll be blowed.
See, I'm not just a pretty face.

How's it going, Edison?

Would you take that radio
over there to the boys'?

Let's see if this damn thing works.
You bet.

Frank, I wanted to say thanks.

For what?

For another chance.

Donnie, we've all screwed up
on some level.

Yours was just...

Just at a high level.

You're here because you're
the best man for the job.

Not charity?

Well, a little.

Monuments Men Radio
is about to go live.

I hope we play music.

STOKES: Calling London,
calling London and all the ships at sea.

We read you loud and clear.

How far will this [hing reach?
WeWI find out tomorrow.

Roger that.

Are all the fellas there?

GARFIELD:
They are.

STOKES".
All right, listen up, fellas.

I think you should know the truth
as I see "rt.

This mission was never designed
to succeed.

It's, uh...

If they were honest,
they would tell us that.

They'd tell us that with this many
people dying, who cares about an?

They're wrong, because that's exactly
what we're fighting tar,

for our culture and for our way of life.

You can wipe out
a generation of people,

you can burn their homes to the ground,
and somehow they'll still come back.

But if you destroy their achievements
and their history,

then it's like they never existed.

Just ash floating.

That's what Hitler wants.

And ifs the one thing
we simply can't allow.

I'll see you in the morning.

Now I'm depressed.

I want to make a toast.

Uh-oh.

Um, I think you fellas are...

And I'm proud to be a
Monuments Man.

When this all broke out, I wanted to
be a flier pilot... A fighter pilot.

But I got bad eyes,
my hearing is not good.

Right here is the only way
I get into this war.

Now, I'm not some
New York socialite,

I haven't won any awards
like all of you, but...

But I'm guessing you feel the same.

This is our Mme.

My country thanks you,
and I thank you.

Screw the Germans.

Present company expected.

To the Monuments Men.

To the Monuments.
To the Monuments Men.

EMILE:
You have children?

Two, yeah.
A 12-year-old and a 9-year-old.

Boy and girl?
Two girls.

Two girls, hmm.
Heh-heh, I know.

I know.

I have a boy.

A 17-year-o\d boy. He's, uh...

He's with the Resistance
up in the north.

In the north'?

Yeah.
Rough up there.

Yeah, it's rough.

Hard times.

Yeah, hard times.

You like to ?y'?

Pans!

Pa reee!

Am I late'?

By about four years.
Ha-ha-ha.

How are you, James?
Hello, Ren�.

How much of the an did you save?

The national collection is safe.

But the private collections,
they are all gone.

All the private collectors?

All the private Jewish collectors,
by decree, are illegitimate.

Goering used this place to shop.

And take them where?

Germany. To thew homes.

Well, Ren�,

the U.S. Army would like
to help you get them back.

I'm happy to hear you say that.

Where do we start'?

Claire Simone.

Claire Simone?

Hoping was I to speak about art...

the stolen art.

Yeah?

I'd like to forcefully introduce myself.
Lam James Granger...

and I'm the curator
of Medieval art at the Met...

New York.

I know who you are.

Then you know I'd like to help.

I know nothing.

And will you
stop speaking in French?

Or whatever language
you are speaking.

Well, if it weren't
for us, you'd be speaking German.

No. If it wasn't for you,
I might be dead.

But I would still be
speaking French.

Okay.
So,

how can I help you steal our stolen art?
That's not why I'm here.

I'm hereto help you get it back.
Yes, to fill your museum.

I'm told you were at the Jeu de Paume
during the occupation.

I was.
I'm interested tn what you saw there.

Goering came more than 20 times,
you know, took whatever he wanted.

Where did they take them'?

Who knows?
I think you do know.

Ah.

You've been speaking with Rene.

Were you there the whole time'?

Of course. I'm a collaborator.
Haven't you heard'?

I helped the Germans steal our art.

And that's why you're here?

What do you think?

I think you worked
with the Resistance.

And I think I can convince them
to let you out.

Why'?

Do you know where the art
was taken?

Who's asking?
The curator of the Met?

