All language subtitles for The.Monuments.Men.2014.720p.BluRay.x264.YIFY.HI

(HAMMER BANGING)

♪♪

(HAMMER CONTINUES BANGING)

(IN DUTCH)
Claude.

Put these clothes on.

♪♪

(RAIN FALLING)

Take only the back roads.

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

- CLAUDE: (IN DUTCH) Yes, Father.
- PRIEST: God be with you, Claude.

♪♪

(STAHL SPEAKING IN GERMAN)

(SPEAKS IN GERMAN)

(SIGHS)

♪♪

(IN GERMAN) Champagne...
very nice.

You must join me, Doctor Stahl.

- Get another glass.
- (IN GERMAN) With pleasure.

(IN ENGLISH)
Claire?

We need another champagne glass.

(SPEAKS IN FRENCH)

♪♪

(IN FRENCH)
It's for Stahl.

♪♪

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

to Carinhall.

(SPEAKS IN GERMAN)

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

What else, Doctor Stahl?

(EXPLOSIONS)

♪♪

(PEOPLE CLAMORING)

(IN ENGLISH)
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 Altarpiece.

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 art 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:
I'll 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 wait for orders.

- Basic?
- Mm-hm.

Basic training. Us?

(CHUCKLES)

Oh, boy.

You're gonna need a
point man in England.

- Yeah, Donald Jeffries.
- 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?

♪♪

(SPEAKING INDISTINCTLY)

(COUGHING)

(COUGHING)

(SPEAKS IN FRENCH)

(CHISELING)

♪♪

- 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'll 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?

(IN GERMAN ACCENT) 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.

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

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

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

- STOKES: Is Preston here?
- JEFFRIES: 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.

(CHUCKLING)

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.

(ALL CHEERING)

Age 19, and before his
romantic novel Mein Kampf,

he was a failed art 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 in 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 Paris,
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.

(ALL CHUCKLING)

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?

- (IN BRITISH ACCENT) Just got here?
- Yeah.

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

(LAUGHS)
Thanks!

What?

- JEFFRIES: 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.

♪♪

(IN ENGLISH)
Don't stand there.

Come in.

(IN ENGLISH)
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, Claire,

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.

(IN FRENCH)
Granger?

(IN FRENCH)
Worried was me for minute.

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

(IN ENGLISH)
You speak English?

- (IN ENGLISH) Yes.
- MAN: Speak English.

Okay.

Is 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?

(HORN HONKING THEN MEN
YELLING INDISTINCTLY)

♪♪

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.

(SPEAKS IN GERMAN)

STOKES: Are there any
more trucks like these?

(MAN CONTINUES
SPEAKING IN GERMAN)

STOKES:
Ask them again.

(MAN CONTINUES
SPEAKING IN GERMAN)

(MEN WHISPERING
INDISTINCTLY IN GERMAN)

(SPEAKING QUIETLY IN GERMAN)

- 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.

(IN GERMAN) When I see Hitler,
I'll be sure to give him your best...

Captain.

♪♪

(TALKING INDISTINCTLY)

(SPEAKS IN FRENCH)

(IN FRENCH) My family
were home builders...

my father, his father.

I wanted a simpler life.

(IN FRENCH)
Yeah.

It is noble when work in dirt.

(IN ENGLISH) You know, James,
your French is not good.

Where did you learn it?

(IN ENGLISH)
Here and there.

- I studied in Canada for a while.
- Canada?

- Montreal.
- Oh, no, no.

(MEN SHOUTING
INDISTINCTLY IN GERMAN)

♪♪

♪♪

♪♪

(INDISTINCT CHATTER)

(IN GERMAN)
I see you, Stahl!

(CLAIRE SHOUTING IN GERMAN)

Where will you hide?

I see you!

(GUNSHOTS CONTINUE)

STOKES: Hey, fellas.
Look what we found.

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

STOKES: We got ourselves
a translator.

EPSTEIN: (IN ENGLISH)
I think he wanted my car.

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

STOKES: So now we know it'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 Altarpiece?
- 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 Paris,
so we should know something soon.

Turn that knob right there.

(LOW ELECTRONIC HUMMING)

- 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.

(CHUCKLES)

Monuments Men Radio
is about to go live.

I hope we play music.

STOKES: (OVER RADIO) Calling London,
calling London and all the ships at sea.

We read you loud and clear.

- How far will this thing reach?
- We'll 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 it.

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 art?

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

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 it's 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...

(SPEAKS IN FRENCH)

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 time.

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-old 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 fly?

Paris!

Pareee!

Am I late?

- By about four years.
- Ha-ha-ha.

- How are you, James?
- Hello, René.

How much of the
art 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 their homes.

Well, René,

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?

(IN FRENCH) Hoping was I
to speak about art...

the stolen art.

(IN FRENCH)
Yeah?

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

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

(IN ENGLISH)
New York.

I know who you are.

(IN FRENCH) Then you
know I'd like to help.

I know nothing.

(IN ENGLISH) And will you
stop speaking in French?

Or whatever language
you are speaking.

