🎨 Bluebeard (1944) Full Movie | Sinister Art & Suspense | John Carradine’s Creepy Masterpiece 🖼️🖤 - video Dailymotion

Just-Trending

🧣💀 In this haunting film noir thriller, John Carradine delivers one of his most chilling performances as the mysterious Parisian puppeteer with a dark secret. Bluebeard (1944) is a moody, gothic tale of obsession, art, and murder.  📽️ Plot Summary: Paris lives in fear as a series of women are found strangled. A soft-spoken artist named Gaston Morrell hides a terrifying double life, drawing women in with charm and painting—only for them to vanish. Can his crimes be stopped before he strikes again?  🕰️ Year Released: 1944 🎭 Genre: Crime, Mystery, Film Noir, Horror 🎬 Directed by: Edgar G. Ulmer 🎞️ Starring: John Carradine, Jean Parker, Nils Asther  🎯 Why Watch It? ✔️ Atmospheric direction by Edgar G. Ulmer (Detour) ✔️ One of John Carradine’s most iconic villain roles ✔️ Stylish blend of horror and noir ✔️ Public domain cult classic  🔔 Don’t forget to LIKE 👍 | COMMENT 💬 | SUBSCRIBE 🔔 for more vintage thrillers, horror gems, and noir treasures!  👇 Watch More Public Domain Mysteries & Horror Films Here: 📺 https://www.youtube.com/playlist?list=PLYSxyPafGbnT7hNTlq29mZQJKn7wrNglY ━━━━━━━━━━━━━━━━━━ 🎞️ #Bluebeard1944 #JohnCarradine #FilmNoir #ClassicThriller #VintageHorror #PublicDomainCinema #EdgarGUlmer #MysteryMovies #OldHollywoodHorror ━━━━━━━━━━━━━━━━━━ 🎨🖤 Behind every painting lies a chilling secret. Bluebeard (1944)—a noir nightmare you won’t forget! ________________________________________

Transcript

00:00:00THE END

00:00:30THE END

00:01:00THE END

00:01:30THE END

00:01:35THE END

00:01:40THE END

00:01:45THE END

00:01:50THE END

00:01:55THE END

00:02:00THE END

00:02:05THE END

00:02:10THE END

00:02:15THE END

00:02:20THE END

00:02:22THE END

00:02:24THE END

00:02:25THE END

00:02:29THE END

00:02:30THE END

00:02:34THE END

00:02:36THE END

00:02:38THE END

00:02:39THE END

00:02:43THE END

00:02:44THE END

00:02:45THE END

00:02:46THE END

00:02:47THE END

00:02:48THE END

00:02:49THE END

00:02:50THE END

00:02:54THE END

00:02:59THE END

00:03:00THE END

00:03:01THE END

00:03:02THE END

00:03:03THE END

00:03:04THE END

00:03:05THE END

00:03:06THE END

00:03:07THE END

00:03:08THE END

00:03:09THE END

00:03:10THE END

00:03:11THE END

00:03:12THE END

00:03:13THE END

00:03:20as if she wouldn't be scared to death

00:03:22to walk alone on the streets these nights.

00:03:24Why do you suppose it is the police haven't caught him?

00:03:28Home.

00:03:29Home?

00:03:30Why, Bluebeard, of course.

00:03:32Who else is all Paris terrified of?

00:03:34Oh, Bluebeard.

00:03:36I've forgotten.

00:03:37Come on, I want to get home.

00:03:47Now let's stay close together for safety.

00:03:50Come on, Bluebeard.

00:04:05It's the puppeteer.

00:04:07Hello.

00:04:10Constance is afraid of her own shadow.

00:04:13When are you going to get the show in the park again?

00:04:15Perhaps quite soon.

00:04:18These are my friends, Constance and Lucille.

00:04:21I forget your name.

00:04:23Gaston Moriel.

00:04:24I always think of you just as the puppeteer.

00:04:26You've seen the puppet shows in the park, of course.

00:04:29No, I've missed that.

00:04:31You mean you've missed his wonderful puppet operas?

00:04:33Oh, they're great fun.

00:04:34We should like to see one sometime.

00:04:36I should like your job.

00:04:37I haven't been showing my puppeteers much of late.

00:04:41It's difficult to get a crowd these evenings.

00:04:43Because of the Bluebeard scare.

00:04:46If you say you'll come, I'll give one tomorrow night.

00:04:49Tomorrow night?

00:04:51What do you say?

00:04:52Well, I...

00:04:53Of course you'll come.

00:04:55He's afraid of Bluebeard.

00:04:57Aren't you?

00:04:57What would Bluebeard want with me?

00:05:01I should think he might find you irresistible, mademoiselle.

00:05:05You'll give the puppet show tomorrow night, then?

00:05:07At the same place.

00:05:08We'll be there.

00:05:09Won't we, Lucille?

00:05:10Yes.

00:05:12Tomorrow night.

00:05:12You'll give your kisses, dear one.

00:05:30Say to love, go on, be gone.

00:05:36Never, never give a kiss

00:05:40Without a wedding ring

00:05:44Without a wedding ring

00:05:47Without a wedding ring

00:05:55Marguerite having been convinced that Faust deserted her

00:05:59and in a fit of despair having killed her child

00:06:02finally found the courage to give herself up.

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

00:06:08where Faust, with the aid of Mephistopheles, finds her.

00:06:38Come back to you. Yes, come back to you.

00:06:45And I'll surely save you. Yes, I've come to save you.

00:06:53I'm here. Come, come to my heart.

00:06:59Pray, do not think me. I'll help you on your way.

00:07:08Oh, fine sir, I am not a lady or a beauty.

00:07:18Not a lady or a beauty.

00:07:24And I don't need your help to see me on my way.

00:07:33Take a warning, take a warning, but it will be too late.

00:07:38It is he, the devil, he sees me there in the shadows.

00:07:46But never get lost with eyes of fire.

00:07:51Oh, dear Lord, take my soul in your cabin.

00:07:58Holy angels, radiant and bright.

00:08:05Carry my soul in your cabin.

00:08:10We must hurry.

00:08:12And I will never get lost with eyes of fire.

00:08:17I will never get lost with eyes of fire.

00:08:25Jeremy, you take over and help this old daughter.

00:08:27Demonstrate the purpose to whoever comes back.

00:08:29I'm going to take up the collection tonight.

00:08:57Would you like the show?

00:08:59Very much.

00:09:01I created the puppets myself.

00:09:03Did you make the costumes?

00:09:05Well, I designed them. Why?

00:09:07Lucille's a modiste, so it's natural she's interested in clothes.