We put all of the panels in a truck,
sent it to Brussels

with two priests. But the Germans
found them and took them.

May I speak to the priests'?

They were shot.

If we're gonna find it, we'll have tojump
ahead of the Third Army into Germany.

STOKES: Number one priority, Preston.
You understand?

The Nazis can't keep it.

SAVITZ:
We 'II find it.

I know you will.

Keep your head down.
Will do.

It says the Altarpiece

is one of the most desired
pieces of art.

How's! you read all that?

It's in English.
Yeah, I know that.

I just wasn't actually aware
you could read.

MAN:
Psst!

Easy.

So, Sam,
when did you leave Germany?

1938. Yeah, I was 13.

Did your family go with you?
Yeah, my parents.

My grandfather stayed behind.

What city?
Karlsruhe.

Yeah, you know,
there's a famous museum there.

Had one of Rernbranclfs self-portraits.

See? You were born
to be a Monuments Man.

I've never seen that painting.
No, me neither.

We weren't allowed.

My grandfather would tell me
it was because we were too short.

And then war broke out,

and all of Europe
was too short for Hitler.

Have you heard from
your grandfather?

No, not for four years.

He was taken away.

Away where?
Dachau.

Hey, how does that work?

What's going on?

This seems to be a bit of a problem.

A bit.

Here's a thought.

We put down our guns.

You go your way.

We go our way.

No hard feelings.

He doesn't speak any English.

SAVITZ:
Not a word.

0K3'! -

SAVITZ:
You're just going to sit down?

Yeah, why don't we all
just sit down for a sec?

SAVITZ:
Okay.

All right.

Shh, Shh, Shh.

0K3'! -

I don't smoke.

CAMPBELL: Take a cigarette.
I don't smoke.

Take a goddamn cigarette.

Mm.

John Wayne.

John Wayne.

Shouldn't we have arrested him
or something?

He's not going anywhere.

JEAN CLAUDE:
What was taken?

The bust of Charlemagne,
the shrine holding the robe of Mary.

Okay. How far east?

I heard one commandant
mention the town of Markers.

Merkers?
Sir, please... we have no quarrel with you.

And we have none with you.
Let us have them back, don't keep them.

Father...

GARFIELD:
Look out!

0K3'! -

So one of us has to distract him,

the other one takes hxm out.

Sounds like a good plan.

All right.

Okay, I'M take him out.

I'M take him out.

You have a family. so do you

Okay, you go distract
and I'll take care of business.

All right.

I've never shot anyone before.

It's easy.
Have you?

I'm about to.

Okay, VII shoot, you go.

Whoa, whoa, whoa!

Shit.

Maybe we keep this to ourselves.
I think that's best.

Good evening.
Where's your CO?

Colonel Langton, sir.
I'll take you to him. Follow me.

I'm hoping to speak to
Colonel Langton.

Langton here, lieutenant.

Donald Jeffries. How do you do?
Do you have a moment?

Can I tempt you with a cognac?

You could easily tempt me,
but no, thank you.

Are you bringing us bad news?

Not at all. sir, no.
I was simply hoping to get into town.

What town, Bruges? Why?
Bruges.

Colonel, my job is to protect art,
so that when this war is over,

there will still be some, you see.

In a cathedral in Bruges is
Michelangelo's Madonna and Child,

his only sculpture to leave Italy
during his lifetime.

And if it can be helped, I'd like to see it
still standing there tomorrow.

You do have an unusual job,
lieutenant.

There is some good news.
We're not going into Bruges.

We've made a deal with the mayor.

We won't attack the city
and the Germans are leaving.

We'll resume fighting outside Bruges.

If we catch them.
They're running at a fair clip.

Have you seen this, colonel?

The Germans destroyed Florence
when they pulled out.

They'll do the same to Bruges.

No, lieutenant. they're not.
This isn't Italy.

The war is ending.
These Germans just want to get home.

They've not destroyed any French
villages. They're on the run.

If you could let me have two guards...
The Germans don't have the time.

They don't have the explosives,
or even the damn tanks.

