- 1 week ago
Dive into the chilling story of Bluebeard’s Mysterious Tale, a classic tale full of suspense, dark secrets, and unexpected twists. Follow the journey as the story unfolds, revealing mysteries that will keep you on the edge of your seat. Perfect for fans of suspenseful movies and classic storytelling.
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Short filmTranscript
00:00:00The End
00:00:30The End
00:01:00The End
00:01:30The End
00:01:59The End
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
00:05:31Marloreead, having been convinced
00:05:47that Faust deserted her
00:05:48and in a fit of despair
00:05:50having killed her child
00:05:51finally found the courage
00:05:53to give herself up
00:05:54She was tried and sentenced to prison
00:05:57where Faust,
00:05:58with the aid of Mephistopheles,
00:05:59Please find me, sir.
00:06:29He said, I am free.
00:06:37He is here, and once more I am here.
00:06:42Yes, I, I love you.
00:06:47Yes, 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.
00:07:04Yes, come back to you.
00:07:08And I'll surely save you.
00:07:12Yes, I've come to save you.
00:07:16I'm here.
00:07:17Come, come to my heart.
00:07:23They do not think me bold.
00:07:27I thank you, you lady.
00:07:33My arm is yours to hold.
00:07:38I'll help you on your way.
00:07:44Oh, I know myself.
00:07:47I am not a lady for a beauty.
00:07:54Not a lady for a beauty.
00:08:01And I'll need your help to see me on my way.
00:08:09Take warning, take warning.
00:08:12But it will be too late.
00:08:14In the peace of the devil, you see there is a shadow.
00:08:22There you go with eyes of fire.
00:08:27Holy Easter, the rain is a cry.
00:08:34There is my love forever home.
00:08:40Dear Lord, take my soul into savings.
00:08:46I'm sure to help and perfect me.
00:08:49Forgive me.
00:08:50Forgive me.
00:08:52Holy Easter, the rain is a cry.
00:08:58May my soul pass upon.
00:09:03We must hurry.
00:09:05I'm not a baby.
00:09:10I'll make it.
00:09:11I'll never let you know.
00:09:14I'll never let you know.
00:09:19Oh, my old man, you'll never end up on my own land.
00:09:30Oh, my old man, you'll never end up on my own land.
00:09:45Jeremy, you take over and help the soldier demonstrate
00:09:48the purpose to whoever comes back. I'm going to take up the collection tonight.
00:10:03Thank you. Do you like the show?
00:10:18Very much.
00:10:20Thank you. I 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.
00:10:38Now, if that was a woman, you wouldn't need no string to make her talk.
00:10:53How 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. They seem quite real to me.
00:11:02There are likenesses of people I've known.
00:11:05Mephistopheles, too?
00:11:07Yes, the evil one, too.
00:11:09One of the things, he's also my business manager.
00:11:12And my giddy.
00:11:15Was she a friend of yours?
00:11:17She was.
00:11:18Was?
00:11:20Yes. Unfortunately, she made a tragic ending.
00:11:23It must have been very beautiful.
00:11:27They say you'll show me how the puppets work.
00:11:30Let's get out of here until these people leave.
00:11:32They'll be asking endless questions.
00:11:46I can't talk to a lot of people around.
00:11:48What do you think in your business you 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.
00:12:00But there's something in your voice that made me feel you'd suffered.
00:12:05You're very discerning.
00:12:07It'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.
00:12:22Is it much trouble to create a puppet?
00:12:27It takes time.
00:12:28First time I have a sketch.
00:12:30A painting?
00:12:31Do you paint, too?
00:12:33Enough to get the effect.
00:12:35You know you have very lovely eyes.
00:12:38Truthful 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.
00:12:49Let'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!
00:13:06You'd better go with him.
00:13:09You'd better stay close to him.
00:13:11But your margarine 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, looking for you.
00:13:28Oh.
00:13:30Was she difficult?
00:13:31The way she always is when you avoid her.
00:13:34She comes back.