00:09:10Mordiste, do you think you can make some new costumes for me?

00:09:15Oh, well, I...

00:09:16Come backstage. Let me show you the costumes.

00:09:27Now, if that was a woman, you wouldn't need no strings to make her talk.

00:09:32How do you make the eyes?

00:09:33Oh, the eyes? Oh, that's very simple.

00:09:35You see these two strings here.

00:09:37You like my little people, huh?

00:09:39Very much.

00:09:41They seem quite real to me.

00:09:42There are likenesses of people I've known.

00:09:46Mephistopheles, too?

00:09:47Yes, the evil one, too.

00:09:50One other thing is he's also my business manager.

00:09:54And Marguerite, is she a friend of yours?

00:09:57She was.

00:09:59Was?

00:10:01Yes, unfortunately, she met a tragic ending.

00:10:03She must have been very beautiful.

00:10:08They say you'll show me how the puppets work.

00:10:10Let's get out of here until these people leave.

00:10:12They'll be asking endless questions.

00:10:14I can't talk with a lot of people around.

00:10:28I should think in your business you like crowds.

00:10:31As a puppeteer, you mean?

00:10:33As a matter of fact, I prefer creating puppets to, performing them.

00:10:36You make them act so well.

00:10:40There's something in your voice.

00:10:43It made me feel you'd suffered.

00:10:45You're very discerning.

00:10:47It's your Marguerite.

00:10:48In memory of that tragedy, isn't it?

00:10:50Pardon?

00:10:52And you're keeping the tragedy alive deliberately, aren't you?

00:10:55Why?

00:10:56If you wanted to forget it, you could create a new puppet.

00:10:59One that would remind you of someone else.

00:11:01Someone who might make you happy.

00:11:02Is it much trouble to create a puppet?

00:11:07It takes time.

00:11:09First I'll make a sketch.

00:11:10A painting?

00:11:12Do you paint too?

00:11:13Enough to get the effect.

00:11:16Do you know you have very lovely eyes?

00:11:19Truthful eyes.

00:11:23Would you let me make a puppet in your image?

00:11:26Would you like to?

00:11:27Very much.

00:11:29Let's see.

00:11:32Are you trying to decide how you'll paint me?

00:11:34No.

00:11:38I'm not going to paint you.

00:11:41Lucille!

00:11:42Lucille!

00:11:47You better go with him.

00:11:49You better stay close to him.

00:11:52But you're Marguerite's costume.

00:11:54Don't you want me to make it for you?

00:11:56As you please.

00:12:02Where's my name?

00:12:03Oh, looking for you.

00:12:08Oh.

00:12:10Was she difficult?

00:12:11Well, the way she always is when you avoid her.

00:12:15If she comes back, tell her I'm looking for her.

00:12:18Which you won't be.

00:12:19Of course not.

00:12:21Good night, Lucille.

00:12:22Good night.

00:12:24You picked up a little something?

00:12:26What?

00:12:28Oh.

00:12:29You mean some money?

00:12:30For the musicians, you know.

00:12:31For the musicians, of course.

00:12:32For the musicians, of course.

00:12:39Oh.

00:12:40My word of honor.

00:12:53Oh.

00:13:21Oh.

00:13:24Why didn't you stay at the puppet show?

00:13:27And watch you flirt with that girl?

00:13:30Who is she?

00:13:31I don't know.

00:13:32Just a girl.

00:13:34Another, I suppose, to take my job for a few days.

00:13:37A few weeks.

00:13:39And you think you'll come back to me again?

00:13:41I think you'd better go now, Renée.

00:13:42Oh, no. Not this time.

00:13:44Renée?

00:13:46I won't stand for it.

00:13:48I warn you.

00:13:50You'll regret it.

00:13:51Regret it?

00:13:53I've regretted it from the start.

00:13:55From the first day I met you.

00:13:57I didn't ask you to fall in love with me.

00:13:59No.

00:14:01Then why did you keep telling me you needed me?

00:14:04That I was necessary to your success?

00:14:06What was I to think?

00:14:08What did you think, Renée?

00:14:12Gaston.

00:14:14These girls.

00:14:16I know they didn't mean anything to you, really.

00:14:19Because you always came back to me.

00:14:23But Gaston, what's happened to them?

00:14:27Do you think?

00:14:28What the hell are you going to have that?

00:14:29I know what you're going to have that?

00:14:30You're so sick.

00:14:32Well...

00:14:38You're so sick.

00:14:40You're so sick.

00:14:41I'm sick.

00:14:43What are you saying?

00:14:44I'm sick.

00:14:45I'm sick.

00:14:47What happened?

00:14:49I'm sick.

00:14:51I'm sick.

00:14:53I'm sick.

00:14:54Let's go.

00:15:24Let's go.

00:15:54Let's go.

00:15:55Let's go.

00:15:56Let's go.

00:15:57Let's go.

00:15:58Let's go.

00:15:59Let's go.

00:16:00Let's go.

00:16:01Let's go.

00:16:02Let's go.

00:16:03Let's go.

00:16:04Let's go.

00:16:05Let's go.

00:16:06Let's go.

00:16:07Let's go.

00:16:08Let's go.

00:16:10Let's go.

00:16:11Let's go.

00:16:12Let's go.

00:16:13Let's go.

00:16:14Let's go.

00:16:15Let's go.

00:16:16Let's go.

00:16:17Let's go.

00:16:18Let's go.

00:16:19Let's go.

00:16:20Let's go.

00:16:21Let's go.

00:16:22Let's go.

00:16:23Let's go.

00:16:24Let's go.

00:16:25Let's go.

00:16:26Let's go.

00:16:27Morelle, how did you know the girl was missing?

00:16:29She was to have rehearsed with me this morning.

00:16:32When she didn't show up, I went to her room.

00:16:34When there was no answer, I got the concierge to let me in.

00:16:37Her bed had not been slept in.

00:16:39I called again a little while ago.

00:16:41She had not turned up.

00:16:43The concierge told me the police found another girl in the same this morning.

00:16:47Another victim of Bluebeard, so I got worried.

00:16:51Have you any idea who had a motive to kill her?

00:16:54I can't think of anyone.

00:16:56She was always so kind.

00:17:00When did you see her last?

00:17:01At the puppet show.

00:17:02She left before I did.

00:17:04You can prove that, of course.

00:17:06Of course.

00:17:08You didn't notice if she left with anyone?

00:17:10No, I didn't.

00:17:12It's always quite crowded backstage after the performance.

00:17:15People come back to see how we pulled the strings.

00:17:18Then they slipped away before I knew she was gone.