No, I will not risk a street-to-street battle.
We will honor our agreement.

When we get to Bruges, you can finish
your job in the cathedral. Understood?

I understand.

Is there anything else?

No, sir. Thank you.

Any of you speak English?

PRIEST:
Are you Catholic, lieutenant?

I am tonight.

JEFFRES:
Dear Father.

Weep you might when you hear of my
many adventures with these fine men.

It would remind you of our
treasure hunts when I was a boy.

But rather than a whistle or a (op,

our prizes are Rembrandts
and Rubens.

It feels odd that in a place
with so much death,

I've never felt more alive.

My thoughts soar with the tales

these streets could tell of
the Madonna's long journey to Paris

and her triumphant return
with the fall of Napoleon.

You can see her porcelain hand
gently holding the small boy

as if to guard him from a fate
she knew would come.

Mun snow

I know in a time of war my endeavor
must seem small, and perhaps it is.

Bu! I remain diligent and resolute
in my belief

that great works of art
can never belong to any one individual.

At least not in spirit.

The Madonna is as much mine
as it was Napoleon's.

And her hand gently guards me
from a fate I know will come.

Mun snow

Father, 8 know We
been a great disappointment.

In defense of the indefensible,

my crimes were qualities I found
in the bottom of a bottle,

not actions bent on hurting you.

I long for the chance

to be back on that pedestal
you so proudly placed me.

Perhaps here
I can make you proud again.

Here at the foot of our Madonna.

I am humbled and grateful,

and tonging for home

and rest.

Fm in great need of rest.

I'll write when loan.

Cheers and Godspeed. Donald.

You'll see to it
that his family gets these?

We will.

Thank you.

Lieutenant, I told him not
to go, but he was hell-bent.

And they took the Madonna?
That's right.

Well, I'd better get her back.

STOKES:
What have you got?

GARFIELD: Yeah, the vicar
gave us the town of Markers.

They mighfve stored
some pieces there.

STOKES: Markers?
Yeah.

M-E-R-K-E-R-S. Markers.
Got it.

Any word from Granger?
Nothing yet.

All hell's breaking loose here.
They won't let us through.

We're to hold up in St. Vith.

We'll meet you there.

Hell of a thing about Donald.

It's a hell of a thing.

What is all this?
People's lives.

What people?

Jews.

CLAIRE:
They're gone.

You get around.

I'm a SPY, remember?

They're not coming back.

Well, Claire, my job is to
find art and return it.

And this seems
like a good place to start.

MA: Attention, all personnel.
The overdue resupply

of additional winter overcoats...

? You always hurt the one you love a'

? The one you shouldn't hurl at all I'

? You always take I

? The sweetest rose a'

Oh, that's good. That's really good.

A' Till the petals fall I

? You always break I

Well, if that doesn't beat all.

Just because we're at war
doesn't mean one can't eat well.

? Recall so I

? If I broke I

Mm!

What's that?

It's a message from home.

Hm.

We may have to confiscate
a phonograph.

0K3'! -

? The one you love I

? The one you shouldn't hurl at all I'

? You always take I

I The sweetest rose
And crush it a'

a' Till the petals fall I

Doc!
MAN: Sir.

DOCTOR: Over here.
STOKES: We found him

on the side of the road.

He took one in the chest. His leg's bleeding.
We put a tourniquet on it.

Let's get this shin off
and see how bad it is.

You're gonna Define, son.
We're gonna get you some morphine.

Can we get some morphine over here?

What's his name?
I don't know.

? It's because I love you most of all H'

WOMAN:
Hey, Papa. Merry Christmas.

I've go! a couple of little monsters here
who want to say hi.

Say, "Merry Christmas, Grandpa."

GIRL 1: Merry Christmas, Grandpa.
GIRL 2: Merry Christmas, Grandpa.

WOMAN:
All right, ready? And...

WOMAN AND GIRLS: ? Have yourself
A merry little Christmas ?