00:13:35Tell her I'm looking for her.
00:13:38Which you won't be.
00:13:39Of course not.
00:13:41Good night, Lysolvar.
00:13:42Good 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.
00:13:53Oh.
00:13:59My word of honor.
00:14:23Oh.
00:14:44Why didn't you stay at the puppet show?
00:14:46We watched 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?
00:15:00I think you'd better go now, Renée.
00:15:01Oh, no.
00:15:02Not this time.
00:15:04Renée?
00:15:05I won't stand for it.
00:15:07I warn 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?
00:15:23But I was necessary to your success.
00:15:25What was I to think?
00:15:27What did you think, Renée?
00:15:31Gaston.
00:15:33These girls.
00:15:35I've known they didn't mean anything to you, really.
00:15:38Because you always came back to me.
00:15:41But, Gaston, what's happened to them?
00:15:44You think?
00:15:48Oh!
00:16:14Let's go.
00:16:44Let's go.
00:17:14Let's go.
00:17:44Let's go.
00:17:45Let's go.
00:17:46Let's go.
00:17:47Let's go.
00:17:48Let's go.
00:17:49Let's go.
00:17:50Let's go.
00:17:51Let's go.
00:17:52Let's go.
00:17:53Let's go.
00:17:54Let's go.
00:17:55Let's go.
00:17:56Let's go.
00:17:57Let's go.
00:17:58Let's go.
00:17:59Let's go.
00:18:00Let's go.
00:18:01Let's go.
00:18:02Let's go.
00:18:03Let's go.
00:18:04Let's go.
00:18:05Let's go.
00:18:06Let's go.
00:18:07Let's go.
00:18:08Let's go.
00:18:09Let's go.
00:18:10Let's go.
00:18:11Let's go.
00:18:12Let's go.
00:18:13Let's go.
00:18:14Let's go.
00:18:15Let's go.
00:18:16Let's go.
00:18:17Let's go.
00:18:18Let's go.
00:18:19Let's go.
00:18:20Let's go.
00:18:21Let's go.
00:18:22Let's go.
00:18:23Let's go.
00:18:24Let's go.
00:18:25Let's go.
00:18:26Let's go.
00:18:27Let's go.
00:18:28Let's go.
00:18:29Let's go.
00:18:30Let's go.
00:18:31Let's go.
00:18:32Let's go.
00:18:33Let's go.
00:18:34Let's go.
00:18:35Let's go.
00:18:36Let's go.
00:18:37Let's go.
00:18:38Let's go.
00:18:39Let's go.
00:18:40Let's go.
00:18:41Let's go.
00:18:42Let's go.
00:18:43Let's go.
00:18:44Let's go.
00:18:45Let's go.
00:18:46Let's go.
00:18:47Let's go.
00:18:48Let's go.
00:18:49Let's go.
00:18:50Let's go.
00:18:51Let's go.
00:18:52Let's go.
00:18:54Good evening.
00:19:02Bernard?
00:19:03Yes?
00:19:04Send for Francine at Yang.
00:19:06Russia back to Paris at once.
00:19:07But Inspector...
00:19:08At once.
00:19:21Good evening.
00:19:23You have come to tell me when we will give Faust again?
00:19:26Now, how can we give Faust again until we find a new Marguerite?
00:19:30Oh, Mademoiselle Renée is not with us anymore.
00:19:34What a pity.
00:19:36She had a good voice.
00:19:39You have somebody else in mind for Marguerite?
00:19:42No.
00:19:43I'm thinking of giving a new puppet show.
00:19:46Show?
00:19:47Yes, something on the order of a ballet with a lot of new costumes.
00:19:51Oh.
00:19:52What is her name?
00:19:57Lucille Le Tien.
00:20:00Where do I find this one?
00:20:02Madame Blanche, Morty's shop.
00:20:05When do you want her to sit for you?
00:20:07I'm not going to paint this one.
00:20:08At all?
00:20:09Definitely not.
00:20:10I merely wanted to make some costumes for me.