00:17:21You didn't, by chance, notice anyone in the crowd

00:17:24that struck you as unusual.

00:17:26I'm sorry, I can't give you any information that might help you.

00:17:29We are grateful for your identification.

00:17:31And we will call on you if there's any further way you can help us.

00:17:33Good evening.

00:17:35Good evening.

00:17:36Good evening.

00:17:37Happy breakfast.

00:17:38Happy breakfast.

00:17:42Thanks, Chef.

00:17:43Come to me, Chef.

00:17:45Come to my friend.

00:17:46Come to my friend.

00:17:48I'm glad I can hear you.

00:17:49Come to my friend.

00:17:50When I come to Paris.

00:17:52Come to me.

00:17:53Let's go.

00:18:04Good evening.

00:18:06You have come to tell me when we will give Faust again?

00:18:10Now how can we give Faust again until we find a new marguerite?

00:18:14Mademoiselle Renée is not with us anymore.

00:18:18What a pity.

00:18:20She had a good voice.

00:18:21Do you have someone else in mind for Marguerite?

00:18:24No.

00:18:26I'm thinking of giving a new puppet show.

00:18:29A show?

00:18:30Yes, something on the order of a ballet with a lot of new costumes.

00:18:35What is her name?

00:18:39Lucila Tien.

00:18:42Where do I find this one?

00:18:44Madame Blanche, Baudiche Shop.

00:18:47When do you want her to sit for you?

00:18:51I'm not going to paint this one.

00:18:56I'm not going to paint this one.

00:18:58No?

00:19:00Definitely not.

00:19:02I merely wanted her to make some costumes for me.

00:19:05That's a new one.

00:19:09It's a fact.

00:19:11Nothing more.

00:19:12Just to make some costumes for my puppets.

00:19:15At your studio?

00:19:16I don't know where she'll make them.

00:19:18I don't even know if she will make them.

00:19:21That's what I want you to find out.

00:19:23When?

00:19:24As soon as possible.

00:19:30Oh, and a soldier.

00:19:33There are two girls, friends of hers.

00:19:35I can trust you to exclude them.

00:19:38My word of honor.

00:19:52What do you mean breaking in here?

00:19:54We don't admit beggars.

00:19:55What do you mean?

00:19:58I did not come here professionally.

00:20:00That is not from a standpoint of my profession.

00:20:03I came here on a very confidential mission.

00:20:07To see Mademoiselle Lucille.

00:20:10I'm Lucille.

00:20:11Did you want to see me?

00:20:12Oh, yes.

00:20:14Privately.

00:20:26A gentleman has requested me to ask if you would do him a great favor.

00:20:32Who?

00:20:34Gaston Morel.

00:20:36The puppeteer.

00:20:38Oh, the puppeteer.

00:20:40Yes.

00:20:41He wanted to know if he would make some costumes for his new puppets.

00:20:45Why, yes, I'd be delighted to.

00:20:47When?

00:20:49Now.

00:20:51Where is he?

00:20:52At his studio.

00:20:54I'll go along with you.

00:21:01He has so many ideas.

00:21:05One never knows what he will turn up with next.

00:21:11I always hope one day he will make a stomp after me.

00:21:24What?

00:21:25See you.

00:21:27I will run along.

00:21:31Why don't you come in?

00:21:32Let's go.

00:21:51So, this is the place where you work?

00:21:53It's right.

00:21:56The puppets.

00:21:57Did you make them?

00:22:01Yes.

00:22:06You don't seem very glad to see me.

00:22:08I'm delighted.

00:22:10These are the costumes.

00:22:12Do you think you can make them?

00:22:15They're quite good.

00:22:17Did you create them?

00:22:19Scarcely.

00:22:20They're period.

00:22:21Oh.

00:22:22Why so many?

00:22:24I'm thinking of devoting more time to my profits.

00:22:26Up until now, they've been nearly a toy, sidelined.

00:22:30To your painting?

00:22:31Yes.

00:22:36I'm giving up my painting.

00:22:38Why?

00:22:40I have my reasons.

00:22:43Well, of course.

00:22:45About the costumes, would you like me to make one for your approval?

00:22:48Take your choice.

00:22:52This.

00:22:56It's plain to be seen that a woman's care is lacking here.

00:22:58Is the place that dirty?

00:22:59Oh, like any bachelors.

00:23:02Give me that.

00:23:02It's torn.

00:23:03I meant to throw it away.

00:23:04It's this lovely material.

00:23:04It was my favorite.

00:23:05It needs only a stitch or two.

00:23:07Throw it away.

00:23:07Oh, it would be a crime too.

00:23:08Don't like any bachelors.

00:23:17Give me that.

00:23:18It's torn.

00:23:19I meant to throw it away.

00:23:21It's this lovely material.

00:23:22It was my favorite.

00:23:24It needs only a stitch or two.

00:23:26Throw it away.

00:23:27Oh, it'd be a crime to.

00:23:29In a few seconds, I'll put it right.

00:23:33Why did you decide not to paint me?

00:23:35In the park after the show.

00:23:38You're going to make a puppet after me.

00:23:40You seemed really interested.

00:23:42Something happened.

00:23:44What?

00:23:46I can't tell you that.

00:23:48Did I do something or say something?

00:23:50No.

00:23:52Were you disappointed after seeing me more closely?

00:23:57On the contrary.

00:23:58Then what?

00:24:01You asked too many questions.

00:24:02Oh.

00:24:03Oh.

00:24:04You don't like being asked questions.

00:24:05No.

00:24:06Is that something to hide?

00:24:07Yes.

00:24:08Good.

00:24:09And suppose I promise not to ask any more questions.

00:24:14You're very charming.

00:24:16Quite unlike any person I've painted before.

00:24:19I wonder.

00:24:22Here we are.

00:24:24All fixed.

00:24:26Now you can use it again.

00:24:33You can't find anything.

00:24:34I'm sorry.

00:24:36I've got to go of.

00:24:37I'm on the right.

00:24:38You're on the right.

00:24:40I'm afraid to be on the right.

00:24:41I'm with you.

00:24:42I'm listening to the right.

00:24:43No, I'm you.

00:24:44You're about to be on the right.

00:24:45Yes, I'm in the right.

00:24:46Yes.

00:24:47I'm watching my watch.

00:24:48I'm trying to wiggle my watch.

00:24:50What do you bring here, Lamonté?

00:24:53The police have found the last girl's body.

00:24:57Well?

00:24:58Why don't you continue to throw them into the sand for the police to find?

00:25:03Do you know why?

00:25:04That's the most frightening obsession of yours, Gaston.