WOMAN".
A' Lei your heart be light 4'

I From now on
Our troubles will be out of sight a'

? Have yourself
A merry little Christmas I

You can take that tourniquet off,
lieutenant.

? Make the yuletide gay ?

I From now on
Our troubles will be miles away a'

Is he gonna be okay?
He's gonna be fine.

Can you get the chaplain?
Joe, can I get that morphine?

I'll get the chaplain.

? Happy golden days of yore I

? Faithful friends who are dear to us I

? Gather near to us once more I

I Through the years
We all will be together a'

? If the fates allow ?

? Hang a shining star I

? Upon the highest bough I

? And have yourself a'

? A merry little Christmas now N

STOKE:
Well, what the hell is she afraid of?

She's afraid we'll keep it,
like the Russians.

The Russians are keeping the art?

They lost 20 mi/lion people, Frank.

They've commissioned
a trophy brigade

to collect and keep all the stolen art.
To make reparations.

"Trophy brigade." You gotta
love a snappy nickname.

Like Monuments Men?

I got a letter from Donald's father.

Said I should be proud of helping
Donald get his dignity back.

I don't feel very proud.

He asked if I found the Madonna.
I don't even know where to look.

We need to know
what Claire knows, James.

I'm dose, Frank.

0K3'! -

And now we got the Russians.

SOLDIER:
Put the Germans in the truck.

Give them some bread.

Be careful with those paintings.

Touch only the frames.

The frames we can replace.

GRANGER".
Do you know what this is?

No.
It's a directive. The Nero Decree.

It is written by Hitler,
signed by Hitler.

It says if he dies or if Germany
falls, they're to destroy everything.

Everything.

Where did they take the art'?

Germany.

You understand
I'm here to help you?

I understand you are,
but you are not in Germany.

My men are.
I don't know your men.

You'll have to find
somebody to trust.

Yes, James, you tell me who.

What's cooking?

Lice.

It's called the Nero Decree.
SAVITZ: What?

Granger took it off a train full of art
headed for Germany.

It says if Hitler dies, they're to destroy
bridges, train tracks, archives, art.

Jesus.

So we think most of the art
went to Siegen'?

STOKES: We know it went
through Siegen and Merkers.

Lot of art to hide in a couple towns.
SAVITZ: What are you eating?

Homemade jerky. Want some?
SAVITZ: No.

Garfield, let's say you and
Jean-Claude make your way to Merkers.

And then we'll go to Siegen.

And we have to hope
no one kills Hitler.

I never thought I'd say that.

We'll meet up in Nuremberg.

Oh. Oh, God.

CAMPBELL:
Ow.

DENTIST: That looks really painful.
It ls.

Very painful, yeah.

So you're artists, heh?

No, we're collectors from New York.
Yeah, this guy's an architect.

Oh, ha, ha.

I always wanted to see New York.

Greatest city m the world.

Have you ever seen Munich?
No.

But we will soon.

What did he say? What's that'?

He said not to make me angry.

Okay, okay. Let's go.
Ow!

L... I have a nephew
who studied art in Paris.

Yeah, he lives a few miles from here.
He may be able to help you.

Is he a soldier?

He was a soldier, heh, heh,
like you. But he's a good boy.

Oh. I'm sure you're all innocent.

Okay, okay,
say: Ah!

So how long were you m Paris?

You studied in Paris'?

Yes, two years.
My wife and I left Paris.

Hmm.

SAVITZ: These are beautiful paintings.
I wish. Just copies.

C�zanne. Renoir.

They're good.

So where did you study art'?

Harvard.

Society for Contemporary Art.

They're looking for artifacts. They want
to protect the historic pieces. Huh'?

It's an honorable thing
in a time of war.

Well, we think the SS
took the great pieces of art

out through France and are hiding it.

Yeah, I told them you may be
able to help, Hermann. Huh?

Well, I wasn't SS.
I was a soldier, like you.

If I can help you in any way...

Do you know a collector
named Rothschild?

Rothschild.
Had one of the greatest art collections

in the world.
He's French?

Jewish.
No. No, I don't know him.

Uh...