00:20:11That's a new one.
00:20:12It's a fact.
00:20:13Nothing more.
00:20:14Just to make some costumes for my puppets.
00:20:15At your studio?
00:20:16I don't know where she'll make them.
00:20:17I don't even know if she will make them.
00:20:18That's what I want you to find out.
00:20:19When?
00:20:20When?
00:20:21Soon as possible.
00:20:22Oh, and this little doll.
00:20:23Huh?
00:20:24That's what I want you to find out.
00:20:25When?
00:20:26Soon as possible.
00:20:27Oh, and this little doll.
00:20:28Huh?
00:20:29There are two girls.
00:20:30Friends of hers.
00:20:31I can trust you to exclude them.
00:20:32My word is not.
00:20:33It's a fact.
00:20:34It's a fact.
00:20:35Nothing more.
00:20:36Just to make some costumes for my puppets.
00:20:37At your studio?
00:20:38Oh, and this little doll.
00:20:39Huh?
00:20:40That's what I want you to find out.
00:20:41When?
00:20:42Soon as possible.
00:20:48Oh, and this little doll.
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.
00:20:57Giovanna.
00:21:09What do you mean breaking in here?
00:21:10We don't admit beggars.
00:21:15I did not come here professionally.
00:21:17That is, not from a standpoint of my profession.
00:21:21I came here on a very confidential mission.
00:21:24To see Mademoiselle Lucille.
00:21:27I'm Lucille.
00:21:28Did you want to see me?
00:21:29Oh, yes.
00:21:31Privately.
00:21:45A certain gentleman has requested me to ask
00:21:47if you would do him a great thing.
00:21:49Who?
00:21:51Gaston Morel.
00:21:53The puppeteer.
00:21:54Oh.
00:21:55The puppeteer.
00:21:56Yes.
00:21:58He wanted to know if he would make some costumes for his new puppets.
00:22:02Why, yes.
00:22:03I'd be delighted to.
00:22:05When?
00:22:06Down.
00:22:08Where is he?
00:22:09At his studio.
00:22:12Fine.
00:22:13I'll go right along with you.
00:22:18Yes.
00:22:19He has so many ideas.
00:22:20One never knows what he will turn up with next.
00:22:28I always hope one day he will make a stonzer after me.
00:22:32I will run along.
00:22:33I will run along.
00:22:45Come in.
00:22:46Come in.
00:22:47Oh, this is where you work.
00:22:59It is.
00:23:00The puppets.
00:23:01Did you make them?
00:23:02Yes.
00:23:03You don't seem very glad to see me.
00:23:04I'm delighted.
00:23:05These are the costumes.
00:23:06Do you think you can make them?
00:23:07They're quite good.
00:23:08They're quite good.
00:23:09Did you create them?
00:23:10Scarcely.
00:23:11They're purely.
00:23:12Scarcely.
00:23:13They're purely.
00:23:14They're purely.
00:23:15They're purely.
00:23:16Oh, this is where you work.
00:23:17Oh, this is where you work.
00:23:18It is.
00:23:19The puppets.
00:23:20Did you make them?
00:23:21Yeah.
00:23:22You don't seem very glad to see me.
00:23:23I'm delighted.
00:23:24These are the costumes.
00:23:25Do you think you can make them?
00:23:27They're quite good.
00:23:29Did you create them?
00:23:30Scarcely.
00:23:31They're purely.
00:23:32Oh.
00:23:33Why so many?
00:23:34I'm thinking of devoting more time to my puppets.
00:23:36Up till now they've been merely a toy.
00:23:38Sad luck.
00:23:39Your paintings?
00:23:40Yes.
00:23:41I'm giving up my painting.
00:23:42Why?
00:23:43I have my reasons.
00:23:46Of course.
00:23:47I'm giving up my painting.
00:23:48Why?
00:23:49I have my reasons.
00:23:50Well, of course.
00:23:51I'm not giving up my painting.
00:23:53Why?
00:23:54My dogs are having a good way.
