The Painter’s Dark Secret

Rita

Uncover the chilling mystery in The Painter’s Dark Secret, a haunting classic filled with suspense, intrigue, and hidden darkness. This vintage story follows the life of an artist whose charm hides a terrifying secret, leading to shocking revelations and unforgettable drama. A timeless black-and-white film that blends mystery, crime, and psychological tension, perfect for fans of classic cinema and suspenseful thrille

Transcript

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00:02:29What are you doing here?

00:02:31I only came to walk home with you.

00:02:33Don't you realize the streets of Paris aren't safe after dark with Bluebeard still at large?

00:02:39Donnette!

00:02:40The Bluebeard didn't get you.

00:02:42So are you.

00:02:43What are you trying to do?

00:02:45Drive me to my grave?

00:02:47Constance, it's already as dark as pitch.

00:02:51Lucille, will you hurry?

00:02:53Do you want us to leave and let you walk home alone?

00:02:55Coming, Babette.

00:02:59But you needn't have waited for me.

00:03:01Do you hear her?

00:03:02As if she wouldn't be scared to death to walk alone on the streets these nights.

00:03:07Why do you suppose it is the police haven't caught him?

00:03:09Who?

00:03:11Home?

00:03:12Home?

00:03:13Why, Bluebeard, of course.

00:03:14Who else is all Paris terrified of?

00:03:17Oh, Bluebeard.

00:03:18I've forgotten.

00:03:19Come on.

00:03:20I want to get home.

00:03:30Now let's stay close together for safety.

00:03:32It's the puppeteer.

00:03:49Hello.

00:03:53Constance seems afraid of her own shadow.

00:03:55When are you going to give a show in the park again?

00:03:58Perhaps quite soon.

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

00:04:03I forget your name.

00:04:05Gaston Moria.

00:04:06I always think of you just as the puppeteer.

00:04:09You've seen his puppet shows in the park, of course.

00:04:11No, I've missed that.

00:04:13You mean you've missed his wonderful puppet operas?

00:04:15Oh, they're great fun.

00:04:17I should like to see one sometime.

00:04:19I should like you to.

00:04:20I haven't been showing my puppets much of late.

00:04:23It's difficult to get a crowd these evenings

00:04:25because of the Bluebeard's care.

00:04:27But if you say you'll come, I'll give one tomorrow night.

00:04:31Tomorrow night?

00:04:33What do you say?

00:04:35Well, I...

00:04:36Of course you'll come.

00:04:37You're afraid of Bluebeard.

00:04:39Not you?

00:04:41What would Bluebeard want with me?

00:04:44I should think he might find you.

00:04:45Irresistible, mademoiselle.

00:04:47You'll give the puppet show tomorrow night, then?

00:04:49At the same place.

00:04:50We'll be there.

00:04:51Won't we, Lucille?

00:04:53Here.

00:04:54Tomorrow night.

00:04:55Love, give your kisses, dear one.

00:05:13Say to love, go and be gone.

00:05:17Never, never give a kiss

00:05:22Without a wedding ring

00:05:26Without a wedding ring

00:05:31Marloreed, having been convinced that Faust deserted her

00:05:48And in a fit of despair having killed her child

00:05:51Finally found the courage to give herself up

00:05:54She was tried and sentenced to prison where Faust, with the aid of Mephistopheles, finds her.

00:06:24She said, I am free, she's here and once more I am here.

00:06:42Yes, I love you. Yes, I've come, I love you.

00:06:51Even though that mocking devil try to keep us far apart.

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

00:07:08And I'll surely save you. Yes, I've come to save you.

00:07:16I'm here. Come, come to my heart.

00:07:23They do not think me bold.

00:07:27My very beautiful lady, my arm is yours to hold.

00:07:38And have you on your way.

00:07:45Oh, my child, I am not a lady or a beauty. Not a lady or a beauty.

00:08:01And I'll hold your hand to see me on my way.

00:08:10Take one, take one, but it will be too late.

00:08:14I'm here.

00:08:15I'm here.

00:08:16I'm here.

00:08:17I'm here.

00:08:18I'm here.

00:08:19I'm here.

00:08:20I'm here.

00:08:21I'm here.

00:08:22I'm here.

00:08:23I'm here.

00:08:24I'm here.

00:08:25I'm here.

00:08:26I'm here.

00:08:27I'm here.

00:08:28I'm here.

00:08:29I'm here.

00:08:30I'm here.

00:08:31I'm here.

00:08:32I'm here.

00:08:33I'm here.

00:08:34I'm here.

00:08:35I'm here.

00:08:36I'm here.

00:08:37I'm here.

00:08:38I'm here.

00:08:39I'm here.

00:08:40I'm here.

00:08:41I'm here.

00:08:42I'm here.

00:08:43I'm here.

00:08:44I'm here.

00:08:45I'm here.

00:08:46I'm here.

00:08:47I'm here.

00:08:48I'm here.

00:08:49I'm here.

00:08:50I'm here.

00:08:51Give me holy love, ring and cry.

00:08:59Carry my soul and the heart.

00:09:04We must hurry.

00:09:06Rise, I'm holding your feet.

00:09:10Rise.

00:09:11Rise, I'm holding your feet.

00:09:15With me, with me, with me

00:09:21I'll be here, and I'll go and learn

00:09:30But I'll let you learn

00:09:36I'll be here

00:09:45Jeremy, you take over and help this old dog demonstrate the purpose to whoever comes back.

00:09:50I'm going to take up the collection tonight.

00:10:17Would you like the show?

00:10:19Very much.

00:10:21I created the puppets myself.

00:10:23Did you make the costumes?

00:10:25Well, I designed them. Why?

00:10:27Lucille's a modiste, so it's natural she's interested in clothes.

00:10:30Modiste?

00:10:32Do you think you can make some new costumes for me?

00:10:35Oh, well, I...

00:10:36Come backstage. Let me show you the costumes.

00:10:45Now, if that was a woman, you wouldn't need no string to make her talk.

00:10:52How do you make the eyes?

00:10:54Oh, the eyes. Oh, that's very simple. You see these two strings here.