Does your wife speak English?

No, no.

Good.

The back of the C�zanne

says Rothschild.

It was a gift.

And the Renoir too?

Heil Hitler.

BOTH:
Heil Hitler!

Heil Hitler.

STOKES:
Hey, private.

Where's Siegen?
You're in it, lieutenant.

It should be this turn.

Who the hell knows?

It could have been the last one.

If we get to a bell tower,
we've gone too far.

What do you think?

I don't think we should go any further
down this road.

JEAN-CLAUDE: Stop, stop, stop.
Wait, wait, stop, stop, stop.

Look at him.

He's a beauty.

He's a runner.

Hey, my friend.

I haven't got a thing for you.

Offer him a cigarette.

You want a cigarette?

I guess he doesn't smoke.

Jean-Claude?

Aah!

Goddamn it. Goddamn it.

I'm shot! Where am I hit'?

Jesus Christ.

I'm bleeding like a son of a bitch.

Dumb-ass way to get killed.

Shit, merde!

Help! Help me!

Please!

STOKES".
When we first started this mission,

there was some question

as to whether we could
really call ourselves soldiers.

Were we risking as much as
these young men fighting and dying?

And I suppose it was fair to ask.

Garfield, hold onto this.
My wife gave it to me.

I don't want to get blood on it.

Jean-Claude, you hang on to it
right now.

STOKES".
We are no longer observers to war.

We're active participants,

subject to the same headache
as the rest of these soldiers.

When we lost Donald Jeffries' we
earned the right to wear the uniform.

And now we've lost our second man.

From the beginning, I told you that
no piece of art was worth a man's life.

But these last months
have proved me wrong.

THIS is our history,
and it's not to be stolen or destroyed.

It's to be held up and admired,
as are these brave men.

And now we owe it to them
to finish the job.

Walter, head stateside,
get some R & R.

We'll meet up with you later.

If it's all the same to you,
I'd like to finish this.

Thafd be fine.

All right, let's take a look
at where we are.

Stokes?
Yeah.

I got this off an SS officer.
He was stationed in Paris. It's a map.

He had a farmhouse full of stolen art.

STOKES: I don't understand.
Siegen, Siegen.

We were there.
There's nothing there. Merkers.

Markers.

They're not train routes.

No.
Are they air-fields?

Bernterode, Salzburg.

Sir, that's not Salzburg.

Safz means "salt." It's a salt mine.

Kaffum is "potassium."

Each town has a symbol next to it.

Bernterode is a potassium mine.
Merkers, salt mine.

Altaussee, salt mine.

Siegen...
Copper.

Ah.

There's a copper mine in Sxegen.

STOKES:
Dear James:

Yesterday we found 16000 pieces
of stolen art

buried in a German copper mine.

It seems the Nazis took better care
of paintings than they did people.

There was no sign of the Madonna
that cost Donnie his life,

but maybe we')! have better luck in
the next mine, in the tcwn of Markers.

Enclosed are your transfer orders.

We'll need you here. as we've lost
bath Jeffries and Jean-Claude.

Safe travels.

May I offer you a coffee?

Well, I'm not sure.

I almost didn't recognize you.

My hair'?

No, I've just...
I've never seen you smile.

Well, James, it's April in Paris.
Haven't you heard?

They write songs about it.
Ha, is that so?

Are you shopping for your wife?

For my wife?
Every woman loves French perfume.

Even French women?

Especially French women.

Do you write to your wife
every day?

No.

But I do write.

Are you a good husband?

I like to think so.

Paris at night
finds a lot of good husbands

out.

Well, it's war.

It's Paris, hm?

Sardines.

Crackers.

And some kind of potted meat.

Are you havmg a Party?
No.

No, stocking up.

My orders came through last night.

Mm.
I'm heading east.

Germany?

Merkers. There's a mine there.
That's where I'll meet the men.

I was just reading
about your men.

They found art.

A lot of art.

And they returned H.

Well, what they could. We still
don't know who a lot of it belongs to.

When do you leave?

I leave in the morning.

