BLUEBEARD (BARBA AZUL, V.O., 1944, Full Movie, Cinetel) HD

Raani Sabona

Transcript

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00:02:29Fargo, it's only me.

00:02:34Why didn't you answer when I knocked before?

00:02:36You're fighting me, Paul.

00:02:38What are you doing here?

00:02:39I only came to walk home with you.

00:02:41Don't you realize the streets of Paris aren't safe after dark with bluebears still at large?

00:02:45Don't you think the bluebears didn't get you?

00:02:49Where were you?

00:02:51What are you trying to do?

00:02:53Drive me to my grave?

00:02:54Constance, it's already as dark as pitch.

00:02:59Lucille, will you hurry?

00:03:01Do you want us to leave and let you walk home alone?

00:03:04Coming, Babette.

00:03:07But you needn't have waited for me.

00:03:10Do you hear her?

00:03:11As if she wouldn't be scared to death to walk alone on the streets these nights.

00:03:15Why do you suppose it is the police haven't caught him?

00:03:17Home?

00:03:19Home.

00:03:20Home?

00:03:21Why, bluebeard, of course.

00:03:23Who else is all Paris terrified of?

00:03:25Oh, bluebeard.

00:03:26I've forgotten.

00:03:27Come on.

00:03:28I want to get home.

00:03:38Now let's stay close together for safety.

00:03:40It's the puppeteer.

00:03:57Hello.

00:04:01Constance here is afraid of her own shadow.

00:04:03When are you going to get the show in the park again?

00:04:06Perhaps quite soon.

00:04:08These are my friends.

00:04:09Constance and Lucille.

00:04:11I forget your name.

00:04:13Gaston Morel.

00:04:14I always think of you just as the puppeteer.

00:04:17You've seen his puppet shows in the park, of course.

00:04:20No, I've missed that.

00:04:21You mean you've missed his wonderful puppet operas?

00:04:23Oh, they're great fun.

00:04:25We should like to see one sometime.

00:04:27I should like you to.

00:04:28I haven't been showing my puppets much of late.

00:04:31It's difficult to get a crowd these evenings

00:04:33because of the bluebeard scare.

00:04:36If you say you'll come, I'll give one tomorrow night.

00:04:38Tomorrow night?

00:04:41What do you say?

00:04:43Well, I...

00:04:44Of course you'll come.

00:04:45He's afraid of bluebeard.

00:04:47Aren't you?

00:04:49What would bluebeard want with me?

00:04:52I should think he might find you.

00:04:53Irresistible, mademoiselle.

00:04:55You'll give the puppeteer tomorrow night, then?

00:04:57At the same place.

00:04:58We'll be there.

00:05:00Won't we, Lucille?

00:05:01Here.

00:05:01I'll give you a kiss, dear one.

00:05:21Say to love, go and be gone.

00:05:26Never, never give a kiss

00:05:31Without a wedding ring

00:05:34Without a wedding ring

00:05:39Marguerite, having been convinced that Faust deserted her

00:05:56And in a fit of despair, having killed her child

00:06:00Finally found the courage to give herself up

00:06:02She was tried and sentenced to prison

00:06:06Where Faust, with the aid of Mephistopheles, finds her

00:06:08Marguerite's daughter

00:06:09Marguerite, high school

00:06:10Marguerite, the hospitals

00:06:11Oh, there's a voice of my beloved

00:06:14My lonely heavenly son to his father

00:06:20Marguerite, and the sound of that awful laughter

00:06:25Surrounded by demons

00:06:28I'll recognize his son

00:06:30Marguerite, and the sound of that awful laughter

00:06:37But then, he said, I am free, he's here, and once more I am here.

00:06:51Yes, says I, I love you.

00:06:56Yes, I've come, I love you.

00:07:00Even though that mocking devil tried to keep us far apart.

00:07:09I've come back to you.

00:07:13Yes, come back to you.

00:07:17And I'll surely save you.

00:07:21Yes, I've come to save you.

00:07:25I'm here.

00:07:26Come, come to my heart.

00:07:32Pray, do not think me bold, my fine, beautiful lady.

00:07:42My arm is yours to hold and have you on your way.

00:07:53Oh, fine sir, I am not a lady or a beauty.

00:08:03Not a lady or a beauty.

00:08:10And I'll need your help to see me on my way.

00:08:18Take warning, take warning, but it will be too late.

00:08:22It is clear, but the river is me there in the shadows.

00:08:30There it is all when I'm fired.

00:08:35Holy angels, wait in a cry.

00:08:42That is my soul forever home.

00:08:48Dear Lord, take my soul in your caving.

00:08:54I'm sure to help and protect me.

00:08:58Forgive me, forgive me.

00:09:01For the angels, wait in a cry.

00:09:07Carry my soul forever home.

00:09:12We must party.

00:09:14Dear Lord, I know you're king.

00:09:18Dear Lord, I know you're king.

00:09:20Dear Lord, I know you're king.

00:09:24Please stand a Froang.

00:09:34I know you're king.

00:09:38You are king.

00:09:40Please stand a roi.

00:09:42Come on, come on!

00:09:54Jeremy, take over and help this old daughter

00:09:56to demonstrate the purpose to whoever comes back.

00:09:58I'm going to take up the collection tonight.

00:10:25Would you like the show?

00:10:27Very much.

00:10:30I created the puppets myself.

00:10:32Did you make the costumes?

00:10:34Well, I designed them. Why?

00:10:36Lucille's a modiste, so it's natural she's interested in clothes.

00:10:39Modiste?

00:10:41Do you think you can make some new costumes for me?

00:10:44Oh, well, I...

00:10:45Come backstage. Let me show you the costumes.

00:10:55Now, if that was a woman,

00:10:57you wouldn't need no string to make her talk.

00:11:01How do you make the eyes?