00:23:55You're not giving up my painting.
00:23:56You're not giving up.
00:23:57Why?
00:23:58I have my reasons.
00:24:00Of course.
00:24:02About the costumes, would you like me to make one of your approval?
00:24:05Take your choice.
00:24:09This.
00:24:20Plain to be seen a woman's care is lacking here.
00:24:23Is the place that dirty?
00:24:25Oh, like any bachelor quarter.
00:24:30Give me that.
00:24:34It's torn.
00:24:35I meant to throw it away.
00:24:37It's such a lovely material.
00:24:39It was, my favorite.
00:24:41It needs only a stitch or two.
00:24:43Throw it away.
00:24:44Oh, it'd be a crime film.
00:24:46A few seconds or put it right.
00:24:50Why'd you decide not to paint me?
00:24:53In the park after the show?
00:24:55You better make a puppet after me.
00:24:57You seem really interested.
00:25:00Something happened.
00:25:02What?
00:25:04I can't tell you that.
00:25:05Did I do something or say something?
00:25:07No.
00:25:10Are you disappointed after seeing me more closely?
00:25:14On the contrary.
00:25:16Then what?
00:25:17You asked too many questions.
00:25:20Oh.
00:25:21You don't like being asked questions?
00:25:22No.
00:25:23Got something to hide?
00:25:25Yes.
00:25:26Good.
00:25:27And suppose I promise not to ask any more questions.
00:25:31You're very charming.
00:25:33Quite unlike any person I've painted before.
00:25:37I wonder.
00:25:39Here we are.
00:25:41All fixed.
00:25:43Now you can use it again.
00:25:44Here's to begin.
00:26:14What brings you here, Lamartine?
00:26:15The police have found a bug into the last girl.
00:26:16Well?
00:26:17Why must you continue to throw them into the sand for the police to find?
00:26:19You know why.
00:26:20That's the most frightening obsession of yours, Gaston.
00:26:21It has put me to great expense smothering your paintings out in France to be disposed of.
00:26:22You must make enough out of the transaction to be always after me for another canvas.
00:26:23You must make enough out of the transaction to be always after me for another canvas.
00:26:24Is that what you're here for now, before you dispose of the last one?
00:26:25It has put me to great expense smothering your paintings out in France to be disposed of.
00:26:29You must make enough out of the transaction to be always after me for another canvas.
00:26:34Is that what you're here for now, before you dispose of the last one?
00:26:38As a matter of fact, I've sold you the last one.
00:26:40Already?
00:26:41Yes.
00:26:42The Duke of Canion was in my shop the other day, looking for something unusual.
00:26:45The Duke of Canion?
00:26:46Don't tell me you've sold it to him.
00:26:47Oh, he didn't give me a gift to the last one.
00:26:48It has put me to great expense smothering your paintings out in France to be disposed of.
00:26:52You must make enough out of the transaction to be always after me for another canvas.
00:26:55Is that what you're here for now, before you dispose of the last one?
00:26:58As a matter of fact, I've sold you the last one.
00:27:00Already?
00:27:01Yes.
00:27:02The Duke of Canion was in my shop the other day, looking for something unusual.
00:27:04The Duke of Canion?
00:27:05Don't tell me you've sold it to him.
00:27:07No, 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 Canion now always exhibits his collections.
00:27:16What 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.
00:27:27That might arouse his suspicions.
00:27:30Buy it back from him.
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.
00:27:54Are you sure?
00:27:55Positive.
00:27:56Oh, this is most distressing.
00:28:01One 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.
00:28:12Most unfortunate.
00:28:13Most unfortunate.
00:28:14Most fortunate for us that you happened to buy the picture.
00:28:16Because I'm sure that we can encounter your cooperation.
00:28:19Naturally, I'll do anything in my power, Inspector.
00:28:23What do you know about the painter?
00:28:25Nothing.
00:28:26I bought the canvas largely on the recommendation of the art dealer.
00:28:29Although, of course, I recognized its great merit.
00:28:32Who was the art dealer?