00:10:57You like my little people, huh?

00:10:59Very much.

00:11:01They seem quite real to me.

00:11:03They're all likenesses of people I've known.

00:11:06Mephistopheles, too?

00:11:08Yes, the evil one, too.

00:11:10One other thing is he's also my business manager.

00:11:13And Nigiri, is she a friend of yours?

00:11:17She was.

00:11:19Was?

00:11:21Yes. Unfortunately, she made a tragic ending.

00:11:26It must have been very beautiful.

00:11:28They say you'll show me how the puppets work.

00:11:31Let's get out of here until these people leave.

00:11:33They'll be asking endless questions.

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

00:11:48I should think, in your business, you'd like crowds.

00:11:51The puppeteer, you mean?

00:11:53As a matter of fact, I prefer creating puppets, too. Performing them.

00:11:57You make them act so well.

00:11:59There's something in your voice.

00:12:02It made me feel you'd suffered.

00:12:04You're very discerning.

00:12:06It's your marguerite.

00:12:08The memory of that tragedy, isn't it?

00:12:10The puppet?

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

00:12:15Why, I...

00:12:16If you wanted to forget it, you could create a new puppet.

00:12:18One that would remind you of someone else.

00:12:21Someone who might make you happy.

00:12:25Is it much trouble to create a puppet?

00:12:27It takes time.

00:12:28First, I'll make a sketch.

00:12:30A painting.

00:12:31Do you paint, too?

00:12:33Enough to get the effect.

00:12:36You know you have very lovely eyes.

00:12:39Truthful eyes.

00:12:43Would you let me make a puppet in your image?

00:12:46Would you like to?

00:12:47Very much.

00:12:48Let's see.

00:12:52Are you trying to decide how you'll paint me?

00:12:54No.

00:12:58I'm not going to paint you.

00:13:01I'm sealed.

00:13:02I'm sealed.

00:13:07You'd better go with him.

00:13:09You'd better stay close to him.

00:13:12But your marguerite costume.

00:13:14Don't you want me to make it for you?

00:13:16As you please.

00:13:25Where's my name?

00:13:26Oh.

00:13:27Looking for you.

00:13:28Oh.

00:13:29Was she difficult?

00:13:31Well, the way she always is when you avoid her.

00:13:34If she comes back, tell her I'm looking for her.

00:13:37Which you won't be.

00:13:39Of course not.

00:13:40Good night, Lister.

00:13:41Good night.

00:13:43You picked up a little something?

00:13:46What?

00:13:48Oh.

00:13:49You mean some money?

00:13:50For the musicians, you know.

00:13:51For the musicians?

00:13:52Of course.

00:13:58Oh.

00:13:59My word of honor.

00:14:00Warner?

00:14:30Why didn't you stay at the puppet show?

00:14:46We watch you flirt with that girl.

00:14:49Who is she?

00:14:50I don't know.

00:14:51It's the girl.

00:14:53Another, I suppose, to take my job for a few days.

00:14:56A few weeks.

00:14:58And you think you'll come back to me again?

00:14:59I think you'd better go now, Renée.

00:15:01Oh, no, not this time.

00:15:04Renée?

00:15:05I won't stand for it.

00:15:07I warned you.

00:15:09You'll regret it.

00:15:10Regret it?

00:15:12Gaston, I've regretted it from the start.

00:15:14From the first day I met you.

00:15:16I didn't ask you to fall in love with me.

00:15:19No?

00:15:20Then why did you keep telling me you needed me?

00:15:23That I was necessary to your success.

00:15:26What was I to think?

00:15:27What did you think, Renée?

00:15:29Gaston, these girls, I've known they didn't mean anything to you, really, because you always

00:15:40came back to me.

00:15:43But, Gaston, what's happened to them?

00:15:46What did you think?

00:15:47Gaston, why did you think they killed?

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00:19:03Yes?

00:19:04Send for Francine Etienne.

00:19:06Rush her back to Paris at once.

00:19:08But Inspector...

00:19:09At once.

00:19:22Good evening.

00:19:24You have come to tell me when we will give Faust again?

00:19:27Now how can we give Faust again until we find a new marguerite?

00:19:31Oh, Mademoiselle Renée is not with us anymore.

00:19:36What a pity.

00:19:38She had a good voice.

00:19:40You have somebody else in mind for marguerite?

00:19:43No.

00:19:44I'm thinking of giving a new puppet show.

00:19:47So?

00:19:48Yes, something on the order of a ballet with a lot of new costumes.

00:19:53What is her name?

00:19:56Lucille Etienne.

00:20:01Where do I find this one?

00:20:03Madame Blanche, Mordi's shop.

00:20:06When do you want her to sit for you?

00:20:15I'm not going to paint this one.

00:20:17Hello?

00:20:18Definitely not.

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

00:20:24That's a new one.

00:20:28It's a fact.

00:20:29Nothing more.

00:20:30Just to make some costumes for my puppets.

00:20:33At your studio?

00:20:35I don't know where she'll make them.

00:20:36I don't even know if she will make them.

00:20:38That's what I want you to find out.

00:20:40When?

00:20:41Soon as possible.

00:20:48Oh, and a soldier.

00:20:49Huh?

00:20:50There are two girls.

00:20:51Friends of hers.

00:20:52I can trust you to exclude them.

00:20:55My word of honor.

00:20:57My word of honor.

00:21:10What do you mean breaking in here?

00:21:11We don't admit beggars.

00:21:16I did not come here professionally.

00:21:18That is, not from a standpoint of my profession.

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

00:21:25To see Mademoiselle Lucille.

00:21:28I'm Lucille.

00:21:29Did you want to see me?

00:21:30Oh, yes.

00:21:32Privately.

00:21:46A certain gentleman has requested me to ask

00:21:48if you would do him a great thing.

00:21:51Who?

00:21:52Gaston Morel.

00:21:54The puppeteer.

00:21:55Oh, the puppeteer.

00:21:57Yes.

00:21:58He wanted to know if he would make some costumes

00:22:01for his new puppets.

00:22:03Why, yes.

00:22:04I'd be delighted to.

00:22:05When?

00:22:07Now.

