The Monuments Men Page #3

How are you, James?

Hello, Ren.

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, 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.

I am 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 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 Ren.

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.

Number one priority, Preston.

You understand?

The Nazis can't keep it.

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.

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?

Karlsru he.

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.

Not a word.

Okay.

You're just going to sit down?

Yeah, why don't we all

just sit down for a sec?

Okay.

All right.

Shh, Shh, shh.

Okay.

I don't smoke.

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.

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...

Look out!

Okay.

So one of us has to distract him,

the other one takes him out.

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.

Whoa, whoa, whoa!

Sh*t.

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?

Are you Catholic, lieutenant?

I am tonight.

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.

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.

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.

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