Then we should celebrate tonight.

This is my address.

You bring the potted meat.
I'll bring the wine.

What's the attire?

Formal, of course.

Formal, of course.
That's what I thought.

You weren't kidding.

Mm. I never kid.

This is the best I have.

Why don't you pour the wine?

I brought some things.
I brought some cheese,

some brie cheese and croissants.

Very French.

I cooked a hen.

A hen?
Yes.

It should be ready soon.

Here, put this on.

You know, in France,

if you are given an invitation
to a formal party,

you dress accordingly.

It matches my eyes.

Then you may keep it.

Rosenberg. Goering-Mm-hm_

Lohse. Von Behr.

These are the key figures in the ERR.

The Staff for Special Purposes.

They started wxth
the Jewish collectors in 1940.

You see Stahl?

The SS farmer.

Farmer.

Here he is with Goering.

Inspecting art to be stolen
and shipped to Germany.

Most of the pieces
they would photograph, then take.

And they would send Hitler albums
filled with the stolen artwork.

And the modern masters, you know,
like Picasso, Klee,

Yes.
Max Ernst,

were just burned in the yard.

Hundreds of paintings.

And you believe these paintings
are in the mines?

No.

No, not these.

This is all I have, James.

This is my life.

I understand.

This is every piece of art
that came through the Jeu de Paume.

Now, I have kept train manifests,
receipts, letters for every single piece.

Who it belonged to, who took it,
where they took it.

I kept a colored mark here
for every piece, to match this ledger.

Jesus Christ.

I'm giving it to you.

It's your responsibility now.

I understand.

There's a castle m the Bavarian Alps,
Neuschwanstein.

You should find most of the art there.

Thank you, Claire.

And you tell them Claire Simone
says hello when you get there.

I'll do just that.

I am out of wine, but, uh, I have cognac.

I should go.

You could stay.

It's Paris, you know'?

I do love my tie.

Say, fellas.

Well, hello!

Welcome back.
EPSTEIN: Welcome back, sir.

Good to see you.
How was vacation?

Ha. Where's Stokes?

She's not here, is she?

Who?

The Madonna.

Not here, not in Siegen.

She'll turn up.

I'm not so sure.

Donald was so proud
of what we're doing here.

He was proud to be a part of it.

There will never be
a thousand-year Reich.

No Fatherland.

No Fuhrer Museum.

If Jean-Claude and Donald
had something to do with that, well,

I guess H's okay.

I just have some
unfinished business.

We'll find her.

Yeah.

He really wanted it all.

He wanted everything.

Private, what does that sign say?
Uh, "storage."

See if there are any lanterns in there.
Yes, sir.

CAMPBELL:
You okay in there?

Sam?

REPORTER:
Buried some 1200 feet

below the ground
in a salt mine in Markers, Germany,

our Gls discovered
over 100 tons of gold bullion,

the entirety of Germany's reserve,

A crushing blow to Hitter.
Grand news indeed,

and congratulations to generals
Patton, Bradley and Eisenhower.

The Army may not care much
about art,

but they sure as shit
care about gold.

REPORTER: General Patton, what
are you gonna do with the gold?

Private, give me a hand.
Yes, sir.

I don't think you've been
properly introduced.

Sam, that's your neighbor,
Mr. Rembrandt.

You tell your grandfather
when you see him.

Nice to meet you.

Hey. got us a couple of trucks.

STOKES:
Do I want to know how'?

GARFIELD: A lot of files. Looks
like they were burning records.

CAMPBELL:
It's a bunch of junk. An old pot.

GRANGER: Hey, Stokes?
Yeah?

Can you come in here for a minute?
Yeah.

What have you got?
Stop, stop.

Stop. I seem to have
stepped on a land mine

of some son.

Why'd you do something like that?
It was a slow day.

I wouldn't move.
I'd like to a1 some point.

Campbell, Garfield, get in here!
Whafll they do?

They're architects.
So they know explosives?

It's that or Savitz.
GARFIELD: What?

Boy, it is burned
to heck in here.