00:25:08Why don't you continue to throw them into the sand for the police to find?

00:25:11You know why?

00:25:13That's the most frightening obsession of yours, Gaston.

00:25:16It has put me to great expense smuggling your paintings out in France to be disposed of.

00:25:23You must make enough out of the transaction to be always after me for another canvas.

00:25:28Is that what you're here for now, before you dispose of the last one?

00:25:31As a matter of fact, I've sold you the last one.

00:25:35Already?

00:25:36Yes.

00:25:37The Duke of Cagnon was in my shop the other day,

00:25:39looking for something unusual.

00:25:41The Duke of Cagnon was in my shop the other day,

00:25:44looking for something unusual.

00:25:46The Duke of Cagnon?

00:25:47Don't tell me you've sold it to him.

00:25:49Oh, he didn't give me any fancy price,

00:25:51such as he's noted for a mere 5,000 francs.

00:25:56Fool, the Duke of Cagnon always exhibits his collections.

00:25:59What if someone should recognize the girl?

00:26:01The people who attend the Duke's exhibits

00:26:03are not likely to know such an obscure girl.

00:26:06But his exhibits are public.

00:26:07Anybody can get in.

00:26:08You better persuade him not to show that picture.

00:26:10That might arouse his suspicions.

00:26:12Buy it back from him.

00:26:14You said he gave you only 5,000.

00:26:16I don't think he would part with it.

00:26:18The girl in that painting was one of Bluebeard's victims.

00:26:34The victim of Bluebeard?

00:26:35The fourth, to be exact.

00:26:37Are you sure?

00:26:38Positive.

00:26:42Oh, this is most distressing.

00:26:46One of our men on guard here at your exhibit

00:26:48noticed the resemblance.

00:26:50I called my attention to it.

00:26:52I investigated,

00:26:53and there can be no doubt it's the same girl.

00:26:55Most unfortunate.

00:26:57Most fortunate for us that you happened to buy the picture.

00:27:00Because I'm sure that we can count on your cooperation.

00:27:02That's right.

00:27:03I'll do anything in my power, Inspector.

00:27:06What do you know about the painter?

00:27:08Nothing.

00:27:09I bought the canvas,

00:27:10largely on the recommendation of the art dealer.

00:27:12Although, of course,

00:27:13I recognized its great merit.

00:27:15Who was the art dealer?

00:27:17Jean Lamarte.

00:27:19Do you know him?

00:27:20Only by reputation.

00:27:22Lamarte.

00:27:24What did he tell you about the painter?

00:27:28He was evasive on that point.

00:27:30But he did intimate the painter

00:27:32with someone of reputation

00:27:33who executed this canvas

00:27:35under the pseudonym of Albert Garo.

00:27:38Lamarte.

00:27:40I think I'll pay him a visit.

00:27:44You don't seem to recall such a canvas.

00:27:48Of course, the Duke buys many pictures,

00:27:51and not all from me, unfortunately.

00:27:54But this one,

00:27:56he was distinctly bought here.

00:27:59It was painted by one Albert Garo.

00:28:04Albert Garo?

00:28:08I don't recall his name.

00:28:11Strange.

00:28:12Because he informed me

00:28:13he paid 30,000 francs for it.

00:28:16Because you had told him

00:28:17that someday this painter

00:28:18would be quite famous.

00:28:20I might have seen great, talented painting.

00:28:23I frequently backed my own judgment successfully.

00:28:30Have you, by any chance,

00:28:31any other paintings

00:28:32by this Albert Garo?

00:28:34I'm sorry to say I haven't.

00:28:38But I have a canvas by another.

00:28:42Very promising young man,

00:28:43if you are interested.

00:28:46Yes, I might be.

00:28:48This way, please.

00:28:53And this one is very reasonable.

00:29:01Yes.

00:29:03Yes, it's rather good.

00:29:05But not as striking as the Garong.

00:29:07Do you think you could

00:29:08locate this Garong for me?

00:29:10He might have something else I would like.

00:29:12You must have a record of that painting.

00:29:14I can't think of it.

00:29:16I do recall that canvas now.

00:29:19A plain dark girl

00:29:20against a bizarre background.

00:29:22An old man brought it into me one day.

00:29:25Oh, the painter himself?

00:29:27No.

00:29:28Some old man I've never seen before.

00:29:30He said he needed money.

00:29:32You happen to know his name?

00:29:33I paid cash.

00:29:35His name didn't interest me.

00:29:36Do you happen to know from whom he got the painting?

00:29:40No.

00:29:41He merely mentioned

00:29:42it had been the family a long time.

00:29:45But why all this interest in Albert Garong, may I ask?

00:29:50Well, I'm interested in his work.

00:29:52Are you sure you couldn't contact him for me?

00:29:54I wouldn't have the vaguest idea how to locate me.

00:29:59Well, I'm sorry, Monsieur Lamartine.

00:30:01I'm afraid we can't do any business at the moment.

00:30:03If I knew where to reach you, gentlemen.

00:30:05Oh, I might drop in some other time.

00:30:09Sure.

00:30:24I'm sorry.

00:30:27Francine!

00:30:28Lucille!

00:30:29Darling!

00:30:31You, darling.

00:30:32When did you get back?

00:30:33I'm straight off the train.

00:30:35Oh, what a filthy trip.

00:30:36I had to get bathed right away even before I could report to the office.

00:30:40You mean you have to go to the office tonight?

00:30:42Oh, yes.

00:30:43From the telegram I received, you think the whole of Paris was holding his breath until I got back.

00:30:53Was he with you?

00:30:55Who?

00:30:56You know whom I mean.

00:30:58You never told me his name.

00:31:01Oh, Jacques.

00:31:02No, he was not with me.

00:31:04It was Jacques who sent the telegram.

00:31:07Francine, it's outrageous.

00:31:09You're never home anymore.

00:31:11That position of yours...

00:31:12Wait a minute.

00:31:13Remember our agreement.

00:31:15I'm not too unfair in your affairs and you're not too in mine.

00:31:24But someone from me will simply have to wait.

00:31:46Good evening.

00:31:48I bought one of my little people for her to use as a model.

00:31:52Who is it, Lucille?

00:31:55It's one of my customers.

00:31:57Since when are you making clothes for men?

00:32:00For puppets.

00:32:02The puppeteer.

00:32:03Well, have him come in.

00:32:04I'll stay out of sight.

00:32:06It's my little sister, Francine.

00:32:08I'm sorry she isn't presentable.

00:32:09I'd like you to meet her.

00:32:11Tell him to come in and wait.

00:32:12I won't be long.