00:11:02Oh, the eyes.

00:11:03Oh, that's very simple.

00:11:04You see these two strings here.

00:11:05You like my little people, huh?

00:11:07Very much.

00:11:09They seem quite real to me.

00:11:11There are likenesses of people I've known.

00:11:15Mephistopheles, too?

00:11:16Yes, the evil one, too.

00:11:18One other thing is he's also my business manager.

00:11:21And my Giri.

00:11:23Is she a friend of yours?

00:11:25She was.

00:11:26Was?

00:11:28What?

00:11:29Yes.

00:11:30Unfortunately, she made a tragic ending.

00:11:34It must have been very beautiful.

00:11:36They say you'll show me how the puppets work.

00:11:39Let's get out of here until these people leave.

00:11:41They'll be asking endless questions.

00:11:43I can't talk with a lot of people around.

00:11:57I should think, in your business, you like crowds.

00:12:00As a puppeteer, you mean?

00:12:02As a matter of fact, I prefer creating puppets to, performing them.

00:12:05You make them act so well.

00:12:09But there's something in your voice that made me feel you'd suffered.

00:12:13You're very discerning.

00:12:15It's your marguerite.

00:12:16The memory of that tragedy, isn't it?

00:12:19Partly.

00:12:20And you're keeping the tragedy alive deliberately, aren't you?

00:12:23Why are you?

00:12:24If you wanted to forget it, you could create a new puppet.

00:12:26One that would remind you of someone else.

00:12:29Someone who might make you happy.

00:12:31Is it much trouble to create a puppet?

00:12:35It takes time.

00:12:37First I'll make a sketch.

00:12:39A painting?

00:12:40Do you paint too?

00:12:41Enough to get the effect.

00:12:44You know you have very lovely eyes.

00:12:46Truthful eyes.

00:12:52Would you let me make a puppet in your image?

00:12:54Would you like to?

00:12:56Very much.

00:12:57Let's see.

00:12:58Are you trying to decide how you'll paint me?

00:13:02No.

00:13:06I'm not going to paint you.

00:13:09Lucille!

00:13:10Lucille!

00:13:15You'd better go with him.

00:13:18You'd better stay close to him.

00:13:20But your marguerite costume.

00:13:22Don't you want me to make it for you?

00:13:24As you please.

00:13:28Where's my name?

00:13:29Oh, looking for you.

00:13:30Oh.

00:13:31Was she difficult?

00:13:32Well, the way she always is when you avoid her.

00:13:33She comes back, tell her I'm looking for her.

00:13:34Which you won't be.

00:13:35Of course not.

00:13:36Good night, Lucille Bar.

00:13:37Good night.

00:13:38Uh, you, uh, picked up a little something?

00:13:39What?

00:13:40Oh.

00:13:41You mean some money?

00:13:42Uh, for the musicians, you know.

00:13:43For the musicians, of course.

00:13:44Oh.

00:13:45My word of honor.

00:13:47Oh, my word of honor.

00:13:49Oh.

00:13:53Oh, my word of honor.

00:13:57Oh.

00:13:58Oh.

00:13:59Oh, oh.

00:14:00Oh, oh.

00:14:01Oh, oh, oh, oh.

00:14:03Oh, oh.

00:14:04Oh, oh, oh.

00:14:05Oh.

00:14:06Oh, oh.

00:14:07Oh.

00:14:08Oh, oh.

00:14:09Let's go.

00:14:39Why didn't you stay at the puppet show?

00:14:55And watch you flirt with that girl?

00:14:57Who is she?

00:14:58I don't know.

00:15:00Just a girl.

00:15:01Another, I suppose, to take my job for a few days.

00:15:05A few weeks.

00:15:06And you think you'll come back to me again?

00:15:08I think you'd better go now, Renée.

00:15:10Oh, no, not this time.

00:15:12Renée?

00:15:13I won't stand part.

00:15:16I warn you, you'll regret it.

00:15:19Regret it?

00:15:20Gaston regretted it from the start.

00:15:22From the first day I met you.

00:15:24I didn't ask you to fall in love with me.

00:15:27No?

00:15:29Then why did you keep telling me you needed me?

00:15:31That I was necessary to your success?

00:15:33What was I to think?

00:15:36What did you think, Renée?

00:15:40Gaston.

00:15:42These girls.

00:15:44I've known they didn't mean anything to you, really.

00:15:47Because you always came back to me.

00:15:51But, Gaston, what's happened to them?

00:15:55Did you think?

00:15:56This bird was...

00:15:56I don't think they were a saint.

00:15:58Oh.

00:15:59No.

00:16:02No.

00:16:03No.

00:16:07No.

00:16:08No.

00:16:10No.

00:16:19No.

00:16:20They're amazing.

00:16:21No.

00:16:22No.

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00:19:20Good evening.

00:19:33You have come to tell me when we will give Faust again?

00:19:37Now, how can we give Faust again until we find the new marguerite?

00:19:41Oh, Mademoiselle Renée is not with us anymore.

00:19:46What a pity.

00:19:47She had a good voice.

00:19:50You have somebody else in mind for marguerite?

00:19:53No.

00:19:54I'm thinking of giving a new puppet show.

00:19:57So?

00:19:58Yes, something on the order of a ballet with a lot of new costumes.

00:20:04What is her name?

00:20:08Lucille Le Tien.

00:20:10Where do I find this one?

00:20:13Madame Blanche, Morty's shop.

00:20:16When do you want her to sit for you?

00:20:19I'm not going to paint this one.

00:20:27At all?

00:20:29Definitely not.

00:20:31I merely wanted to make some costumes for me.

00:20:35That's a new one.

00:20:38It's a fact.

00:20:39Nothing more.

00:20:41Just to make some costumes for my puppets.

00:20:44At your studio?