00:22:09Where is he?

00:22:10At his studio.

00:22:13Fine.

00:22:14I'll go right along with you.

00:22:18Yes.

00:22:19He has so many ideas.

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

00:22:29I always hope one day, he will make a stonzer after me.

00:22:33Me?

00:22:42Ah.

00:22:43See you.

00:22:45I will run along.

00:22:49Come in.

00:23:03Well, this is where you work.

00:23:04It is.

00:23:05The puppets.

00:23:06Did you make them?

00:23:07Yes.

00:23:08You don't seem very glad to see me.

00:23:09I'm delighted.

00:23:10These are the costumes.

00:23:11Do you think you can make them?

00:23:13They're quite good.

00:23:14Did you create them?

00:23:15Scarcely.

00:23:16They're purely.

00:23:17Oh, why so many?

00:23:18I'm thinking I'd be looking for them.

00:23:20I'm thinking of the puppets.

00:23:21The puppets.

00:23:23The puppets.

00:23:24Did you make them?

00:23:26Yes.

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

00:23:28You're 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 purely.

00:23:37They're purely.

00:23:39Oh.

00:23:40Why so many?

00:23:41I'm thinking of devoting more time to my puppets.

00:23:43Up to now they've been nearly a toy.

00:23:45Sideline.

00:23:47Your painting?

00:23:48Yes.

00:23:53I'm giving up my painting.

00:23:55Why?

00:23:57I have my reasons.

00:24:00Well, of course.

00:24:02About the costumes, would you like me to make one for your approval?

00:24:05Take your choice.

00:24:08This.

00:24:21It's plain to be seen a woman's care is lacking here.

00:24:24Is the place that dirty?

00:24:26Oh, like any bachelor quarter.

00:24:34Give me that.

00:24:35It's torn.

00:24:36I meant to throw it away.

00:24:38It's such lovely material.

00:24:40It was my favorite.

00:24:42It needs only a stitch or two.

00:24:44Throw it away.

00:24:45Oh, it'd be a crime to.

00:24:47A few seconds or put it right.

00:24:48Why'd you decide not to paint me?

00:24:49In the park after the show?

00:24:50You better make a puppet after me.

00:24:51You seem really interested.

00:24:52Something happened.

00:24:53What?

00:24:54I can't tell you that.

00:24:55Did I do something or say something?

00:24:56No.

00:24:57Are you disappointed after seeing me more closely?

00:24:58On the contrary.

00:24:59Then what?

00:25:00You asked too many questions.

00:25:01Oh, you don't like being asked questions.

00:25:02No.

00:25:03You don't like being asked questions.

00:25:04No.

00:25:05Got something to hide?

00:25:06Yes.

00:25:07Good.

00:25:08And suppose I promise not to ask any more questions.

00:25:09You're very charming.

00:25:10Quite unlike any person I've painted before.

00:25:11I wonder.

00:25:12Here we are.

00:25:13I'm disappointed after seeing me more closely.

00:25:14I'm disappointed after seeing me more closely.

00:25:15On the contrary.

00:25:16Then what?

00:25:17You ask too many questions.

00:25:18Oh.

00:25:19You don't like being asked questions.

00:25:20No.

00:25:21You don't like being asked questions.

00:25:22No.

00:25:23Got something to hide?

00:25:24Yes.

00:25:25Good.

00:25:26And suppose I promise not to ask any more questions.

00:25:30You're very charming.

00:25:32Quite unlike any person I've painted before.

00:25:36I wonder.

00:25:38Here we are.

00:25:40All fixed.

00:25:43Now you can use it again.

00:26:10What brings her here then, Marte?

00:26:11The police have found the bargain to the last girl.

00:26:13Well?

00:26:14Why must you continue to throw them into the seine for the police to find?

00:26:15You know why?

00:26:16That's the most frightening obsession of yours, Gaston.

00:26:18It just put me to great expense, smothering your paintings out in France, to be disposed of.

00:26:19You must make enough out of the transaction to be yours, Gaston.

00:26:20You must make enough out of the transaction to be always after me for another canvas.

00:26:21You must make enough out of the transaction to be always after me for another canvas.

00:26:22You must make enough out of the transaction.

00:26:23That's the most frightening obsession of yours, Gaston.

00:26:28Why must you continue to throw them into the sand for the police to find?

00:26:33You know why?

00:26:34That's the most frightening obsession of yours, Gaston.

00:26:40It has put me to great expense, smothering your paintings out in France to be disposed of.

00:26:46You must make enough out of the transaction to be always after me for another canvas.

00:26:50Is that what you're here for now, before you dispose of the last one?

00:26:53As a matter of fact, I've sold you the last one.

00:26:57Already?

00:26:58Yes.

00:26:59The Duke of Caninion was in my shop the other day looking for something unusual.

00:27:04The Duke of Caninion?

00:27:05Don't tell me you've sold it to him.

00:27:07Oh, he didn't give me any fancy price such as he's noted for a mere 5,000 francs.

00:27:13Fool, the Duke of Caninion always exhibits his collections.

00:27:17What if someone should recognize the girl?

00:27:18The people who attend the Duke's exhibits are not likely to know such an obscure girl.

00:27:23But his exhibits are public.

00:27:24Anybody can get in.

00:27:25You better persuade him not to show that picture.

00:27:28That, Micah, house is suspicious.

00:27:30Buy it back for me.

00:27:32You said he gave you only 5,000.

00:27:34I don't think he would part with it.

00:27:36The girl in that painting was one of Bluebeard's victims.

00:27:39The victim of Bluebeard?

00:27:52The fourth, to be exact.

00:27:55Are you sure?

00:27:56Pository.

00:27:57Oh, this is most distressing.

00:28:03One of our men on guard here at your exhibit met his resemblance.

00:28:07I called my attention to it.

00:28:09I investigated and there can be no doubt it's the same girl.

00:28:13Most unfortunate.

00:28:14Most fortunate for us that you happened to buy the picture.

00:28:17Because I'm sure that we can count on your cooperation.

00:28:20That's right.

00:28:21I'll do anything in my power, Inspector.