00:32:14Won't you come in?

00:32:17What's the matter? Was he afraid to...

00:32:20Good evening.

00:32:21Francine.

00:32:22This is Gaston Moyle.

00:32:23How do you do?

00:32:25Usually better than this.

00:32:26I'll be out in a minute.

00:32:28I really can't stay.

00:32:29I thought if you had one of the puppets for fittings,

00:32:32they're all pretty much the same size.

00:32:35Then you want me to go right ahead and make the clothes?

00:32:37Certainly.

00:32:38I'd be glad to.

00:32:40Then if you'll excuse me.

00:32:43I'm very glad to have met you, mademoiselle.

00:32:45Happy to have met you.

00:32:47Good night.

00:32:48Good night.

00:32:59Just a customer, eh?

00:33:02Yes, just a customer.

00:33:13Well, that's the first time I've heard them called puppets.

00:33:19Oh.

00:33:20They just came with the puppet.

00:33:21Oh, sure.

00:33:22To keep it from breaking.

00:33:25Well, he's not bad looking.

00:33:27The one who pulls the strings, I mean.

00:33:30Oh, Francine.

00:33:35I can't tell you how glad I am.

00:33:36Well, of course, we all are.

00:33:37So have you back.

00:33:38Thank you, Inspector.

00:33:39Oh, may I present my sister?

00:33:42Your sister?

00:33:43But you never told me you had such a charming sister.

00:33:45I'm no fool.

00:33:47How do you do?

00:33:50I'm very happy to know you.

00:33:52Really, Francine has told me a great deal about you.

00:33:55Gentlemen, that will be all for the present.

00:33:57But now you must tell me about your success.

00:33:59What did you do?

00:34:00And you?

00:34:02And now you can talk.

00:34:04Tell me all about yourself.

00:34:05I thought you called me back here on business.

00:34:06About Bluebeard.

00:34:08Bluebeard.

00:34:09He's a thorn in my side.

00:34:10You seem to be getting very well.

00:34:12What have you done so far?

00:34:14Here's a complete dossier.

00:34:15I want you to read it.

00:34:16And you'll find it.

00:34:17You'll find it.

00:34:18You'll find it.

00:34:19You'll find it.

00:34:20You'll find it.

00:34:21You'll find it.

00:34:22You'll find it.

00:34:23You'll find it.

00:34:24You'll find it.

00:34:25You'll find it.

00:34:26You'll find it.

00:34:27There's a complete dossier.

00:34:28I want you to read it.

00:34:29And you'll find time.

00:34:30Up until recently, I hadn't classified as a painter.

00:34:34But we have questioned practically every art authority in Paris.

00:34:38Yes, Professor Voisin.

00:34:40And even Rekamien Daun.

00:34:42Another questioning artist models.

00:34:45But no one seems to know this man's technique.

00:34:48Well, I don't quite follow you.

00:34:50You see, I have the painting that the Duke of Cadenault bought.

00:34:54However, it would be much quicker to show you.

00:34:57Would you come along too?

00:34:59You too, go ahead.

00:35:00I'll stay here.

00:35:01All right.

00:35:02It's only down the hall.

00:35:03We'll be back in two minutes.

00:35:04Next mile.

00:35:05Alain Barrault.

00:35:09Alain Barrault.

00:35:10All right, my table, I need to go.

00:35:12Oh, sorry.

00:35:13This is a formulation.

00:35:14This is yours.

00:35:15Don't leave it there.

00:35:16You're aONE DRI Marshal.

00:35:27I came long, and it's great, Loff.

00:35:28They're very late.

00:35:29You were right, don't feel right.

00:35:30You could then leave the bar

00:35:32all by him.

00:35:33I'm very well.

00:35:37Call the service, Charles.

00:35:39No, I...

00:35:51You are an artist, Mr. Beaux-Arts.

00:36:00Will you please study that picture?

00:36:03Do you have any idea who actually painted that picture?

00:36:10No.

00:36:12You will notice the distinctive style.

00:36:15In what would you say that distinction lies?

00:36:20In the background.

00:36:22Exactly.

00:36:24Have you ever known a painter who used that type of background?

00:36:29No.

00:36:30Next girl, Lémy Robert.

00:36:33No one seems to know this painter's work.

00:36:36Perhaps if I were to question Lamarté.

00:36:37No, he's too suspicious already.

00:36:39Lamarté is the dealer who sold you for the painting.

00:36:41I suspect that he knows the painter, but I have no proof yet.

00:36:44Would you mind questioning if you, Inspector, I've been at it for hours?

00:36:48Well, that's such a little remorse, isn't it?

00:36:50Yes.

00:36:50You understand, mademoiselle, you're not here on trial for any offence.

00:36:52Oh, that's good.

00:36:54We are merely codifying witnesses.

00:36:56You are an artist's model.

00:36:57But of course, what do you take me for?

00:36:58Mademoiselle, that's beside the pint.

00:37:00Why is it in the courtroom?

00:37:01I've modeled the greatest painters of France.

00:37:03Oh, no doubt.

00:37:04But we are only interested in contemporary artists.

00:37:07And the most famous sculptors too.

00:37:09You know, of course, the Venus de Milo.

00:37:09Oh, yes.

00:37:11And the most famous sculptors too.

00:37:12You know, of course, the Venus de Milo.

00:37:13Oh, yes.

00:37:14I've modeled the greatest painters of France.

00:37:15Oh, no doubt.

00:37:17But we are only interested in contemporary artists.

00:37:20And the most famous sculptors too.

00:37:22You know, of course, the Venus de Milo.

00:37:29Oh, yes.

00:37:30And the most famous sculptors too.

00:37:32You know, of course, the Venus de Milo.

00:37:35Oh, yes.

00:37:37An historical masterpiece.

00:37:39But surely, you're not going to tell us you modeled for her.

00:37:44Why?

00:37:45I'm the exact duplication of her measurements.

00:37:50But recently, have you been occupied as a model?

00:37:54Well, not exactly as a model.

00:37:58You see, since I retired...

00:38:00I've been...

00:38:02I don't think you need to be into that.

00:38:09Just one question.

00:38:11Do you know who Albert Gellar is?

00:38:15Albert Gellar.

00:38:17Of course.

00:38:19Who is he?

00:38:20Bluebeard.

00:38:22Take a look at that picture.

00:38:25Have you any idea who that painter might be?

00:38:31Well, when I modeled for money...

00:38:34The question is, do you know who painted that?

00:38:37No.

00:38:39Next model.

00:38:40I've got a picture.

00:38:41Lorenzo.

00:38:50Listen, I have an idea.