00:28:34Jean Lamarté.
00:28:35You know him?
00:28:37Only by reputation.
00:28:39Lamarté.
00:28:40What did he tell you about the painter?
00:28:43As a matter of fact, he was evasive on that point.
00:28:46But he did intimate the painter was someone of reputation
00:28:49who executed this canvas under the pseudonym of Albert Garand.
00:28:54Lamarté.
00:28:57I think I'll pay my visit.
00:28:59He don't seem to recall such a canvas.
00:29:04Of course, the Duke buys many pictures.
00:29:08And not all for me, unfortunately.
00:29:11But this one, uh, he recalls distinctly having bought here.
00:29:15It was painted by one, uh, Albert Garand.
00:29:20Albert Garand?
00:29:23I don't recall his name.
00:29:27Hmm.
00:29:28Strange.
00:29:29Because he informed me he paid 30,000 francs for it.
00:29:32Because you had told him that someday this painter would be, uh, quite famous.
00:29:36I might have seen very talented paintings.
00:29:40I'll frequently bet my own judgment successfully.
00:29:44Have you, uh, by any chance any other paintings by this Albert Garand wrong?
00:29:51I'm sorry to say I haven't.
00:29:54But I have a canvas by another very promising young man, if you are interested.
00:30:02Yes, I might be.
00:30:05This way, please.
00:30:07Uh, thank you.
00:30:09And this one is very reasonable.
00:30:18Yes.
00:30:19Yes, it's rather good.
00:30:21But not as striking as the Garand.
00:30:24You think you could, uh, 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 the canvas now.
00:30:36A plain dark girl against a bizarre background.
00:30:39An old man brought it in to me one day.
00:30:42Oh, uh, the painter himself?
00:30:43Uh, no.
00:30:44Some old man I've never seen before.
00:30:46He said he needed money.
00:30:48You happen to know his name?
00:30:50I paid cash.
00:30:51His 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.
00:31:01But why all this interest in Albert Garand, may I ask?
00:31:07Well, I'm interested in his work.
00:31:09Are you sure you couldn't contact him for me?
00:31:11I wouldn't have the vaguest idea how to locate him.
00:31:14Hmm.
00:31:15Well, I'm sorry, Monsieur Lamartine.
00:31:18I pray we can't do any business at the moment.
00:31:20If I knew where to reach you, gentlemen.
00:31:22Oh, I might drop in some other time.
00:31:25John?
00:31:41Francine!
00:31:42Lucille!
00:31:43Darling!
00:31:44You, darling!
00:31:45When did you get back?
00:31:46I'm straight off the train.
00:31:47Oh, what a filthy trip.
00:31:48I had to get bathed right away even before I could report to the office.
00:31:50Ah.
00:31:51You mean you have to go to the office tonight?
00:31:52Oh, yes.
00:31:53From the telegram I received, you'd think the whole of Paris was holding his breath until
00:31:54I got back.
00:31:55Was he with you?
00:31:56He?
00:31:57Who?
00:31:58You know whom I mean.
00:31:59You never told him his name.
00:32:00Oh, Jacques.
00:32:02No, he was not with me.
00:32:11It was Jacques who sent the telegram.
00:32:14Francine, it's outrageous.
00:32:25You're never home anymore.
00:32:26anymore. That position of yours. Wait a minute. Remember our agreement. I'm not to interfere
00:32:33in your affairs, and you're not to in mine.
00:32:52But someone from me will simply have to wait.
00:32:56Good evening. I bought one of my little people for her to use as a model. Who is it, Lucille?
00:33:12It's one of my customers. Then why are you making clothes for men? For puppets. The puppeteers.
00:33:20Well, have them come in. I'll stay out of sight. It's my little sister, Francine. I'm sorry
00:33:24she isn't presentable. I'd like you to meet her. Tell him to come in and wait. I won't
00:33:29be long. Won't you come in? What's the matter? Was he afraid to...
00:33:35Good evening. Francine. This is Gaston Morel.