00:28:24What do you know about the painter?

00:28:25Nothing.

00:28:26I bought the canvas largely on the recommendation of the art dealer.

00:28:30Although, of course, I recognized its great merit.

00:28:32Who was the art dealer?

00:28:35Jean Lamarté.

00:28:37You know him?

00:28:38Only by reputation.

00:28:41Lamarté.

00:28:43What did he tell you about the painter?

00:28:45As a matter of fact, he was evasive on that point.

00:28:48But he did intimate the painter was someone of reputation

00:28:50who executed this canvas under the pseudonym of Albert Garand.

00:28:56Lamarté.

00:28:58I think I'll pay my visit.

00:28:59I don't seem to recall such a canvas.

00:29:06Of course, the Duke buys many pictures.

00:29:09And not all for me, unfortunately.

00:29:12But this one, he recalls distinctly having bought here.

00:29:16It was painted by one Albert Garand.

00:29:21Albert Garand?

00:29:25I don't recall his name.

00:29:27Strange.

00:29:29Because he informed me he paid 30,000 francs for it.

00:29:33Because you had told him that someday this painter would be quite famous.

00:29:38I might have seen very talented paintings.

00:29:41I'll frequently affect my own judgment successfully.

00:29:46Have you by any chance any other paintings by this Albert Garand wrong?

00:29:51I'm sorry to say I haven't.

00:29:55But I have a canvas by another very promising young man if you are interested.

00:30:03Yes, I might be.

00:30:05This way, please.

00:30:08And this one is very reasonable.

00:30:18Yes.

00:30:20Yes, it's rather good.

00:30:22But not as striking as the Garand.

00:30:24Do you think you could locate this Garand for me?

00:30:27He might have something else I would like.

00:30:29You must have a record of that painting.

00:30:31Come to think of it, I do recall that canvas now, a plain dark girl against a bizarre background, an old man brought it in to me one day.

00:30:42Oh, the painter himself?

00:30:44No, some old man I've never seen before.

00:30:47He said he needed money.

00:30:49You happen to know his name?

00:30:50I paid cash.

00:30:52His name didn't interest me.

00:30:54Do you happen to know from whom he got the painting?

00:30:57No.

00:30:58He merely mentioned it had been the family a long time.

00:31:02But why all this interest in Albert Garand, may I ask?

00:31:07Well, I'm interested in his work.

00:31:10Are you sure you couldn't contact him for me?

00:31:12I wouldn't have the vaguest idea how to locate me.

00:31:15Well, I'm sorry, Monsieur Lamartine.

00:31:19I pray we can't do any business at the moment.

00:31:20If I knew where to reach you, gentlemen.

00:31:23Oh, I might drop in some other time.

00:31:26John?

00:31:27Francine!

00:31:45Lucille!

00:31:46Darling!

00:31:48You darling!

00:31:49When did you get back?

00:31:50I'm straight off the train.

00:31:52Oh, what a filthy trip.

00:31:53I had to get bathed right away, even before I could report to the office.

00:31:56You mean you have to go to the office tonight?

00:31:59Oh, yes.

00:32:00From the telegram I received, you'd think the whole of Paris was holding its breath until I got back.

00:32:09Was he with you?

00:32:11He?

00:32:12Who?

00:32:12You know whom I mean.

00:32:14You never told me his name.

00:32:17Oh, Jacques.

00:32:19No, he was not with me.

00:32:21It was Jacques who sent the telegram.

00:32:24Francine, it's outrageous.

00:32:25You're never home anymore.

00:32:28That position of yours.

00:32:29Wait a minute.

00:32:30Remember our agreement.

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

00:32:35But someone from me will simply have to wait.

00:32:54Good evening.

00:33:05I bought one of my little people for her to use as a model.

00:33:08Who is it, Lucille?

00:33:12It's one of my customers.

00:33:13Then why are you making clothes for men?

00:33:15Oh, my God.

00:33:17For puppets.

00:33:18The puppeteers.

00:33:20Well, have him come in.

00:33:20I'll stay out of sight.

00:33:22It's my little sister, Francine.

00:33:24I'm sorry she isn't presentable.

00:33:26I'd like you to meet her.

00:33:28Tell him to come in and wait.

00:33:29I won't be long.

00:33:30Won't you come in?

00:33:33What's the matter?

00:33:34Was he afraid to...

00:33:35Good evening, Francine.

00:33:39Mr. Gaston-Moyel.

00:33:40How do you do?

00:33:41Generally better than this.

00:33:43I'll be out in a minute.

00:33:44I really can't stay.

00:33:46I thought if you had one of the puppets for fittings, they're all pretty much the same size.

00:33:51Oh, then you want me to go right ahead and make the clothes?

00:33:53Certainly.

00:33:55I'd be glad to.

00:33:56Then if you'll excuse me.

00:33:59I'm very glad to have met you, Mademoiselle.

00:34:02Happy to have met you.

00:34:03Good night.

00:34:05Good night.

00:34:15Just a customer, eh?

00:34:19Yes, just a customer.

00:34:20Well, that's the first time I've heard them called puppets.

00:34:35Oh, they just came with the puppet.

00:34:38Oh, sure.

00:34:39To keep it from breaking.

00:34:41Well, he's not bad looking.

00:34:43The one who pulls the strings, I mean.

00:34:46Oh, Francine.

00:34:47I can't tell you how glad I am.

00:34:52Well, of course, we all are to have you back.

00:34:55Thank you, Inspector.

00:34:56Oh, may I present my sister?

00:34:58Your sister?

00:34:59But you never told me you had such a charming sister.

00:35:02I'm no fool.

00:35:04How do you do?

00:35:06I'm very happy to know you.

00:35:08Really, Francine has told me greatly about you.

00:35:11Gentlemen, that will be all for the present.

00:35:13Well, now you must tell me about your, uh, your success.

00:35:22Won't you sit down?

00:35:25And you?

00:35:29Now we can talk.

00:35:31Tell me all about yourself.

00:35:33I thought you called me back here on business.

00:35:35About Bluebeard.

00:35:36Oh, Bluebeard.

00:35:38He's a thaw in my side.