00:20:45I don't know where she'll make them.

00:20:47I don't even know if she will make them.

00:20:49That's what I want you to find out.

00:20:51When?

00:20:52As soon as possible.

00:20:58Oh, and a soldat.

00:21:00Huh?

00:21:01There are two girls, friends of hers.

00:21:03I can trust you to exclude them.

00:21:07My word of honor.

00:21:08What do you mean, breaking in here?

00:21:21We don't admit beggars.

00:21:25I did not come here professionally.

00:21:28That is, not from a standpoint of my profession.

00:21:32I came here on a very confidential mission.

00:21:36To see Mademoiselle Lucille.

00:21:38I'm Lucille.

00:21:39Did you want to see me?

00:21:40Oh, yes.

00:21:43Privately.

00:21:43A certain gentleman has requested me to ask

00:21:59if you would do him a great favor.

00:22:02Who?

00:22:03Gaston Morel.

00:22:04The puppeteer.

00:22:06Oh, the puppeteer.

00:22:07Yes.

00:22:09He wanted to know if he would make some costumes

00:22:12for his new puppets.

00:22:14Why, yes, I'd be delighted to.

00:22:16When?

00:22:17Now.

00:22:19Where is he?

00:22:20At his studio.

00:22:23Why, I'll go right along with you.

00:22:28Yes.

00:22:29He has so many ideas.

00:22:32But one never knows what he will turn up with next.

00:22:39I always hope one day

00:22:41he will make a stomp for a rat to me.

00:22:53Why?

00:22:53Seal.

00:22:54Uh, I will run it off.

00:22:59Won't you come in?

00:23:00Oh, this is where you work.

00:23:22It is.

00:23:22The puppets.

00:23:25Did you make them?

00:23:27Yes.

00:23:27You don't seem very glad to see me.

00:23:29I'm delighted.

00:23:30These are the costumes.

00:23:31Do you think you can make them?

00:23:33They're quite good.

00:23:34Did you create them?

00:23:35Scarcely.

00:23:36They're period.

00:23:37Oh.

00:23:38Why so many?

00:23:40I'm thinking of devoting more time to my puppets.

00:23:42Up till now they've been nearly a toy, sideline.

00:23:43To your painting?

00:23:44Yes.

00:23:45I'm giving up my painting.

00:23:47Why?

00:23:48I'm giving up my painting.

00:24:02Why?

00:24:02I have my reasons.

00:24:06Well, of course.

00:24:11Of course.

00:24:13About the costumes, would you like me to make one for your approval?

00:24:16Take your choice.

00:24:20This.

00:24:31It's plain to be seen a woman's care is lacking here.

00:24:34Is the place that dirty?

00:24:36Oh, like any bachelor quarter.

00:24:41Give me that.

00:24:45It's torn.

00:24:46I meant to throw it away.

00:24:48It's just lovely material.

00:24:50It was my favorite.

00:24:52It needs only a stitch or two.

00:24:54Throw it away.

00:24:55Oh, it'd be a crime to.

00:24:57In a few seconds we'll put it right.

00:25:01Why'd you decide not to paint me?

00:25:04In the park after the show?

00:25:06Or you're going to make a puppet after me?

00:25:08You seem really interested.

00:25:10Something happened.

00:25:13What?

00:25:15I can't tell you that.

00:25:16Did I do something or say something?

00:25:18No.

00:25:21Were you disappointed after seeing me more closely?

00:25:25On the contrary.

00:25:27Then what?

00:25:29You asked too many questions.

00:25:31Oh, you don't like being asked questions?

00:25:33No.

00:25:34No.

00:25:35Got something to hide?

00:25:36Yes.

00:25:37Good.

00:25:38And suppose I promise not to ask any more questions.

00:25:42You're very charming.

00:25:45Quite unlike any person I've painted before.

00:25:48I wonder.

00:25:51Here we are.

00:25:53All fixed.

00:25:54Now you can use it again.

00:25:55Now you can use it again.

00:26:24What brings you here then, Martin?

00:26:25The police have found the body of the last girl.

00:26:37Well?

00:26:39Why must you continue to throw them into the sand for the police to find?

00:26:44You know why?

00:26:45That's the most frightening obsession of yours, Gaston.

00:26:51It has put me to great expense smuggling your paintings out in France to be disposed of.

00:26:57You must make enough out of the transaction to be always after me for another canvas.

00:27:01Is that what you're here for now, before you've disposed of the last one?

00:27:05As a matter of fact, I've sold you the last one.

00:27:08Already?

00:27:10Yes.

00:27:11The Duke of Caninion was in my shop the other day looking for something unusual.

00:27:16The Duke of Caninion?

00:27:17Don't tell me you've sold it to him.

00:27:19Oh, he didn't give me any fancy price such as he's noted for a mere 5,000 francs.

00:27:25Fool, the Duke of Caninion always exhibits his collections.

00:27:27What if someone should recognize the girl?

00:27:30The people who attend the Duke's exhibits are not likely to know such an obscure girl.

00:27:35But his exhibits are public.

00:27:36Anybody can get in.

00:27:38You better persuade him not to show that picture.

00:27:40That might arouse his suspicions.

00:27:42Buy it back from him.

00:27:44You said he gave you only 5,000.

00:27:46I don't think he would part with it.

00:27:48The girl in that painting was one of Bluebill's victims.

00:27:57A victim of Bluebeard?

00:27:58The fourth, to be exact.

00:27:59Are you sure?

00:28:00Positive.

00:28:01What?

00:28:02Oh, this is most distressing.

00:28:04One of our men on guard here at your exhibit noticed the resemblance and caught my attention to it.

00:28:07I investigated, and there can be no doubt it's the same girl.

00:28:09Most unfortunate.

00:28:11Most unfortunate for us if you happened to buy the picture.