00:33:40How do you do? Usually better than this. I'll be out in a minute.
00:33:44I really can't stay. I thought if you had one of the puppets for fitting, they're all pretty
00:33:50much the same size. Oh, then you want me to go right ahead and make the clothes?
00:33:53Certainly. I'd be glad to. Then if you'll excuse me.
00:34:00I'm very glad to have met you, Mademoiselle.
00:34:02Happy to have met you.
00:34:04Good night.
00:34:05Good night.
00:34:06Just a customer, eh?
00:34:19Yes, just a customer.
00:34:31Well, that's the first time I've heard them called puppets.
00:34:34Oh, you just came with the puppet.
00:34:38Oh, sure. To keep it from breaking. Well, he's not bad looking. The one who pulls the strings,
00:34:44I mean.
00:34:46Oh, Francine.
00:34:51I can't tell you how glad I am. Well, of course, we all are. To have you back.
00:34:55Thank you, Inspector. Oh, may I present my sister?
00:34:58Your sister? But you never told me you had such charming sister.
00:35:01I'm no fool. How do you do?
00:35:06I'm very happy to know you. Really, Francine has told me greatly about you.
00:35:11Gentlemen, that will be all for the present.
00:35:14Well, now you must tell me about your, uh, your success.
00:35:16What'd you sit down?
00:35:25And you?
00:35:30And now you can talk.
00:35:31Tell me all about yourself.
00:35:33I thought you called me back here on business.
00:35:35About Bluebeard.
00:35:36Hmm. 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 Boiseng.
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.
00:36:04Well, I don't quite follow you.
00:36:06You see, I have the painting for the Duke of Cadenault for it.
00:36:11However, it would be much quicker to show you.
00:36:14Would you come along, too?
00:36:15You two go ahead. I'll stay here.
00:36:17All right.
00:36:18It's only down the hall. We'll be back in two minutes.
00:36:21Thanks, Marlon.
00:36:22Alain Verrault.
00:36:26Alain Verrault.
00:36:36Duke of Cadenault, Mademoiselle Francine object.
00:36:43Delight.
00:36:43How do you do?
00:36:45How are you, Renard?
00:36:48Oh, thank you.
00:36:49I'm very well.
00:36:52Call the service shop.
00:36:55Le Roy.
00:36:55All right.
00:36:55You are an artist, Marlon.
00:37:09Mr. Boisard.
00:37:15Will you please study that picture?
00:37:19Have you any idea who actually painted that picture?
00:37:23No.
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?
00:37:45No.
00:37:46Next girl.
00:37:47Mimi Robert.
00:37:49Yeah.
00:37:49And 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, but I have no proof yet.
00:38:07Would you mind questioning if you, Inspector, I've been at it for hours?
00:38:10Well, certainly, Renard.
00:38:12Certainly.
00:38:12You 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?
00:38:37Mademoiselle, I'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 must 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.
00:39:04But recently, have you been occupied as a model?
00:39:10Well, not exactly as a model.
00:39:14You see, since I've retired, I've been...
00:39:17I don't think we need to be into that.
00:39:24Just one question.
00:39:27Do you know who Albert Gallon is?
00:39:31Albert Gallon?
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.
00:39:56Listen, I have an idea.
00:40:09Duke of Carignan writes, you want a portrait of your daughter.
00:40:13And asks me to help you find a satisfactory painter.
00:40:17Being strangers here, we naturally look for the Duke, who is a relative, for recommendations regarding a number of things.
00:40:23Why, true so, chiefly.
00:40:26The Duke is a man of exceptional...
00:40:29Yes.
00:40:30Among 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.
00:40:42What 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, just before the Duke left town.
00:40:53Yes, and since we're sailing back to South America before he returns, we had the chance only for a few intimate matters.
00:41:00And I mentioned wanting a portrait.
00:41:03What was this painter's name?
00:41:05Well, I couldn't make it out very well.
00:41:09Car-car-car-car-off or, uh, Caron, uh, Garand, possibly.