STOKES:
Everybody just stay where they are.

Looks like the lieutenant here
is standing on an unexploded mine.

Why would you do that?

I asked him the same thing.
He did.

Well, you're going to have to...

step off of it eventually.
Well, eventually, yes.

And either the mine is so damaged
from the fire that it's a dud...

How likely is that'?

Most likely.

But if it's not, there will probably be

a sizable explosion.

How much do you weigh?
Uh, one-seventy-five.

Grad school, I was 175.

Now what?

Well, if we did this right,
you just step off.

Okay, well, what say, uh,
you fellas head to the exit?

I think we'll just hang around
and keep you company.

That's not necessary, Frank.

I think it is. Fellas?

I'm not going anywhere.

I'll be fine right here.

Yeah, what the heH.

Okay, James,
that's how it's gonna be.

Well...

on the off-chance that this thing
blows us sky high...

been an honor serving with you all.

Same here.
Agreed.

Okay, so VII just count to three
and step off.

Good.
Take your time.

One...

STOKES: Goddamn it.
Shit.

What happened to two and three?
I panicked.

CAMPBELL:
Told you it was a dud.

Picasso.

Is that gold?

It's from teeth.

That's a Rodin.

GARFIELD:
Altaussee!

The Ghent Altarpiece
is in the mine at Altaussee.

What?

It's right here.
GRANGER: What did you find?

Sam, give us a hand!
SAVITZ: What is it?

It was stored there a year ago.

SAVITZ: How do you know?
It says nothing after that.

It's still there.

Want to go get it'?

You give that Claire
a big kiss.

She'd like that.

Hey. sarge, we're trying
to get to Altaussee.

Keep going that way.

Where you fellas headed?
Home.

Germany surrendered.
Wars over.

No kidding?
Yeah.

Ain't there supposed to be
a parade or something?

Probably not m Germany.

Yeah, right.

STOKES: Jesus Christ,
they blew the mine.

CAMPBELL: Any other openings?
Two others, blown to shit.

The}; stored armaments here,
then blew everything up.

Who gave the order? War's over.
Ask him.

Caught a Kraut, Wagner,
hiding in town.

Sam, Savitz, find some locals,
get a diagram of the mine.

Walter and I can look at the entrances.
Okay.

GRANGER: Come on.
Captain,

can I talk to that Kraut?
Sure can.

Burn your smokes?
Yeah.

Thanks.

I'm told you speak English.
I do.

Would you like a cigarette?
Don't smoke.

I'd like to ask you
a few questions.

So I assumed.

Why'd you blow the mine?

What was in the mine'?

Salt, I think.

You know the war is over.
Congratulations.

We believe there are pieces of an
in that mine

that we've been tasked to find.

Did you take them out'?

What will you offer me
for my answer?

As you say, the war is over.

I followed orders.
I committed no crime.

According to the Geneva Conventions,
I will be released and sent home.

I was told that before you were sent
here, you ran one of those camps.

Who told you that?
A lime bird.

You're not Jewish, lieutenant?
No.

Then you should thank me.

You know, I don't smoke either.

My first cigarette.

But, mm...

I want to remember this moment.

I'm gonna go home soon.

Got a nice apartment in New York
on the Upper West Side.

There's a deli down the street
called Sid's.

Every morning,

I walk there and I get
a cup of coffee and a bagel,

and I read the newspaper.

I think about it every day here. It'll be
the first place I go when I get stateside.

I'm gonna be sitting there, eating one
of Sid Meldma?s toasted onion bagels

and reading a tiny article
in The New York Times, page...

18...

that says you, Colonel Wagner,
were hanged

for your crimes you committed
during the war

and you were buried
in an unmarked grave.

And then I'll think about
my cigarette...

and I'll think about you sitting there
with that stupid look on your face.

Then I'll finish my coffee,

leave the paper for Sid
to wrap fish in.

I'll never think of you again.

Sure you don't want that cigarette'?

SAVITZ: The Germans didn't blow it!
The local miners did!

They found out the Nazis' plan, sealed
the mine entrances to stop them.