00:28:13Because I'm sure that we can count on your cooperation.

00:28:15Naturally, I'll do anything in my power, Inspector.

00:28:17What do you know about the painter?

00:28:19The painter?

00:28:20The painter?

00:28:21Nothing.

00:28:22I bought the canvas largely on a recommendation of the art dealer.

00:28:26Although, of course, I recognised its great merit.

00:28:28Who was the art dealer?

00:28:30Jean Lamartte.

00:28:31Do you know him?

00:28:33Only by the thread.

00:28:34How is he?

00:28:35Yes, I'm sure.

00:28:36Who's the artist?

00:28:37The artist?

00:28:38How do you know about the painter?

00:28:39Well, you know him?

00:28:41Only by the artist.

00:28:42I didn't know.

00:28:43I know which is.

00:28:44Who's the artist?

00:28:45I didn't know.

00:28:46Who was the artist?

00:28:47The painter?

00:28:48Or what was he?

00:28:49You know him?

00:28:51Only by reputation.

00:28:53Le Marte.

00:28:55What did he tell you about the painter?

00:28:58As a matter of fact, he was evasive on that point.

00:29:00But he did intimate the painter was someone of reputation

00:29:03who executed this canvas under the pseudonym of Albert Garand.

00:29:08Le Marte.

00:29:10I think I'll pay him a visit.

00:29:14You don't seem to recall such a canvas.

00:29:17Of course, the Duke buys many pictures,

00:29:21and not all from me, unfortunately.

00:29:25But this one, he'll be caused distinctly having bought here.

00:29:29It was painted by one Albert Garand.

00:29:34Albert Garand?

00:29:38I don't recall his name.

00:29:41Strange, because he informed me he paid 30,000 francs for it.

00:29:45Because you had told him that someday this painter would be quite famous.

00:29:50I might have seen very talented paintings.

00:29:54I frequently backed my own judgment successfully.

00:29:59Have you by any chance any other paintings by this Albert Garand?

00:30:04I have a canvas by another very promising young man, if you are interested.

00:30:16Yes, I might be.

00:30:19This way, please.

00:30:21And this one is very reasonable.

00:30:31Yes.

00:30:33Yes, it's rather good.

00:30:35But not as striking as the Garand.

00:30:37You think you could locate this Garand for me?

00:30:41He might have something else I would like.

00:30:43You must have a record of that painting.

00:30:44Come to think of it, I do recall that canvas now.

00:30:50A plain dark girl against a bizarre background.

00:30:53An old man brought it in to me one day.

00:30:56Oh, the painter himself?

00:30:57No, some old man I've never seen before.

00:31:01He said he needed money.

00:31:02You happen to know his name?

00:31:04I paid cash.

00:31:06His name didn't interest me.

00:31:07Do you happen to know from whom he got the painting?

00:31:11No.

00:31:12He merely mentioned it had been the family a long time.

00:31:16But why all this interest in Albert Garand, may I ask?

00:31:21Well, I'm interested in his work.

00:31:23Are you sure you couldn't contact him for me?

00:31:25I wouldn't have the vaguest idea how to locate him.

00:31:29Well, I'm sorry, Monsieur Lamartine.

00:31:32I pray we can't do any business at the moment.

00:31:34If I knew where to reach you, gentlemen.

00:31:36Oh, I might drop in some other time.

00:31:40John?

00:31:58Francine!

00:31:59Lucille!

00:32:00Darling!

00:32:01Yes!

00:32:02You darling, when did you get back?

00:32:04I'm straight off the train.

00:32:05Oh, what a filthy trip.

00:32:07I had to get bathed right away, even before I could report to the office.

00:32:11You mean you have to go to the office tonight?

00:32:13Oh, yes.

00:32:14From the telegram I received, you'd think the whole of Paris was holding his breath until

00:32:17I got back.

00:32:18Was he with you?

00:32:19Who?

00:32:20You know whom I mean.

00:32:21You never told me his name.

00:32:23Oh, Jacques.

00:32:24No, he was not with me.

00:32:25It was Jacques who sent the telegram.

00:32:27Francine, it's outrageous.

00:32:28You're never home anymore.

00:32:29That position of yours.

00:32:30Wait a minute.

00:32:31Remember our agreement.

00:32:32I'm not to interfere in your affairs and you're not to in mine.

00:32:41But someone for me will simply have to wait.

00:32:43Someone for me will simply have to wait.

00:32:44I'm not to interfere in your affairs and you're not to in mine.

00:32:48You're not to in mine.

00:33:07But someone for me will simply have to wait.

00:33:09Good evening.

00:33:20I brought one of my little people for her to use as a model.

00:33:23Who is it, Lucille?

00:33:27It's one of my customers.

00:33:28Then why are you making clothes for men?

00:33:31For puppets.

00:33:33The puppeteers.

00:33:34Well, have them come in.

00:33:35I'll stay out of sight.

00:33:37It's my little sister, Francine.

00:33:38I'm sorry she isn't presentable.

00:33:40I'd like you to meet her.

00:33:42Tell him to come in and wait.

00:33:43I won't be long.

00:33:45Won't you come in?

00:33:48What's the matter with the afraid to...

00:33:51Good evening.

00:33:53Francine, this is Gaston Noel.

00:33:55How do you do?

00:33:56Usually better than this.

00:33:58I'll be out in a minute.

00:33:59I really can't stay.

00:34:01I thought if you had one of the puppets for fittings,

00:34:03they're all pretty much the same size.

00:34:05Oh.

00:34:06Then you want me to go right ahead and make the clothes?

00:34:08Certainly.

00:34:10I'd be glad to.

00:34:12Then if you'll excuse me.

00:34:15I'm very glad to have met you, mademoiselle.

00:34:17Happy to have met you.

00:34:19Good night.

00:34:20Good night.