00:35:39I seem to be getting nowhere.

00:35:40Well, what have you done so far?

00:35:43Here's a complete dossier.

00:35:44I want you to read it when you find time.

00:35:47Up to recently, I haven't classified as a painter.

00:35:50But we have questioned practically every art authority in Paris.

00:35:54Yes, Professor Boising.

00:35:56And even Reckermien d'Arm.

00:35:58And now we are questioning artist models.

00:36:01But no one seemed to know this man's technique.

00:36:03Well, I don't quite follow you.

00:36:06You see, I have the painting that the Duke of Cadenault bought.

00:36:11However, it would be much quicker to show you.

00:36:14Would you come along, too?

00:36:15You do go ahead.

00:36:16I'll stay here.

00:36:17All right.

00:36:18It's only down the hall.

00:36:19We'll be back in two minutes.

00:36:21Smile.

00:36:21Alain Boreau.

00:36:25Alain Boreau.

00:36:41Duke of Cadenault, Mademoiselle Francine object.

00:36:43Delighted.

00:36:43How do you do?

00:36:45How are you, Renard?

00:36:45Oh, thank you.

00:36:49I'm very well.

00:36:52Call the service shop.

00:36:55Delighted.

00:37:07You are an artist model?

00:37:09At the Beaux-Arts.

00:37:15Will you please study that picture?

00:37:19Have you any idea who actually painted that picture?

00:37:26No.

00:37:28You'll notice the distinctive style.

00:37:31In what would you say that distinction lies?

00:37:36In the background.

00:37:37Exactly.

00:37:39Have you ever known a painter who used that type of background?

00:37:43No.

00:37:46Next curve.

00:37:47Mimi Robert.

00:37:51And so it goes, Francine, with no one seeming to know this painter's work.

00:37:55Perhaps if I were to question Lamarté.

00:37:57No, no, no.

00:37:58It's too suspicious already.

00:38:00Lamarté is the dealer who sold Duke the painting.

00:38:03I suspect that he knows, the painter, that I have no proof yet.

00:38:07Would you mind questioning a few, Inspector?

00:38:09I've been at it for hours.

00:38:10Well, certainly, Renard.

00:38:12Certainly.

00:38:13You understand, mademoiselle, you're not here on trial for any offense.

00:38:21Oh, that's good.

00:38:24We are merely codifying witnesses.

00:38:27You are an artist model.

00:38:30But of course.

00:38:31What do you take me for?

00:38:33Mademoiselle, that's beside the point.

00:38:36Why isn't the portrait?

00:38:37I've modeled for the greatest painters of France.

00:38:42Oh, no doubt.

00:38:43But we are only interested in contemporary artists.

00:38:45And the most famous sculptors, too.

00:38:48You know, of course, the Venus de Milo.

00:38:51Oh, yes.

00:38:53An historic, you mustn't be.

00:38:55But surely, you're not going to tell us you modeled for her.

00:39:00Why?

00:39:01I'm the exact duplication of her measurement.

00:39:06But recently, have you been occupied as a model?

00:39:10Well, not exactly as a model.

00:39:12Well, uh, you see, uh, since I've retired, I've been, uh...

00:39:17I don't think you need to be into that.

00:39:24Just one question.

00:39:27Do you know who Albert Gowell is?

00:39:31Albert Gowell?

00:39:32Well, of course.

00:39:34Who is he?

00:39:36Bluebeard.

00:39:37Take a look at that picture.

00:39:41Have you any idea who that painter might be?

00:39:46Well, when I modeled for money...

00:39:50The question is, do you know who painted that?

00:39:53No.

00:39:55Next model.

00:39:57Berencia Peros.

00:40:02Listen, I have an idea.

00:40:09Duke of Carignan writes,

00:40:11you want a portrait of your daughter

00:40:12and asks me to help you find a satisfactory painter.

00:40:17Being strangers here, we naturally look for the Duke,

00:40:20who is a relative for recommendations regarding a number of things.

00:40:24Why, true so, chiefly.

00:40:26The Duke is a man of exceptional taste.

00:40:29Yes.

00:40:29Among his paintings, I noticed one that particularly attracted me.

00:40:35The canvas of a young girl against her other startling background.

00:40:40I was wondering if this painter is available.

00:40:43What did the Duke just say of that painter?

00:40:46Unfortunately, we had no opportunity of asking him.

00:40:49You see, we only arrived in Paris last evening,

00:40:51just before the Duke left town.

00:40:53Yes, and since we're sailing back to South America before he returns,

00:40:57we had the chance only for a few intimate matters,

00:41:00and I mentioned wanting a portrait.

00:41:03What was his painter's name?

00:41:06I couldn't make it out very well.

00:41:09Car-Car-Car-Off or Caron?

00:41:13Garon?

00:41:14Possibly.

00:41:15At any rate, whoever he is, his flesh tones are superb.

00:41:20It was that which decided me that this is the painter

00:41:24to capture my daughter's subtle beauty.

00:41:28Please, Father.

00:41:31Unfortunately, Monsieur Deschamps,

00:41:34I do not know the painter you have reference to.

00:41:37But, uh, surely, Monsieur, for a, uh, commission,

00:41:41you could, uh, look him up?

00:41:43Rather a good commission?

00:41:45I would know where to find him.

00:41:47But, uh, for a commission of 75,000 francs,

00:41:52you could, uh, advertise?

00:41:55Advertise.

00:41:56Advertise.

00:42:07A hundred and fifty thousand might make an attractive figure.

00:42:13Agreed.

00:42:14But mind you,

00:42:15I don't promise that we have success.

00:42:17Well, at least you can try.

00:42:19Oh, by the way,

00:42:20let me give you a little something on account.

00:42:23That isn't necessary.

00:42:25But if I do find this painter,

00:42:27and he turns out to be somewhat of reputation,

00:42:31painting under a pseudo-name,

00:42:33he may not wish to use that name.

00:42:34Whatever name he paints under does not concern me,

00:42:38so long as he is the painter who did the canvas I like so much.

00:42:42It's fair to have such matters understood.

00:42:44But it will have to be painted soon.