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 to capture my daughter's subtle beauty.
00:41:28Please, father.
00:41:29Unfortunately, Monsieur Deschamps, I do not know the painter you have reference to.
00:41:37But, uh, surely, Monsieur, for a, uh, commission, you 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, you could, uh, advertise?
00:41:55Advertise.
00:41:56Advertise.
00:41:59A hundred and fifty thousand might make an attractive figure.
00:42:13Agreed.
00:42:14But mind you, I don't promise that we have success.
00:42:17Well, at least you can try.
00:42:19Oh, by the way, let me give you a little something on count.
00:42:23That isn't necessary.
00:42:24But if I do find this painter, and he turns out to be somewhat of reputation, painting under a pseudonym, he may not wish to use that name.
00:42:35Whatever name he paints under does not concern me, so 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, I 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, I'll get in touch with you at once.
00:42:56At the Duke's.
00:42:57We will be most grateful to you, Monsieur Le Martais.
00:43:19Oh, Jill.
00:43:45Why aren't you coming the front way?
00:43:47Perhaps 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.
00:44:01Think I'm going to let you go on living here for nothing?
00:44:07I'll pay you.
00:44:14What?
00:44:15What you make with your puppet show.
00:44:17Oh, I'll manage.
00:44:18Don't be ridiculous.
00:44:20But I'll make you a proposition.
00:44:23Twenty-five thousand francs, if you will do.
00:44:26Twenty-five thousand?
00:44:28I might even get you thirty.
00:44:30Oh, that would give me a magnificent puppet show.
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.
00:44:42Oh, I've told you, I'm through painting.
00:44:45So you can be, for good, after just this one.
00:44:50Think of it, Gaston.
00:44:51Thirty thousand francs.
00:44:53I am thinking of it.
00:44:57No, 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.
00:45:18And she's taking the painting with her.
00:45:24It's a trap.
00:45:24Do you think I would run any further risk?
00:45:32If 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 paint her there.
00:45:54So the shop will be completely surrounded.
00:45:57With 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.
00:46:11Station 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.
00:46:21Perhaps, Francine, you could persuade the painter to demonstrate the background he has to use.
00:46:28I'll try, surely.
00:46:30The signal 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.
00:46:39He further stipulated that there should be absolutely no visitors, but even you, sir, rather than risk his outright refusal.
00:47:04I accept it.
00:47:05Yes, but, uh, my daughter...
00:47:07Oh, you'd even be concerned about me.
00:47:10And I'm sure Lamarté 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.
00:47:22I'll take the lady to our thing.
00:47:52I'm interested 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, we 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.
00:48:20I, uh, I think you had better close me.
00:48:39I must ask you to do that yourself.
00:48:42The effect will be more individual.
00:48:43I, uh, didn't take you long.
00:49:11Not too long, I hope.
00:49:14Our printer was ready?
00:49:15He started.
00:49:17So, if you don't mind, we'll get on with our business arrangements.
00:49:21I have brought the cash as you stipulated.
00:49:24For the full amount?
00:49:26150,000 francs.
00:49:29Good.
00:49:30I'll write you a receipt.
00:49:31I have some interesting curious back here, if you would like to look at them.
00:49:48But I wouldn't like to tempt crying eyes.
00:49:52I wore this simple dress thinking you might give me an interesting background.
00:50:00I liked particularly the background you gave that girl in the Duke's picture.
00:50:04Do you think you could do one for me like that?
00:50:07My Gordon.
00:50:08You have not liked that you're a cigar.
00:50:12Huh?
00:50:13Oh, uh, well, I've been smoking a little too much lately.
00:50:17And besides, I kept interested in this statue.
00:50:20Good.
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.
00:50:28Go ahead.
00:50:29Don't you think we'd better?
00:50:35I'll tell you when.
00:50:38But your shoulders.
00:50:40Can't you straighten up?
00:50:41Not so square.
00:50:43Well, I've asked you to pose me.
00:50:45I'd quite help us about such things.