00:38:53The Duke of Carignan writes,

00:38:55you want a portrait of your daughter.

00:38:57And ask me to help you find a satisfactory painter.

00:39:01Being strangers here, we naturally look to the Duke,

00:39:04who is a relative for recommendations regarding a number of things.

00:39:08I do so, chiefly.

00:39:10The Duke is a man of excellent taste.

00:39:13Yes.

00:39:14Among his paintings, I noticed one that particularly attracted me.

00:39:19the canvas of a young girl against her rather startling background.

00:39:24I was wondering if this painter is available.

00:39:28What did the Duke say of that painter?

00:39:31Unfortunately, we had no opportunity to ask him.

00:39:33You see, we only arrived in Paris last evening.

00:39:36Just before the Duke left town.

00:39:37Yes, and since we're sailing back to South America before he returns,

00:39:41we had the chance only for a few intimate matters.

00:39:45I mentioned wanting a portrait.

00:39:46What was this painter's name?

00:39:50I couldn't make it out very well.

00:39:54Karoff or Caron?

00:39:57Garon?

00:39:58Possibly.

00:40:00At any rate, whoever he is, his flesh tones are superb.

00:40:04It was that which decided me that this is the painter

00:40:09to capture my daughter's subtle beauty.

00:40:12Please, Father.

00:40:14Unfortunately, Mr. Deschamps, I do not know the painter you have referenced.

00:40:22But surely, Monsieur, for a commission, you could look him up.

00:40:27A rather good commission.

00:40:29I don't know where to find him.

00:40:31But for a commission of 75,000 francs, you could...

00:40:38...advertise?

00:40:39Advertise.

00:40:44...a hundred and fifty thousand might make an attractive figure.

00:40:57Agreed.

00:40:58But mind you, I don't promise that we will have success.

00:41:02Well, at least you can try.

00:41:03Oh, by the way, let me give you a little something on account.

00:41:07That isn't necessary.

00:41:09But if I do find this painter, and he turns out to be someone of reputation,

00:41:15painting under a pseudonym, he may not wish to use that name.

00:41:19Whatever name he paints under does not concern me,

00:41:22so long as he is the painter who did the canvas I like so much.

00:41:26It's better to have such matters understood.

00:41:29But it will have to be painted soon.

00:41:31Don't forget, I want to take it with me to South America.

00:41:33I'll do my best.

00:41:36If I have any good news for you, I'll get in touch with you at once.

00:41:40At the Duke's.

00:41:41We will be most grateful to you, Monsieur Le Marte.

00:41:59Well, thank you.

00:42:00All right, let's go.

00:42:01All right.

00:42:19Now I'll come.

00:42:25jump and switch.

00:42:25Yes

00:42:26.

00:42:29Oh, it's you. Why don't you come in the front way?

00:42:32Perhaps if you paid me my rent, you could dictate which way I should enter my own property.

00:42:38You've made plenty out of my paintings in the past.

00:42:42I made a small profit in the past.

00:42:46Do you think I'm going to let you go on living here for nothing?

00:42:52I'll pay you.

00:42:59What? What do you make with your puppet show?

00:43:03Oh, I'll manage.

00:43:04Don't be ridiculous.

00:43:06But I'll make you a proposition.

00:43:0825,000 francs, if you will do.

00:43:1225,000?

00:43:14I might even get you 30.

00:43:16Oh, that would give me a magnificent puppet show.

00:43:19A dozen of them.

00:43:22What's the proposition?

00:43:24A rich South American wants a portrait of his daughter.

00:43:27Oh, I thought so.

00:43:29No.

00:43:30I've told you, I'm through painting.

00:43:32So you can be.

00:43:33For good.

00:43:34After just this one.

00:43:36Think of it, Gaston.

00:43:3730,000 francs.

00:43:41I am thinking of it.

00:43:47No, it's too risky.

00:43:53Besides, I've told you, I won't pay any more of your girls.

00:43:55But this is different.

00:43:56This is a portrait.

00:43:58And this is safe.

00:44:00She's leaving almost at once for South America to be married.

00:44:03And she's taking the painting with her.

00:44:09It's a trap.

00:44:11Do you think I would run any further risk?

00:44:14Yes.

00:44:19If there's no risk, why shouldn't I paint her at your studio?

00:44:21My studio?

00:44:22Yes.

00:44:24The workroom over your shop.

00:44:25That's all right to paint a portrait in.

00:44:27Why?

00:44:28Yes.

00:44:30So it is.

00:44:31I paint her there or I don't paint her.

00:44:34All right.

00:44:35All right, Gaston.

00:44:37You paint her there.

00:44:38So the shop will be completely surrounded with every possible escape blocked.

00:44:45But how are we to know that this Garong has actually showed up at Le Montez?

00:44:49We'll give you a signal.

00:44:51The champ can stand at the window and light his cigar.

00:44:53You notice that window at the back of the office.

00:44:56Station someone that can watch the window and relay the signal.

00:44:59But don't hit her too soon.

00:45:02Give the painter a chance actually to start painting.

00:45:04That's it.

00:45:05We must have something on canvas as evidence.

00:45:08Perhaps, Francine, you could persuade the painter to demonstrate the background it has to use.

00:45:14I'll try, surely.

00:45:16The thing will mean only that the artist has arrived and started painting.

00:45:20Yes.

00:45:21I'll leave the time to you, Renard, but remember, you're also absolutely responsible.

00:45:29He said that there should be absolutely no visitors.

00:45:45Not even you, sir.

00:45:47Rather than risk his outright refusal.

00:45:50I accept it.

00:45:52Yes, but my daughter...

00:45:54Oh, you wouldn't be concerned about me.

00:45:55And I'm sure Le Montez will not object if you wait here and smoke.

00:46:00Not at all.

00:46:02Well...

00:46:03So, if you will be good enough to excuse us, I'll take the lady to our painting.

00:46:25The painter has requested that he be permitted to work unobserved.

00:46:41He finds it more satisfactory in that way.

00:46:44The senorita is here.

00:46:46Are you ready?

00:46:48Quite ready.

00:46:50I hope he will be quite comfortable.

00:46:53If there's anything you want, we have only to call down the speaking tube.

00:47:00The artist who stands the need for haste is quite agreeable.

00:47:04Therefore, I won't take up any more time.

00:47:19I...

00:47:21I think you had better pose me.

00:47:25I must ask you to do that yourself.

00:47:28The effect will be more individual.

00:47:49Well, it didn't take you long.

00:47:58Not too long, I hope.

00:48:00Our painter was ready.

00:48:02He has started.