(IN ENGLISH) 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 here to 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 in 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 to jump
ahead of the Third Army into Germany.

STOKES: Number one priority, Preston.
You understand?

The Nazis can't keep it.

SAVITZ:
We'll 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'd 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 Rembrandt's
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.

Okay.

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.

Okay.

♪♪

I don't smoke.

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

Take a goddamn cigarette.

(LIGHTER FLICKING)

Mm.

John Wayne.

John Wayne.

♪♪

(COUGHING)

(CHUCKLING)

Shouldn't we have arrested
him or something?

He's not going anywhere.

JEAN CLAUDE: (IN FRENCH)
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 Merkers.

- 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!

♪♪

(GUNSHOT)

Okay.

So one of us has
to distract him,

the other one takes him out.

(IN ENGLISH)
Sounds like a good plan.

All right.

Okay, I'll take him out.

I'll 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, I'll shoot, you go.

(GUNSHOTS CONTINUE)

Whoa, whoa, whoa!

(GUNSHOTS IN DISTANCE)

♪♪

(SHOUTING IN FRENCH)

(SPEAKING IN GERMAN)

(SPEAKING IN FRENCH)

(IN ENGLISH)
Shit.

(JEAN-CLAUDE SPEAKING
INDISTINCTLY IN FRENCH)

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

(BOY WHIMPERS)

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.

♪♪

(VEHICLE APPROACHING)

♪♪

(SIGHS)

(UTENSILS CLATTER)

Any of you speak English?

PRIEST: Are you
Catholic, lieutenant?

I am tonight.

(PANTING)

JEFFRIES:
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 top,

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.

(GUN COCKS)

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

But 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.

(GUN COCKS)

Father, I know I've 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.

(GUNSHOT)

(GASPING)

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 longing for home

and rest.

I'm in great need of rest.

I'll write when I can.

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.

(MURMURING)

(SOLDIERS CHATTERING)

STOKES: (OVER RADIO)
What have you got?

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

They might've stored
some pieces there.

- STOKES: Merkers?
- Yeah.

- M-E-R-K-E-R-S. Merkers.
- 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.

♪♪

(KNOCKING)

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.

♪♪

(SOLDIERS CHATTERING
AND YELLING)

MAN: (OVER PA) Attention, all personnel.
The overdue resupply

of additional
winter overcoats...

(THE MILLS BROTHERS' "YOU ALWAYS HURT
THE ONE YOU LOVE" PLAYS OVER SPEAKER)

♪ You always hurt ♪
♪ the one you love ♪

♪ The one you shouldn't ♪
♪ hurt at all ♪

(INHALES)

♪ You always take ♪

(EXHALES AND CHUCKLES)

♪ The sweetest rose ♪

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

♪ Till the petals fall ♪

♪ You always break ♪

(MOANS)

Well, if that doesn't beat all.

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

♪ Recall so ♪

♪ If I broke ♪

Mm!

What's that?

It's a message from home.

Hm.

(GROANING)

We may have to
confiscate a phonograph.

Okay.

♪ The one you love ♪

♪ The one you shouldn't ♪
♪ hurt at all ♪

♪ You always take ♪

♪ The sweetest rose ♪
♪ And crush it ♪

♪ Till the petals fall ♪

- 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 shirt off
and see how bad it is.

You're gonna be fine, 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 ♪

WOMAN: (OVER LOUDSPEAKER)
Hey, Papa. Merry Christmas.

I've got 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.

(BOTH GIRLS GIGGLING)

WOMAN:
All right, ready? And...

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

WOMAN:
♪ Let your heart be light ♪

♪ From now on Our troubles ♪
♪ will be out of sight ♪

(SOLDIER COUGHING)

♪ Have yourself A merry ♪
♪ little Christmas ♪

You can take that
tourniquet off, lieutenant.

♪ Make the yuletide gay ♪

♪ From now on Our troubles ♪
♪ will be miles away ♪

- 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 ♪

♪ Faithful friends ♪
♪ who are dear to us ♪

♪ Gather near to us once more ♪

♪ Through the years We ♪
♪ all will be together ♪

♪ If the fates allow ♪

♪ Hang a shining star ♪

♪ Upon the highest bough ♪

♪ And have yourself ♪

♪ A merry little ♪
♪ Christmas now ♪

STOKES: (OVER RADIO) 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 million
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 close, Frank.

Okay.

And now we got the Russians.

♪♪

♪♪

SOLDIER: (IN RUSSIAN)
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.

♪♪

(SPEAKS IN GERMAN)

CAMPBELL:
Ow.

- DENTIST: That looks really painful.
- It is.

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 in the world.

- Have you ever seen Munich?
- No.

But we will soon.

(MOANING AND MUMBLING)

(LAUGHING)

What did he say? What's that?

He said not to make me angry.

(CAMPBELL MUMBLING AND
DENTIST LAUGHING)

- Okay, okay. Let's go.
- Ow!

(BELL JINGLES)

(CAMPBELL MOANING AND MUMBLING)

(BELL DINGS)

I... 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.