We'll dig in.
How long will that take'?

A day or two
if these miners help us.

Might wanna move quicker.
We got orders to pull out tonight.

What orders?
Top brass.

This territory goes to the Russians.
They're moving south now.

Should be here tomorrow.
STOKES: Tomorrow?

HARPEN:
Maybe sooner.

Do you have any explosives?

Here we go! Everybody down!

Maybe I should do this.

What do you know
about explosives?

Nothing.

0K3'! -

SAVITZ: We're short one.
We're missing one.

You've gotta be kidding me.
We're missing a goddamn panel.

We have to go, fellas,
unless you speak Russian!

CAMPBELL:
We've covered all this area.

SAVITZ:
We didn't look here.

We did.
We didn't look here.

This is us right now.
This is where we have to go.

This is this.

No, this is where we are now. And
this is where we didn't look.

We were here, we went over here.
Where didn't we go?

We didn't go here
and we didn't go there.

SAVITZ: Yeah, we
gotta... This, this.

Give me a hand, will you?
SAVITZ: What?

You are going to miss me
so much when this is over.

I doubt it.

0K3'! -

Right now you wish
that German had shot you.

I do.

Get out of here now, I'm not kidding.
GRANGER: I'm going after Stokes.

GARFIELD:
Be right behind you, captain!

Stokes!

Frank, we gotta go!

Stokes!

Stokes!

Let's get out of here.

He'! -

Hey, hey, we gotta go.
Give me a hand.

No, no, Frank, we gotta go.
Give me a hand.

Holy shit.
Come on, give me a hand.

Holy shit.
SAVITZ: Stokes!

Granger!

SAVITZ:
Jesus.

CAMPBELL: We gotta get out of here.
GRANGER: Give us a hand.

Holy shit!
He just said that.

GRANGER:
I did.

STOKES'. You can add this to the
long list of Hitler's failures.

He tried to take something
that could never be his.

The story of our lives painted
on canvas or etched in stone.

With the Russians
bearing down on us,

we left Altaussee
with some 3000 pieces,

including the Ghent Altarpiece
and the Bruges Madonna and Child.

We did leave something
for our Russian friends

to take back to Leningrad.

We headed northwest. Savitz and Campbetl
flew the Altarpiece to Belgium.

It was displayed in Brussels and then
returned to the chapel in St. Bavo.

With Second Lieutenant
James Granger,

several trainloads of French art
found in a castle

in Bavaria were returned to Paris.

Thank you, James.

STOKES: Everything from
paintings to sculptures,

tapestries, even jewelry,
is being returned.

It is the greatest collection of private
an in the history of the world.

We also found 5000 church bells,

300 trolley cars, 3 million books,

and thousands of Torahs.

In all,
the numbers are staggering.

There were over
5 million pieces recovered.

There are still, of course, many
great works that have gone missing.

RaphaeFs Pox-trait of a Young Man,
for instance.

And with your permission,
I'd like to keep looking for him.

TRUMAN: Well, lieutenant, let me have
a talk with Secretary Stimson here

and I'll give you an answer.
Thank you, sir.

TRUMAN: And you lost men on
this mission, lieutenant?

Yes, sir, two men. A Frenchman
named Jean-Claude Clermont

STOKES".
And a Brit named Donald Jeffries,

who lost his life saving
the Bruges Madonna and Child.

TRUMAN: Lieutenant Stokes,
I have one question.

You said the Madonna.
Yes, sir, the Bruges Madonna.

TRUMAN: Michelangelo made it, right?
Yes, sir.

And you lost a man trying to save it.
Donald Jeffries.

You think it was worth it,
for a piece of art?

Do you think Jefiries would say
it was worth it, if he could speak?

If he could speak...

I think he would.

TRUMAN: All right then, how
about you, lieutenant?

You were in charge, and this gets
to the head of the matter.

Do you think 30 years from now,

anyone's going to remember
that these men died for a piece of art?

Yeah.

You ready?
Yeah.

Let's get out of here.
Okay.