00:48:04So, if you don't mind, we'll get down with our business arrangements.

00:48:08I have brought the cash as you stipulated.

00:48:11For the full amount?

00:48:13One hundred and fifty thousand francs.

00:48:15Good.

00:48:17I will write you a receipt.

00:48:23Surely you must have done some pictures other than the one I saw at the Duke's.

00:48:27Haven't you?

00:48:29Pardon?

00:48:31I say I would love to see some other pictures you've done.

00:48:36Head higher, please.

00:48:46Have you a match?

00:48:49Have you a match?

00:49:03Cigar.

00:49:05Thanks, sir.

00:49:07I don't smoke.

00:49:09But they always have matches with me.

00:49:10I find they frequently come in handy.

00:49:27I have some interesting curious back here.

00:49:30If you would like to look at them.

00:49:32But I would like to tempt prying eyes.

00:49:41I wore this simple dress thinking you might give me an interesting background.

00:49:44I liked particularly the background you gave that girl in the Duke's picture.

00:49:48Do you think you could do one for me like that?

00:49:51I could.

00:49:53You have not liked that you're a cigar.

00:49:56Huh?

00:49:58Well, I've been smoking a little too much lately.

00:50:01And besides, I got interested in this statue.

00:50:04Good.

00:50:06You won't mind excusing me a moment while I go up and see how our painting is coming on.

00:50:11By all means.

00:50:13Go ahead.

00:50:18Don't you think we'd better?

00:50:20I'll tell you when.

00:50:23Put your shoulders.

00:50:25Can't you straighten up?

00:50:27Not so square.

00:50:29Well, I've asked you to pose me.

00:50:31I'm quite helpless about such things.

00:50:35I need to see you.

00:50:37What's the matter?

00:50:39I'm a sailor, Papa dear.

00:50:41I'm a sailor, Papa dear.

00:50:43A sailor?

00:50:45I'm sorry, you are.

00:50:47Who said so?

00:50:49The marquette.

00:50:51Lucille's puppeteer.

00:50:53Lucille?

00:50:59Who said so?

00:51:05Can you believe what Lamarté told you?

00:51:20I don't know.

00:51:50Let's go.

00:52:20How many others have you told that I painted the pictures you sold to the Duke?

00:52:32No one.

00:52:34No one.

00:52:35You're not telling me the truth.

00:52:46And you were trying to sneak out of here.

00:52:48You're leaving the blame for this to me as well.

00:52:52No.

00:52:53No.

00:52:55I want it.

00:53:00I'm sorry.

00:53:03And you even had a time, didn't you?

00:53:06You were going to be gone from here when they got in.

00:53:09You're going to be here.

00:53:10I'm sorry.

00:53:10I don't know.

00:53:11I've never had a time, didn't you?

00:53:12I've never had a time.

00:53:14You're going to be there.

00:53:15I don't know.

00:53:16You're going to be there.

00:53:17You're going to be there.

00:53:18I'll be there.

00:53:19Let's go.

00:53:49We're breaking in.

00:53:55We're down.

00:53:56Almost in the rear.

00:53:57Keep a soft lookout.

00:54:14Break it down.

00:54:19Let's go.

00:54:29He's finished.

00:54:59He took her out there.

00:55:29Look at him now.

00:55:59We are no closer in capturing him than we were before, not even that close.

00:56:06Le Marché was the only one that we had to follow.

00:56:10Unless...

00:56:11Unless I can find out what happened to that cravat.

00:56:15But I've been on love of town, making the rounds at the shops and nothing.

00:56:19What's the matter?

00:56:31You say he used this?

00:56:34This?

00:56:35Yes.

00:56:36The carat.

00:56:37And you think the owner of this cravat is the murderer?

00:56:40Very likely.

00:56:41If not, he probably could take us to the murderer.

00:56:44Lucine.

00:56:45Lucine.

00:56:46Lucine, I don't know how to say this, but you know how I felt about Francine.

00:56:51She's your sister.

00:56:52If I only could make you believe, I would do everything I can.

00:56:58And for you too.

00:57:00Now we have something in common, haven't we?

00:57:07Yes.

00:57:08Perhaps I should go in.

00:57:09Please, John.

00:57:10Please, John.

00:57:11Please, John.

00:57:39Please, John.

00:57:40Please, John.

00:57:49My deepest sympathy.

00:57:51Is that the cravat I made for you?

00:57:54This?

00:57:55Very likely.

00:57:57What happened to the stitches?

00:58:00It may not be the same one.

00:58:01I have several alike.

00:58:05Several?

00:58:06Half a dozen maybe at home in my drawer.

00:58:10May I ask where you got them?

00:58:12In a little shop.

00:58:13And a place to the glaze.

00:58:14I think quiet.

00:58:18I just wondered.

00:58:20It's such unusual material for a cravat.

00:58:24Yes.

00:58:26Fragile.

00:58:29Would you be so kind?

00:58:33Would you care to go in?

00:58:36My interest is in the living.

00:58:37In the living.

00:58:39I called to offer my condolences.

00:59:07You see her.

00:59:08I must see her.

00:59:09May I come in?

00:59:10Please do.

00:59:11You see her.

00:59:12I must see her.

00:59:13May I come in?

00:59:14Please do.

00:59:15You see her.

00:59:16You see her.

00:59:17I must see her.

00:59:18May I come in?

00:59:19Please do.

00:59:20You see her.

00:59:21You see her.

00:59:22You see her.

00:59:23I must see her.

00:59:24May I come in?

00:59:25Please do.

00:59:26May I come in?

00:59:28Please do.

00:59:56I'll be back.

01:00:04Where is the cravat?

01:00:06Which one?

01:00:07The one I made for you.

01:00:09That one.

01:00:11You must know, I threw it away.

01:00:14I wish I could believe you.

01:00:16You've been through a lot, Lucille.

01:00:18Sit down.

01:00:22Let me bring you something.

01:00:23Some cognac?

01:00:24Nothing. Thank you.

01:00:29Where were you last night?

01:00:32Right here.

01:00:34Working on my puppets.

01:00:37The whole evening?

01:00:38I did go out for a little while.

01:00:44To paint someone?

01:00:46Haven't I told you I don't want to paint anymore?

01:00:48But that merely meant you wouldn't paint me.

01:00:52Why was that?

01:00:53What good would you do to tell you?

01:00:58You don't believe anything I say to you.

01:01:01Why wouldn't you?

01:01:03As a matter of fact,

01:01:05I was becoming too fond of you.

01:01:08Fond?

01:01:09Yes.

01:01:11But it was more than fondness.