00:42:46Don't forget,

00:42:47I want to take it with me to South America.

00:42:49I'll do my best.

00:42:51If I have any good news for you,

00:42:53I'll get in touch with you at once.

00:42:56At the Duke's.

00:42:57We will be most grateful to you,

00:42:59Monsieur Le Marte.

00:43:34Oh, Jill, why don't you come in the front way?

00:43:48Perhaps if you paid me my rent, you could dictate which way I should enter my own property.

00:43:53You've made plenty out of my paintings in the past.

00:43:56I made a small profit in the past.

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

00:44:07I'll pay you.

00:44:14What? What you make with your puppets, Jill?

00:44:17Oh, I'll manage.

00:44:18Don't be ridiculous.

00:44:20But I'll make you a proposition.

00:44:2325,000 francs, if you will do.

00:44:2625,000?

00:44:27I might even get you 30.

00:44:30Oh, that would give me a magnificent puppet, Sean.

00:44:33A dozen of them.

00:44:36What's the proposition?

00:44:38A rich South American wants a portrait of his daughter.

00:44:41Oh, I thought so.

00:44:43No, I've told you, I'm through painting.

00:44:46So you can be, for good, after just this one.

00:44:50Think of it, Gaston.

00:44:5130,000 francs.

00:44:55I am thinking of it.

00:44:56No, it's too risky.

00:45:07Besides, I've told you, I won't pay any more of your girls.

00:45:09But this is different.

00:45:11This is important.

00:45:13And this is safe.

00:45:14She's leaving almost at once for South America to be married.

00:45:17And she's taking the painting with her.

00:45:23It's a trap.

00:45:25Do you think I would run any further risk?

00:45:28If there's no risk, why shouldn't I paint her at your studio?

00:45:35My studio?

00:45:36Yes.

00:45:38The workroom over your shop.

00:45:40That's all I can paint a portrait in.

00:45:41Why?

00:45:43Yes.

00:45:44Well, so it is.

00:45:45I paint her there or I don't paint her.

00:45:48All right.

00:45:49All right, Gaston.

00:45:51You keep her there.

00:45:54So the shop will be completely surrounded with every possible escape block.

00:46:00But how are we to know that this Garong has actually showed up at Le Montes?

00:46:03We'll give you a signal.

00:46:06The champ can stand at the window and light his cigar.

00:46:08You notice that window at the back of the office.

00:46:10Station someone that can watch the window and relay the signal.

00:46:15But don't enter too soon.

00:46:16Give the painter a chance actually to start painting.

00:46:19That's it.

00:46:20We must have something on canvas as evidence.

00:46:22Perhaps, Francine, you could persuade the painter to demonstrate the background he has to use.

00:46:28I'll try, surely.

00:46:30The thing will mean only that the artist has arrived and started painting.

00:46:33Yes.

00:46:35I'll leave the timing to you, Renard.

00:46:37But remember, you are also absolutely responsible.

00:46:40He further stipulated that there should be absolutely no visitors.

00:46:59Not even you, sir.

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

00:47:04I accept it.

00:47:05Yes, but my daughter...

00:47:07Oh, you'd even be concerned about me.

00:47:10And I'm sure Le Marte will not object if you wait here and smoke.

00:47:13Not at all.

00:47:15Well.

00:47:16So, if you will be good enough to excuse us, I'll take the lady to our thing.

00:47:22All right.

00:47:41The painter is extremely clear.

00:47:45The painter has requested that he be permitted to work unobserved.

00:47:55He finds it more satisfactory that way.

00:47:59The senorita is here.

00:48:01Are you ready?

00:48:02Quite ready.

00:48:05I hope you will be quite comfortable.

00:48:07If there is anything you want, you have only to call down the speaking tube.

00:48:12The artist who spends the need for haste is quite clear.

00:48:17Therefore, I won't take up any more time.

00:48:35I, uh, I think you had better close me.

00:48:39I must ask you to do that yourself.

00:48:41The effect will be more individual.

00:48:43I, uh, didn't take you long.

00:48:46I, uh, didn't take you long.

00:48:53I, uh, didn't take you long.

00:48:58I, uh, didn't take you long.

00:48:59I, uh, didn't take you long.

00:49:00I, uh, didn't take you long.

00:49:01I, uh, didn't take you long.

00:49:02I, uh, didn't take you long.

00:49:03I, uh, didn't take you long.

00:49:04I, uh, didn't take you long.

00:49:05I, uh, didn't take you long.

00:49:06I, uh, didn't take you long.

00:49:07I, uh, didn't take you long.

00:49:08I, uh, didn't take you long.

00:49:09I, uh, didn't take you long.

00:49:10I, uh, didn't take you long.

00:49:11Not too long, I, uh, didn't take you long.

00:49:12Not too long, I think.

00:49:13Our printer was ready?

00:49:14He started.

00:49:15So if you don't mind, we'll get on with our business arrangements.

00:49:19I have brought the cash as you stipulated.

00:49:20What a full amount.

00:49:21One hundred and fifty thousand francs.

00:49:22Good.

00:49:23I will write you a receipt.

00:49:26I have some interesting curious spec here if you would like to look at them.

00:49:32But I would like to tempt you.

00:49:36Crying eyes.

00:49:37I wore this simple dress thinking you might give me an interesting background.

00:49:43I like particularly the background you gave that girl in the bute's picture.

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

00:49:51My good.

00:49:52You have not liked that you are a cigar.

00:49:53Eh?

00:49:54Oh, uh, well, I've been smoking a little too much lately, and, uh, besides I got interested

00:50:01in this statue.

00:50:02Good.

00:50:03Then you will look at my-

00:50:05Oh, uh, well, I've been smoking a little too much lately, and, uh, besides, I got interested

00:50:08in this statue.

00:50:10Good.

00:50:11Then you will have to say, uh, you'll just take a look at me.

00:50:20Um.

00:50:21Then you won't mind excusing me a moment while I go up and see how our painting is coming on.

00:50:27By all means, go ahead.

00:50:34Don't you think we better?

00:50:35I'll tell you when.

00:50:38But your shoulders, can't you straighten up?