00:34:21Just a customer, eh?

00:34:33Yes.

00:34:35Just a customer.

00:34:36Well, that's the first time I've heard them called puppets.

00:34:50Oh, they just came with the puppets.

00:34:53Oh, sure.

00:34:54To keep it from breaking.

00:34:57Well, he's not bad looking.

00:34:59The one who pulls the strings, I mean.

00:35:02Oh, Francine.

00:35:06I can't tell you how glad I am.

00:35:08Well, of course, we all are.

00:35:10So have you back.

00:35:10Thank you, Inspector.

00:35:12Oh, may I present my sister?

00:35:14Your sister?

00:35:15But you never told me you had such a charming sister.

00:35:17I'm no fool.

00:35:19How do you do it?

00:35:22I'm very happy to know you.

00:35:24Really, Francine has told me a great deal about you.

00:35:27Gentlemen, that will be all for the present.

00:35:29Now you must tell me about your success.

00:35:36What did you sit down for?

00:35:41And you?

00:35:45Now we can talk.

00:35:47Tell me all about yourself.

00:35:49I thought you called me back here on business.

00:35:51About Bluebeard.

00:35:53Bluebeard.

00:35:54He's a thaw in my side.

00:35:55Seemed to be getting nowhere.

00:35:57What have you done so far?

00:35:59Here's a complete dossier.

00:36:00I want you to read it when you find time.

00:36:02Up to recently, I had him classified as a painter.

00:36:06But we have questioned practically every art authority in Paris.

00:36:10Yes, Professor Boiseng.

00:36:12And even Rekamien Damme.

00:36:14And now we are questioning artist models.

00:36:17But no one seemed to know this man's technique.

00:36:20Well, I don't quite follow you.

00:36:23You see, I heard the painting by the Duke of Cardinal bought.

00:36:27However, it would be much quicker to show you.

00:36:30Would you come along, too?

00:36:32You two go ahead.

00:36:33I'll stay here.

00:36:34All right.

00:36:35It's only down the hall.

00:36:36We'll be back in two minutes.

00:36:37Thanks.

00:36:37Come on.

00:36:39Alain Boreau.

00:36:42Alain Boreau.

00:36:57Duke of Cardinal, Mademoiselle Francine Atchek.

00:36:59Be light.

00:37:00How do you do?

00:37:01How are you, Renard?

00:37:04Oh, thank you.

00:37:06I'm very well.

00:37:09Almost there, Vichon.

00:37:11No, I.

00:37:24You are an artist model.

00:37:26At the Beaux-Arts.

00:37:26Will you please study that picture?

00:37:34Have you any idea who actually painted that picture?

00:37:43No.

00:37:44You will notice the distinctive style.

00:37:47In what would you say that distinction lies?

00:37:53In the background.

00:37:54Exactly.

00:37:55Have you ever known a painter who used that type of background?

00:38:00No.

00:38:01Next girl.

00:38:02no next girl mimi robert and so it goes francine with no one seeming to know this painter's work

00:38:12perhaps if i were to question the marty no no he's too suspicious already

00:38:17la marty is the dealer who sold duke the painting i suspect that he knows the painter but i have

00:38:22no proof yet would you mind questioning a few inspector i've been at it for hours well certainly

00:38:32you understand mademoiselle you are not here on trial for any offense oh that's good we are merely

00:38:42qualifying witnesses you are an artist model but of course what do you take me for

00:38:51mademoiselle that's beside the point i've modeled for the greatest painters of france

00:38:59oh no doubt but we are only interested in uh contemporary artists and the most famous

00:39:04sculptors too you know of course uh the venus de malo oh yes an historical masterpiece but surely

00:39:13you're not going to tell us you model for her why i'm the exact duplication of her measurement

00:39:22but recently have you been occupied as a model well uh not exactly as a model

00:39:32you see uh since i've retired i've been uh i don't think you need to mean to that

00:39:37just one question do you know who albert gallard is albert gallard of course who is he

00:39:55take a look at that picture

00:39:57have you have any idea who that painter might be well when i modeled for money the question is

00:40:09do you know who painted that no next model

00:40:14i have an idea

00:40:24listen i have an idea the duke of carrying your rights you want a portrait of your daughter

00:40:32and asks me to help you find a satisfactory painter being strangers here we naturally look to the duke

00:40:38who is a relative for recommendations regarding a number of things why true so chiefly the duke is

00:40:45a man of excellent taste yes among these paintings i noticed one that particularly attracted me here

00:40:54the canvas of a young girl against her other startling background i was wondering if this

00:41:00painter is available what did you just say of that painter unfortunately we had no opportunity of

00:41:07asking him you see we only arrived in paris last evening just before the duke left town yes and

00:41:13since we're sailing back to south america before he returns we had the chance only for a few intimate

00:41:18matters and i mentioned wanting a portrait what was his painter's name i couldn't make it out very well

00:41:27he was a new Hausel uh color for caron girl possibly at any rate whoever he is his flesh tones are superb

00:41:39it was that which decided me that this is the painter to capture my daughter's subtle beauty

00:41:47Please, Father.

00:41:51Unfortunately, Monsieur Duchamp,

00:41:53I do not know the painter you have referenced to.

00:41:57But, uh, surely, Monsieur, for a commission,

00:42:00you could, uh, look him up?

00:42:03Rather a good commission.

00:42:04I would know where to find him.

00:42:06But, uh, for a commission of 75,000 francs,

00:42:11you could, uh, advertise?

00:42:14Edward Thomas.

00:42:17A hundred and fifty thousand might make a detective figure.

00:42:32Agreed.

00:42:34But mind you, I don't promise that we have success.

00:42:37Well, at least you can try.

00:42:39Oh, by the way, let me give you a little something on account.

00:42:43That isn't necessary.