01:01:14I found myself falling in love with you.

01:01:17Really in love.

01:01:18I found myself falling in love with you.

01:01:20Why should I prevent you from painting me?

01:01:21Why should I prevent you from painting me?

01:01:28Lucille.

01:01:31I want to tell you something no other living person knows.

01:01:35Then maybe you'll understand how much I do love you.

01:01:39And why I don't want to paint you.

01:01:40I was a very ambitious youth, Lucille, and extremely sensitive.

01:01:52I almost starved to death as an art student.

01:01:54I didn't mind physical starvation, but there was something in me.

01:02:00A burning ambition, striving to paint something really worthwhile.

01:02:05Something fine.

01:02:06I worked feverishly at the Beaux-Arts, never seeming to get anywhere.

01:02:09I painted every model who came there, but the canvases all turned out to be one after another, just ordinary.

01:02:21And then, one night, as I was going home to my garret, I came across a girl, and she collapsed.

01:02:31I didn't know what to do.

01:02:33My garret was close by, and I carried her there.

01:02:35I took care of her as much as I could.

01:02:40I had little money, barely enough for my penis.

01:02:45She needed nourishment, or she would have died.

01:02:49Somehow, I managed to get her the things she needed.

01:02:53Then, one day, to pass the time, I began to paint Jeanette.

01:02:56That was her name.

01:02:58Jeanette LeBeau.

01:03:00There was something in her fever-tormented eyes that was almost spiritual.

01:03:03There was something that reminded me of someone I'd seen.

01:03:08Then it came to me.

01:03:11The maid of Orléans.

01:03:14I'd seen the tomb of the maid of Orléans.

01:03:17It inspired me.

01:03:19Then, by chance, I sold the painting to Lamarté.

01:03:22Jeanette recovered after that, and then one day, without a word,

01:03:27she disappeared.

01:03:28And then, one night, Lamarté turned up at my garret, with a letter.

01:03:34It informed me that the Academy had awarded my picture,

01:03:38the maid of Orléans, the prize.

01:03:40It would hang in the Louvre.

01:03:43And I was being recommended for the Legion of Honor.

01:03:47I worked in the Louvre.

01:03:49I was almost in single drawing.

01:03:51I wanted to share my happiness with the one who was the chiefly responsible for it.

01:04:01Jeanette.

01:04:03I went looking for her.

01:04:04I searched everywhere.

01:04:07At last, I traced her through the doctor I'd called in for her.

01:04:10He gave me her address.

01:04:14I went there.

01:04:16Outside our door, I heard laughter.

01:04:17But, what laughter?

01:04:21Then,

01:04:23which then, I really saw her.

01:04:26She invited me in.

01:04:29She wasn't the same Jeanette.

01:04:35This was the real Jeanette.

01:04:38A low, coarse, loathsome creature.

01:04:42She offered me money.

01:04:44I suppose she thought she could repay me with money.

01:04:46Suddenly, the sight of that Jeanette, it did something to me.

01:04:49Something indescribably infuriating me.

01:04:56I thought that would stop her defiling the image I created of her.

01:05:00It would stop her degrading my work.

01:05:01I thought that would be the end of what she could do to me, but it wasn't.

01:05:04Every time I painted again, I painted Jeanette.

01:05:08So, I turned to making puppets, because I could make them of wood.

01:05:11Because when they became Jeanette, I could take up my fury on them.

01:05:14I couldn't kill them.

01:05:16There was no money in puppets.

01:05:20At least, not enough for Lamartey.

01:05:22I owed Lamartey a lot of money.

01:05:24And only he knew that I'd killed Jeanette.

01:05:26So, I had to paint for Lamartey.

01:05:29He wanted pictures of girls he could sell.

01:05:31But, again, every girl I painted turned out to be Jeanette.

01:05:33And I couldn't permit it. I couldn't stop myself.

01:05:41Every time I painted her, I had to kill her again.

01:05:46Finally, I painted nothing to me, not even my own.

01:05:55Here, I saw you.

01:05:59I knew I had found what I'd missed in my existence.

01:06:01What I'd thought I might find in Jeanette, and didn't.

01:06:05In you, I saw a chance for fulfillment.

01:06:08I knew I couldn't live my life over again to deserve you.

01:06:11I knew I couldn't undo the wrongs I'd done.

01:06:15But I could prevent further ones.

01:06:17That's why I definitely quit painting once and for all.

01:06:20I decided there must be no more killings for your sake.

01:06:24That's why I couldn't paint you.

01:06:27Now, do you understand?

01:06:30Yes.

01:06:32Yes.

01:06:37Why, Francine?

01:06:42Francine.

01:06:44I didn't want to kill her.

01:06:46I accepted that one last commission because it would mean independence.

01:06:51There wasn't to be a chance for a slip-up.

01:06:53That's why I was to paint her at Lamartey's studio with him standing by.

01:06:56I didn't recognize the girl that came there as your sister until it was too late.

01:07:01All I realized suddenly was she was coming between us, you and me.

01:07:05Cutting me off from you.

01:07:07Wrecking our one chance of happiness.

01:07:09You think anything could justify her murder?

01:07:13Anyone seeking to destroy our happiness is a menace.

01:07:16A menace that would have to be done away with.

01:07:17What are you going to do?

01:07:23The only thing I can do.

01:07:27You're not thinking of going to the police.

01:07:29Why not?

01:07:32You wouldn't do that.

01:07:35Wouldn't I?

01:07:37Lucille!

01:07:39You couldn't do that to me.

01:07:40Not you, Lucille.

01:07:43And even if you could, I wouldn't let you.

01:07:45I wouldn't let you turn against me, too.

01:07:47Oh, no, not you, Lucille.

01:07:49Not you.

01:07:57Smash in the door.

01:07:58Quickly.

01:07:59All right.

01:08:00Let's get it.

01:08:01Let's get it.

01:08:31How did you get here?

01:08:41I followed you.

01:08:43I saw when you looked at that cravat as you had some idea.

01:09:01I saw a lion.

01:09:03I saw a lion.

01:09:06I saw a lion.

01:09:10He got it.

01:09:11I saw a lamb.

01:09:13I saw two rojones at first.

01:09:15I saw one fox unconscious.

01:09:16I saw one corn hinaus.

01:09:19I saw three stars.

01:09:22Three stars.

01:09:23One fires land.

01:09:27I saw a knight.

01:09:28Let's go.

01:09:58Let's go.

🎨 Bluebeard (1944) Full Movie | Sinister Art & Suspense | John Carradine’s Creepy Masterpiece 🖼️🖤

Category

Transcript

Recommended