00:50:42Not so square.

00:50:43Well, I've asked you to pose me.

00:50:45I'd quite helpless about such things.

00:50:51Surely it can't be so difficult for you to be yourself.

00:51:04What's the matter?

00:51:07I'm Lucille's puppeteer.

00:51:09Lucille?

00:51:12So you're a little bit.

00:51:14Who said so?

00:51:17The park is.

00:51:18Come out here, baby.

00:51:21Can you believe what I'm out there told you?

00:51:25No!

00:51:26No!

00:51:26Come on!

00:51:56The End

00:52:26Emma, Kaye, how many others have you told that I've painted the pictures you've sold to the Duke?

00:52:48No one. No one.

00:52:51You're not telling me the truth.

00:52:56And you were trying to sneak out of here.

00:53:05Leaving the blame for this to me as well.

00:53:08No. No. I want it.

00:53:17So.

00:53:19And you even had a time, didn't you?

00:53:21You were going to be gone from here when they got in.

00:53:25I want to go.

00:53:29Let's go.

00:53:59We're breaking in.

00:54:11Redom, warm those in the rear to keep a short lookout.

00:54:29Wake it up!

00:54:30He's finished.

00:55:00Loire, put me!

00:55:28La Marte.

00:55:29This death certainly isn't going to help us any.

00:55:32Where's Francine?

00:55:33He took her out there.

00:55:36What have you known?

00:55:43What have you known?

00:55:50What have you known?

00:55:57What have you known?

00:56:04We are no closer in capturing him than we were before, not even that close.

00:56:11La Marte was the only one that we had to follow.

00:56:18Unless...

00:56:19Unless I can find out what happened to that cravat.

00:56:21But I've been on the work of town.

00:56:24They can do rounds at the shops and nothing.

00:56:27A cravat?

00:56:28Yes.

00:56:29This one.

00:56:30What's the matter?

00:56:34You say he used this?

00:56:41Yes.

00:56:42The garotte.

00:56:43Then you think the owner of this cravat is the murderer?

00:56:46Very likely.

00:56:47Very likely.

00:56:48If not, he probably could take us to the murderer.

00:56:53Francine.

00:56:54I don't know how to say this.

00:56:59But you know how I felt about Francine.

00:57:02She is your sister.

00:57:05If I only could make you believe, I would do everything I can.

00:57:09And for you too.

00:57:13Now we have something in common, haven't we?

00:57:18Yes.

00:57:20Perhaps I should agree.

00:57:24Please, John.

00:57:26Please, John.

00:57:54My deepest sympathy.

00:57:57Is that the cravat I mended for you?

00:58:00This?

00:58:01Very likely.

00:58:03What happened to the stitches?

00:58:06It may not be the same one.

00:58:07I have several, I...

00:58:11Several?

00:58:12Half a dozen made them at home in the drawer.

00:58:16May I ask where you got them?

00:58:18In a little shop.

00:58:19In a plaster of a glaze, I think.

00:58:21Why?

00:58:22I just wondered.

00:58:25Such unusual material for a cravat.

00:58:29Yes.

00:58:30Fragile.

00:58:31Would you be so kind of me?

00:58:36Would you care to go in?

00:58:40My interest is in the living.

00:58:43I called chiefly to offer my condolences.

00:59:19You see her.

00:59:20I must see you.

00:59:21May I come in?

00:59:22Please do.

00:59:24You see her.

00:59:25I must see you.

00:59:26May I come in?

00:59:27Please do.

00:59:28You see her.

00:59:29You see her.

00:59:30I must see her.

00:59:31May I come in?

00:59:32Please do.

00:59:33I may do.

00:59:34It's good.

00:59:35Whatever.

00:59:36Look.

00:59:37I can so much see you at the window.

00:59:38I gotta近 on you.

00:59:40I gotta go.

00:59:41I miss you.

00:59:42I can so much see you.

00:59:43Look, I can so much see you.

00:59:45What is it?

00:59:46In the middle of the night?

00:59:47I will.

00:59:48We have to wait for your condolences.

00:59:50We are not a beautiful house.

00:59:51We are of course.

00:59:52We have to wait for the house.

00:59:53We are almost every single house.

00:59:54We have to wait for the house.

00:59:55Look.

00:59:56Who do you?

00:59:57Who's at that?

00:59:58Where is it from that?

01:00:09Which?

01:00:10The one I mended for you.

01:00:13From that?

01:00:14If you must know, I threw it away.

01:00:17I wish I could believe you.

01:00:20You've been through a lot, Lucy.

01:00:22Sit down.

01:00:26Let me bring you something.

01:00:27Some cognac?

01:00:29Nothing, thank you.

01:00:33Where were you last night?

01:00:36By here.

01:00:38Working on my puppets.

01:00:41The whole evening?

01:00:42I did go out for a little while.

01:00:48To paint someone?

01:00:50Haven't I told you I don't want to paint anymore?

01:00:52But that merely meant you wouldn't paint me.

01:00:54Why was that?

01:00:57What good would you do to tell you?

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

01:01:05Why wouldn't you?

01:01:07As a matter of fact, I was becoming too fond of you.

01:01:12Fond?

01:01:13Yes.

01:01:15But it was more than fondness.

01:01:17I found myself falling in love with you.

01:01:21Really.

01:01:23Why should I prevent you from painting me?

01:01:26Lucille.

01:01:26I want you to tell you something no other living person knows.

01:01:38Then maybe you'll understand how much I do love you.

01:01:42And why I don't want to paint you.

01:01:44I was a very ambitious youth, Lucille.

01:01:52And extremely sensitive.

01:01:55I almost starved to death as an art student.

01:02:00I didn't mind physical starvation.

01:02:03There was something in me.

01:02:05A burning ambition.

01:02:07Striving to paint something really worthwhile.

01:02:10Something fine.

01:02:11I worked feverishly at the Beaux-Arts, never seeming to get anywhere.

01:02:16I painted every model who came there.

01:02:18But the canvases all turned out to be one after another.

01:02:22Just ordinary.

01:02:24And then, one night...

01:02:28As I was going home to my garret...

01:02:30I came across a girl.