(MUMBLING)

Okay, okay, Say, Ah!

(CAMPBELL SCREAMS AND MOANS)

♪♪

(HORN HONKS)

(BOYS IMITATE PLANE ENGINES)

(SPEAKS IN GERMAN)

So how long were you in Paris?

You studied in Paris?

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

(SPEAKING IN GERMAN)

Hmm.

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

Cézanne. 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 Cézanne

says Rothschild.

It was a gift.

And the Renoir too?

(ALL CHUCKLING)

Heil Hitler.

BOTH:
Heil Hitler!

Heil Hitler.

♪♪

STOKES:
Hey, private.

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

(PLANE FLIES OVERHEAD)

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 SPEAKING IN FRENCH)

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

(SPEAKING IN FRENCH)

Look at him.

He's a beauty.

He's a runner.

Hey, my friend.

(SPEAKING IN FRENCH)

I haven't got a thing for you.

Offer him a cigarette.

You want a cigarette?

(SNORTS)

I guess he doesn't smoke.

♪♪

Jean-Claude?

(LEAVES RUSTLING)

(GARFIELD WHISTLING QUIETLY)

(ENGINE STARTS)

(TWIG SNAPS)

Aah!

(SOLDIERS SHOUTING)

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.

(COUGHING)

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 heartache
as the rest of these soldiers.

(MUMBLING)

(CHUCKLES)

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.

That'd 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.

Merkers.

They're not train routes.

- Are they airfields?
- No.

Bernterode, Salzburg.

Sir, that's not Salzburg.

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

Kalium 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 Siegen.

♪♪

♪♪

♪♪

(WHISTLING)

STOKES:
Dear James,

Yesterday we found 16,000
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'll have better luck in the
next mine, in the town of Merkers.

Enclosed are your
transfer orders.

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

Safe travels.

(SPEAKS IN FRENCH)

(SPEAKS IN FRENCH)

May I offer you a coffee?

Well, I'm not sure.

(SPEAKS IN FRENCH)

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?

(SPEAKS IN FRENCH)

Especially French women.

Do you write to your
wife every day?

No.

(SPEAKS IN FRENCH)

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 having 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 it.

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.

(PEOPLE CHATTERING)

(KNOCKING ON DOOR)

(SPEAKS IN FRENCH)

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.

(SPEAKS IN FRENCH)

Very French.

I cooked a hen.

- A hen?
- Yes.

It should be ready soon.

Here, put this on.

(SIGHS)

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.

(SPEAKS IN FRENCH)

- Rosenberg. Goering.
- Mmmm.

Lohse. Von Behr.

These are the key
figures in the ERR.

The Staff for Special Purposes.

They started with 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 in 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?

(EXHALES)

(DOOR OPENS)

I do love my tie.

(CHUCKLES)

(INDISTINCT CHATTER)

(CHATTERING)

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 it's okay.

I just have some
unfinished business.

We'll find her.

Yeah.

(SIGHS)

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?

(MOTOR STALLS)

(MOTOR STARTS)

♪♪

REPORTER: (OVER RADIO)
Buried some 1200 feet

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

our Gls discovered over
100 tons of gold bullion,

the entirety of
Germany's reserve.

A crushing blow to Hitler.
Grand news indeed,

and congratulations to generals
Patton, Bradley and Eisenhower.

(REPORTERS CLAMORING)

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?

(LAUGHS)

♪♪

♪♪

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 sort.

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

- I wouldn't move.
- I'd like to at some point.

- Campbell, Garfield, get in here!
- What'll 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.

(HAMMERING)

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

(HAMMERING)

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 hell.

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 I'll just count
to three and step off.

- Good.
- Take your time.

♪♪

(SIGHS)

(EXHALES)

One...

(GARFIELD SCREAMS)

- 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.

♪♪

♪♪

(BIRD CAWING)

That's a Rodin.

♪♪

(SIGHS)

♪♪

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. War's over.

- No kidding?
- Yeah.

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

Probably not in Germany.

Yeah, right.

♪♪

(HORN HONKING)

STOKES: Jesus Christ,
they blew the mine.

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

They stored armaments here,
then blew everything up.

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

Caught a Kraut, Wegner,
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 art 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 little bird.

- You're not Jewish, lieutenant?
- No.

Then you should thank me.

(CHUCKLES)

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 Meldman's toasted onion bagels

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

18...

that says you, Colonel
Wegner, 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!

(DISTANT SHOUTING)

Maybe I should do this.

What do you know
about explosives?

Nothing.

Okay.

(EXPLOSION)

(SPEAKS IN RUSSIAN)

♪♪

♪♪

♪♪

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

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

♪♪

(SOLDIER SPEAKING IN RUSSIAN)

♪♪

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.

Okay.

Right now you wish that
German had shot you.

I do.

(CHUCKLES)

(SOLDIER SPEAKS IN RUSSIAN)

- 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.

♪♪

Hey.

- 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 Campbell
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
art 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.

Raphael's Portrait 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

(MAN SPEAKING IN FRENCH)

♪♪

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 Jeffries 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 heart 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.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