00:42:45But if I do find this painter, and it turns out to be someone of reputation, painting under a pseudonym, he may not wish to use that name.

00:42:55Whatever name he paints under does not concern me, so long as he is the painter who did the canvas I like so much.

00:43:02It's fair to have such matters understood.

00:43:05But it will have to be painted soon.

00:43:07Don't forget, I want to take it with me to South America.

00:43:09I'll do my best.

00:43:11If I have any good news for you, I'll get in touch with you at once.

00:43:16At the deuce.

00:43:17We will be most grateful to you, Monsieur Le Marte.

00:43:52Oh, it's you.

00:44:08Why don't you come in the front way?

00:44:10Perhaps if you paid me my rent,

00:44:12you could dictate which way I should enter my own property.

00:44:15You've made plenty out of my paintings in the past.

00:44:19I made a small profit.

00:44:22In the past.

00:44:24But do you think I'm going to let you go on living here for nothing?

00:44:30I'll pay you.

00:44:36But what?

00:44:37What do you make with your puppetshow?

00:44:39Oh, I'll manage.

00:44:40Don't be ridiculous.

00:44:43But I'll make you a proposition.

00:44:4525,000 francs, if you will do.

00:44:4925,000?

00:44:50I might even get you 30.

00:44:53Oh, that would give me a magnificent puppet show.

00:44:56A dozen of them.

00:44:59What's the proposition?

00:45:00A rich South American wants a portrait of his daughter.

00:45:04Oh, I thought so.

00:45:06No, I've told you.

00:45:08I'm through painting.

00:45:08So you can be.

00:45:10For good.

00:45:11After just this one.

00:45:13Think of it, Gaston.

00:45:1430,000 francs.

00:45:16I am thinking of it.

00:45:23No, it's too risky.

00:45:30Besides, I've told you I won't pay any more of your girls.

00:45:33But this is difficult.

00:45:34This is important.

00:45:36And this is safe.

00:45:37She's leaving almost at once for South America to be married.

00:45:41And she's taking the painting with her.

00:45:47It's a trap.

00:45:48Do you think I would run any further risk?

00:45:56If there's no risk, why shouldn't I paint it at your studio?

00:45:59My studio?

00:46:00Yes.

00:46:01The workroom will be your shop.

00:46:03That's all right to paint a portrait in.

00:46:05Why?

00:46:06Yes.

00:46:07So it is.

00:46:09I paint her there or I don't paint her.

00:46:11All right.

00:46:13All right, Gaston.

00:46:15You paint her there.

00:46:18So the shop will be completely surrounded.

00:46:20With every possible escape block.

00:46:23But how are we to know that this Geron has actually showed up at Le Martais?

00:46:27We'll give you a signal.

00:46:29The shop can stand at the window and light his cigar.

00:46:32You notice that window at the back of the office.

00:46:35Station someone that can watch the window and relay the signal.

00:46:39But don't enter too soon.

00:46:40Give the painter a chance actually to start painting.

00:46:43That's it.

00:46:44We must have something on canvas as evidence.

00:46:46Perhaps, Francine, you could persuade the painter to demonstrate the background intends to use.

00:46:52I'll try, surely.

00:46:54The signal will mean only that the artist has arrived and started painting.

00:46:57Yes.

00:46:59I'll leave the time to you, Renard.

00:47:01But remember, you are also absolutely responsible.

00:47:04He further stipulated that there should be absolutely no visitors.

00:47:23Not even you, sir.

00:47:25Rather than risk his outright refusal, I accept it.

00:47:30Yes, but my daughter...

00:47:32Oh, you needn't be concerned about me.

00:47:35And I'm sure Le Martais will not object if you wait here and smoke.

00:47:38Not at all.

00:47:40He will.

00:47:41So, if you will be good enough to excuse us, I'll take the lady to our painting.

00:48:17The artist who understands the need for haste is quite agreeable.

00:48:19Therefore, I won't take up any more time.

00:48:22The artist who understands the need for haste is quite agreeable.

00:48:24Therefore, I won't take up any more time.

00:48:31The artist who understands the need for haste is quite agreeable.

00:48:35Therefore, I won't take up any more time.

00:48:42I think you had better close me.

00:48:43I must ask you to do that yourself.

00:48:49the effect will be more individual.

00:49:04I must ask you to do that yourself the effect will be more individual

00:49:34It didn't take you long. Not too long. Our painter was ready? He started. So if you don't mind we'll get on with our business arrangements. I have brought the cash as you stipulated. For the full amount? One hundred and fifty thousand francs. Good. I'll write you a receipt.

00:49:58Surely you must have done some pictures other than the one I saw at the Duke's. Haven't you? Pardon? I say I would love to see some other pictures you've done. Thank you. Head higher please.

00:50:28Have you a match?

00:50:43Cigar. Thanks. I don't smoke. But I always have matches with me. I find they frequently come in handy.

00:50:58I have some interesting curious back here. If you would like to look at them. But I would like to tempt crying eyes.

00:51:17I wore this simple dress thinking you might give me an interesting background. I liked particularly the background you gave that girl in the Duke's picture. Do you think you could do one for me like that?

00:51:31I couldn't. You have not liked it your cigar. Hmm. Oh, well I've been smoking a little too much lately. And besides I got interested in this tattoo. Good. Then you won't mind excusing me a moment while I go up and see how our painting is coming on. By all means. Go ahead.

00:51:52By all means, go ahead.

00:51:59Don't you think we'd better?

00:52:00I'll tell you when.

00:52:04But your shoulders!

00:52:05Can't you straighten up?

00:52:07Not so square.

00:52:08Well, I've asked you to pose me.

00:52:10Quite help us about such things.

00:52:22Surely it can't be so difficult for you to be yourself.

00:52:29What's the matter?

00:52:32I'm Lucille's puppeteer.