01:02:33She collapsed.

01:02:34I didn't know what to do.

01:02:36My garret was close by.

01:02:38I carried her there.

01:02:39I took care of her as best I could.

01:02:43I had little money.

01:02:46Barely enough for my paints.

01:02:48She needed nourishment or she would have died.

01:02:53Somehow, I managed to get her the things she needed.

01:02:56Then, one day, to pass the time, I began to paint Jeanette.

01:02:59That was her name.

01:03:01Jeanette LeBeau.

01:03:02There was something in her fever-tormented eyes that was almost spiritual.

01:03:08Something that reminded me of someone I'd seen.

01:03:11That came to me.

01:03:14The maid of Orléans.

01:03:17I'd seen the tomb of the maid of Orléans.

01:03:20And it inspired me.

01:03:22Then, by chance, I sold the painting to La Marquette.

01:03:26Jeanette recovered after that.

01:03:27And then, one day, without a word,

01:03:29she disappeared.

01:03:33And then, one night, La Marquette turned up at my garret.

01:03:35And, well, that hurt.

01:03:37Then, for me, the Academy had awarded my picture.

01:03:41The maid of Orléans, the prize.

01:03:43It would hang in the Louvre.

01:03:46And I was being recommended for the Legion of Honor.

01:03:50I had worked in the Louvre.

01:03:51I was almost in single drawing.

01:03:59Quite naturally, I wanted to share my happiness with the one who was chiefly responsible for it.

01:04:04Jeanette.

01:04:06I went looking for her.

01:04:08Searching everywhere.

01:04:10At last, I traced her through the doctor I'd called in for her.

01:04:13He gave me her address.

01:04:17I went there.

01:04:19Outside her door, I heard laughter.

01:04:21But what laughter.

01:04:24Then,

01:04:26which then I really saw her.

01:04:29She invited me in.

01:04:32She wasn't the same Jeanette.

01:04:38This was the real Jeanette.

01:04:41A low, coarse, loathsome creature.

01:04:45She offered me money.

01:04:47I suppose she'd probably pay me with money.

01:04:49Suddenly, the sight of that Jeanette did something to me.

01:04:53Something indescribably infuriating.

01:05:00I thought I would stop her defiling the image I'd created of her.

01:05:04Stop her degrading my work.

01:05:06I thought there'd be the end of what she could do to me.

01:05:07But it wasn't.

01:05:08Every time I painted again, I painted Jeanette.

01:05:12So I turned to making puppets.

01:05:13Because I could make them of wood.

01:05:16Because when they became Jeanette, I could take up my fury on them.

01:05:18I couldn't kill wood.

01:05:19There's no money in puppets.

01:05:26At least not enough for Lamartey.

01:05:28I owed Lamartey a lot of money.

01:05:31And only he knew that I'd killed Jeanette.

01:05:33So I had to paint for Lamartey.

01:05:36He wanted pictures of girls he could sell.

01:05:39But again, every girl I painted turned out to be Jeanette.

01:05:41I couldn't permit it.

01:05:41I couldn't stop myself.

01:05:43Every time I painted her, I had to kill her again.

01:05:49Finally, I gave it to me nothing to me.

01:05:51Not even my own.

01:05:58Then I saw you.

01:06:02In you, I knew I had found what I'd missed in my existence.

01:06:05What I'd thought I might find in Jeanette and didn't.

01:06:08In you, I saw a chance for fulfillment.

01:06:10I knew I couldn't live my life over again to deserve you.

01:06:14I knew I couldn't undo the wrongs I'd done.

01:06:17But I could prevent further ones.

01:06:20That's why I definitely quit painting once and for all.

01:06:23I decided there must be no more killings for your sake.

01:06:27That's why I couldn't paint you.

01:06:30Now do you understand?

01:06:33Yeah.

01:06:35Yes.

01:06:36Why, Francine?

01:06:45Francine.

01:06:46I didn't want to kill her.

01:06:49I accepted that one last commission because it would mean independence.

01:06:53There wasn't to be a chance for a slip-up.

01:06:56That's why I was to paint for at La Maté's studio with him standing by.

01:06:59I didn't recognize the girl that came there as your sister until it was too late.

01:07:04All I realized suddenly was she was coming between us, you and me.

01:07:08Cutting me off from you.

01:07:10Wrecking her one chance of happiness.

01:07:12You think anything could justify her murder?

01:07:16Anyone seeking to destroy our happiness is a menace.

01:07:19A menace would have to be done away with.

01:07:20What are you going to do?

01:07:26The only thing I can do.

01:07:29You're not thinking of going to the police.

01:07:31Why not?

01:07:34You wouldn't do that.

01:07:37Wouldn't I?

01:07:39Lucille!

01:07:41You couldn't do that to me.

01:07:43Not you, Lucille.

01:07:45And even if you could, I wouldn't let you.

01:07:48I would let you turn against me, too.

01:07:50Oh, no, not you, Lucille.

01:07:52Not you.

01:08:00Flash in the door.

01:08:01Quickly.

01:08:02All right.

01:08:04Don't get it.

01:08:11No.

01:08:14How did you get here?

01:08:43I followed you.

01:08:44I saw when you looked at that cravat.

01:08:47I thought you had some idea.

01:08:48Yeah.

01:08:48I saw when you looked at that cravat.

01:08:52I saw when you looked at that cravat.

01:08:53I saw when you looked at that cravat.

01:08:54I saw when you looked at that cravat.

01:08:55I saw when you looked at that cravat.

01:08:56I saw when you looked at that cravat.

01:08:57I saw when you looked at that cravat.

01:08:58I saw when you looked at that cravat.

01:08:59I saw when you looked at that cravat.

01:09:00I saw when you looked at that cravat.

01:09:01I saw when you looked at that cravat.

01:09:02I saw when you looked at that cravat.

01:09:03I saw when you looked at that cravat.

01:09:04I saw when you looked at that cravat.

01:09:05I saw when you looked at that cravat.

01:09:06I saw when you looked at that cravat.

01:09:07I saw when you looked at that cravat.

01:09:08I saw when you looked at that cravat.

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