00:50:59Surely 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 vampire.
00:51:14Who said so?
00:51:17The martyr.
00:51:18Can you believe what Amartya told you?
00:51:25No!
00:51:26No!
00:51:29No!
00:51:30No!
00:51:35No!
00:51:35No!
00:51:40No!
00:51:53No!
00:51:54No!
00:51:57No!
00:51:58The End
00:52:28How 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.
00:52:58And 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?
00:53:22You were going to be gone from here when they got in.
00:53:25And you were going to be gone from here when they got in.
00:53:33And you were going to be gone from here when they got in.
00:53:35And you were going to be gone from here when they got in.
00:53:42And you were going to be gone from here.
00:53:50And you were going to be gone from here when they got in.
00:53:54We're breaking in.
00:54:11Redoc, one more to the road and keep a short lookout.
00:54:24Wake it up!
00:54:31Wake it up!
00:54:54He's finished.
00:55:11Rua, put me!
00:55:20La Marte!
00:55:28Yes.
00:55:29This death certainly isn't going to help us any.
00:55:32Where's Francine?
00:55:33He took her out there.
00:55:50What have you done now?
00:56:05We are no closer in capturing him than we were before.
00:56:10Not even that close.
00:56:12La Marte was the only one that we had to follow.
00:56:16Unless...
00:56:18Unless I can find out what happened to that cravat.
00:56:21But I've been on the road to town.
00:56:24We can do rounds at the shops and nothing.
00:56:27A cravat?
00:56:28Yes.
00:56:29This one.
00:56:37What's the matter?
00:56:39You say he used this?
00:56:41Yes.
00:56:42The garotte.
00:56:43And you think the owner of this cravat is the murderer?
00:56:46Very likely.
00:56:48If not, he probably could take us to the murderer.
00:56:55Francine.
00:56:56Francine.
00:56:57I don't know how to say this.
00:57:00But you know how I felt about Francine.
00:57:03She's your sister.
00:57:05If I only could make you believe, I would do everything I can.
00:57:09For you, too.
00:57:16Now we have something in common, haven't we?
00:57:20Yes.
00:57:24Perhaps I should agree.
00:57:25Please do.
00:57:39To my deepest sympathy.
00:57:56Is that the cravat I mended for you?
00:57:59This?
00:58:00Very likely.
00:58:02What happened to the stitches?
00:58:05It may not be the same one.
00:58:07I have several alike.
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?
00:58:25I just wondered.
00:58:27Such unusual material for a cravat.
00:58:31Yes.
00:58:32Fragile.
00:58:33Would you be so kind?
00:58:39Would you care to go in?
00:58:42My interest is in the living.
00:58:45I called chiefly to offer my condolences.
00:59:19To see you.
00:59:20I must see you.
00:59:21May I come in?
00:59:22Please do.
00:59:23To see you.
00:59:24I must see you.
00:59:25May I come in?
00:59:26Please do.
00:59:28To see you.
00:59:29To see you.
00:59:30I must see you.
00:59:31May I come in?
00:59:32Please do.
01:00:03Where is it for that?
01:00:09Which?
01:00:10The one I mended for you.
01:00:13Oh, 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.
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.
01:00:56Why was that?
01:00:57What good would you 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?
01:01:12Yes.
01:01:15But it was more than fondness.
01:01:18I found myself falling in love with you.
01:01:21Really.
01:01:23Why should I prevent you from painting me?
01:01:26I want 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.
01:02:14Never 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.
01:02:41I 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 pinion to Lamarquet.
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, Lamarquet turned up at my garret.
01:03:35And will that hurt?
01:03:37Then, for me, the Academy had awarded my picture.
01:03:41The maid of Orléans, the prize.
01:03:44We'd 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, which 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.
01:08:49I thought you had some idea.
01:09:14I thought you had some idea.
01:09:19I saw when you looked at that cravat.
01:09:22I thought you had some idea.
01:09:22I thought you had some idea.
01:09:23If you looked at that cravat.
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