00:52:35Lucille?

00:52:37Sorry, you're a little bit.

00:52:40Who said so?

00:52:42La Marte.

00:52:44La Marte told you.

00:52:46Can you believe what La Marte told you?

00:52:50No!

00:53:20Well, there you go!

00:53:22Yes, you're fast-over and great strength!

00:53:24Welcome to you.

00:53:25Hail, eternally!

00:53:26Take care of yourself.

00:53:27For now, let's go!

00:53:28Mi, mi, mi, mi!

00:53:29My saracan!

00:53:30I love you!

00:53:31Let me be whole life!

00:53:33God bless his soul of yours,

00:53:34My son.

00:53:35Hello.

00:53:36I wish him to dear see you.

00:53:37Ohh-man!

00:53:39Come on!

00:53:40I'll and be like,

00:53:41Give him a surprise!

00:53:42Let me givegie to Amy whoever was 판 you!

00:53:43No!

00:53:44I love you!

00:53:45I love you, I love you!

00:53:46All ourื่ north isgrande,

00:53:47All sür tram k's you!

00:53:48Amartey, how many others have you told that I painted the pictures you've sold to the Duke?

00:54:15No one. No one.

00:54:19You're not telling me the truth.

00:54:30And you were trying to sneak out of here, leaving the blame for this to me as well.

00:54:35No. No. I want it.

00:54:44I'm sorry.

00:54:45And you even had a time, didn't you?

00:54:50You were going to be gone from here when they got in.

00:54:53No. No. No. No. No. No. No. No.

00:55:00No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No.

00:55:30We're breaking in.

00:55:31Redocle, warm those in the rear to keep a soft lookout.

00:55:37Break it down.

00:55:38We're breaking in.

00:55:39Redocle, warm those in the rear to keep a soft lookout.

00:55:42Break it down.

00:55:47Break it down.

00:56:17He's finished.

00:56:38Roi, with me!

00:57:05La Marte.

00:57:07Yes.

00:57:08His death certainly isn't going to help us any.

00:57:11Where's Francine?

00:57:12He took her out there.

00:57:37What of him now?

00:57:44We are no closer in capturing him than we were before.

00:57:49Not even that close.

00:57:50The Marte was the only one that we had to follow.

00:57:54Unless...

00:57:55Unless I can find out what happened to that cravat.

00:57:59But I've been all over town.

00:58:01They can do rounds at the shops and nothing.

00:58:04A cravat?

00:58:05Yes.

00:58:06This one.

00:58:07What's the matter?

00:58:11You say he used this?

00:58:12Yes.

00:58:13The carot.

00:58:14Then you think the owner of this cravat is the murderer?

00:58:15Very likely.

00:58:16If not, he probably could take us to the murderer.

00:58:18Francine.

00:58:19Francine.

00:58:20I don't know how to say this.

00:58:21But you know how I felt about Francine.

00:58:23She's your sister.

00:58:24If I only could make you believe, I would do everything I can.

00:58:25For you, too.

00:58:46Tokio.

00:58:55Now we have something in common, haven't we?

00:58:59Yes.

00:59:02Perhaps I should go in.

00:59:04Please do.

00:59:21My deepest sympathy.

00:59:35Is that the cravat I mended for you?

00:59:38This, very likely.

00:59:41What happened to the stitches?

00:59:44It may not be the same one. I have several alike.

00:59:51Half a dozen maple at home.

00:59:53Shot on a plaster of a glaze, I think. Why?

00:59:58I just wondered.

01:00:00Such unusual material for a cravat.

01:00:04Yes. Fragile.

01:00:09Would you be so kind?

01:00:13Would you care to go in?

01:00:15My interest is in the living.

01:00:18I called chiefly to offer my condolences.

01:00:55You're sealed?

01:00:56You must see over.

01:00:57May I come in?

01:00:58Please do.

01:01:05I'm sealed.

01:01:06I must see over.

01:01:07May I come in?

01:01:08Please do.

01:01:18Where's the cravat?

01:01:45Which?

01:01:46The one I mended for you.

01:01:48Well, that, if you must know, I threw it away.

01:01:53Oh, I wish I could believe you.

01:01:55You've been through a lot, Lucia.

01:01:57Sit down.

01:02:01Let me bring you something.

01:02:02Some cognac?

01:02:04Nothing, thank you.

01:02:08Where were you last night?

01:02:11Right here.

01:02:13Working on my puppets.

01:02:16The whole evening?

01:02:17I did go out for a little while.

01:02:23To paint someone.

01:02:25Haven't I told you I don't want to paint anymore?

01:02:27But that merely meant you wouldn't paint me.

01:02:31Why was that?

01:02:32What good would you do to tell you?

01:02:33You don't believe anything I say to you?

01:02:40Why wouldn't you?

01:02:42As a matter of fact, I was becoming too fond of you.

01:02:47Fond?

01:02:48Yes.

01:02:50But it was more than fondness.

01:02:51I found myself falling in love with you.

01:02:56Really in love.

01:02:58Why should I prevent you from painting me?

01:03:00I want to tell you something no other living person knows.

01:03:13Then maybe you'll understand how much I do love you.

01:03:16And why I don't want to paint you.

01:03:18I was a very ambitious youth, Lucille.

01:03:26And extremely sensitive.

01:03:29I almost starved to death as an art student.

01:03:32I didn't mind physical starvation.

01:03:38But there was something in me.

01:03:40A burning ambition.

01:03:41Striving to paint something really worthwhile.

01:03:44Something fine.

01:03:45I worked feverishly at the Beaux-Arts.

01:03:48Never seeming to get anywhere.

01:03:51I painted every model who came there.

01:03:53But the canvases all turned out to be one after another.

01:03:56Just ordinary.

01:03:59And then, one night.

01:04:02As I was going home to my garret.

01:04:05I came across a girl.

01:04:07She collapsed.

01:04:09I didn't know what to do.

01:04:11My garret was close by.

01:04:12My carriage was there.

01:04:13I took care of as best I could.

01:04:17I had little money.

01:04:20Barely enough for my penis.

01:04:22She needed nourishment or she would have died.

01:04:27Somehow I managed to get her the things she needed.

01:04:30Then one day to pass the time, I began to paint Jeanette.

01:04:33That was her name.

01:04:35Jeanette LeBeau.

01:04:37There was something in her fever-tormented eyes that was almost spiritual.

01:04:41Something that reminded me of someone I'd seen.

01:04:45Then it came to me.

01:04:48The maid of Enlant.

01:04:51I'd seen the tomb of the maid of Enlant.

01:04:54And it inspired me.

01:04:56Then by chance, I sold the pinion to Lamartier.

01:04:59Jeanette recovered after that.

01:05:01And then one day, without a word,

01:05:02she disappeared.

01:05:05And then one night, Lamartier turned up at my garret with a letter.

01:05:11It informed me that the Academy had awarded my picture.

01:05:14The maid of Enlant, the prize.

01:05:17It would hang in the Louvre.

01:05:19And I was being recommended for the Legion of Honor.

01:05:23I worked in the Louvre.

01:05:25I was almost in single joy.

01:05:33Quite naturally, I wanted to share my happiness with the one who was chiefly responsible for it.

01:05:37Jeanette.

01:05:39I went looking for her.

01:05:41Searching everywhere.

01:05:43At last, I traced her through the doctor I'd called in for her.

01:05:47He gave me her address.

01:05:50I went there.

01:05:51Outside her door, I heard laughter.

01:05:55But what laughter?

01:05:57Then,

01:05:59which then I really saw her.

01:06:02She invited me in.

01:06:05But she wasn't the same Jeanette.

01:06:11This was the real Jeanette.

01:06:14A low, coarse, loathsome creature.

01:06:18She offered me money.

01:06:19I suppose she thought she could repay me with money.

01:06:23Suddenly, the sight of that Jeanette did something to me.

01:06:26Something indescribably infuriating.

01:06:33I thought that would stop her defiling the image I'd created of her.

01:06:37Stop her degrading my work.

01:06:39I thought that would be the end of what she could do to me.

01:06:40But it wasn't.

01:06:42Every time I painted again, I painted Jeanette.

01:06:45So I turned to making puppets.

01:06:46Because I could make them of wood.

01:06:47Because when they became Jeanette, I could take up my fury on them.

01:06:51I couldn't kill wood.

01:06:57There's no money in puppets.

01:06:59At least not enough for Lamartey.

01:07:01I owed Lamartey a lot of money.

01:07:03And only he knew that I'd killed Jeanette.

01:07:06So I had to paint for Lamartey.

01:07:08He wanted pictures of girls he could sell.

01:07:10But again, every girl I'd painted turned out to be Jeanette.

01:07:13I couldn't permit it.

01:07:14I couldn't stop myself.

01:07:16Every time I'd painted her, I had to kill her again.

01:07:20Finally, life came to mean nothing to me.

01:07:23Not even my own.

01:07:30When I saw you.

01:07:34In you, I knew I had found what I'd missed in my existence.

01:07:37What I'd thought I might find in Jeanette and didn't.

01:07:40In you, I saw a chance for fulfillment.

01:07:43I knew I couldn't live my life over again to deserve you.

01:07:46I knew I couldn't undo the wrongs I'd done.

01:07:49But I could prevent further ones.

01:07:52That's why I definitely quit painting once and for all.

01:07:55I decided there must be no more killings for your sake.

01:07:59That's why I couldn't paint you.

01:08:02Now do you understand?

01:08:05Yes.

01:08:07Yes.

01:08:08Why, Francine?

01:08:17Francine.

01:08:18I didn't want to kill her.

01:08:21I accepted that one last commission because it would mean independence.

01:08:25There wasn't to be a chance for a slip-up.

01:08:28That's why I was to paint her at La Maté's studio with him standing by.

01:08:32I didn't recognize the girl that came there as your sister until it was too late.

01:08:35All I realized suddenly was she was coming between us, you and me.

01:08:40Cutting me off from you.

01:08:42Becking her one chance of happiness.

01:08:44You think anything could justify her murder?

01:08:47Anyone seeking to destroy our happiness is a menace.

01:08:50A menace that would have to be done away with.

01:08:56What are you going to do?

01:08:57The only thing I can do.

01:09:01You're not thinking of going to the police.

01:09:03Why not?

01:09:06You wouldn't do that.

01:09:09Wouldn't I?

01:09:11Lucille!

01:09:13You couldn't do that to me.

01:09:15Not you, Lucille.

01:09:17And even if you could, I wouldn't let you.

01:09:19I wouldn't let you turn against me, too.

01:09:22Oh, no, not you, Lucille.

01:09:24Not you.

01:09:24I would say a man.

01:09:26Don't take a look at the man.

01:09:27You're a person who's going to call me.

01:09:28I'm about to see a man.

01:09:28I don't know who is going to call me.

01:09:30But if I am, I want to look at the man.

01:09:32I don't know who is going to call me.

01:09:33I don't know who is going to call me.

01:09:34I'm going to call me.

01:09:35Let's call me.

01:09:36No.

01:09:37No.

01:09:42Come on.

01:09:42No.

01:09:43Go for a man.

01:09:44No.

01:09:45How did you get here?

01:10:15I followed you.

01:10:17I saw when you looked at that cavat that you had some idea.

01:10:45How did you get here?

01:10:52How did you get here?

01:10:57How did you get here?

01:11:04How did you get here?

01:11:09How did you get here?

01:11:16How did you get here?

01:11:24How did you get here?

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