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00:03:33I'm scared of him.
00:03:35Bluebeard, I forgot.
00:03:37I want to go home.
00:03:47Let's stay close together for safety.
00:04:04It's the puppeteer.
00:04:06Hello.
00:04:10Constance is afraid of her own shadow.
00:04:13When are you going to get the show in the park again?
00:04:15Perhaps quite soon.
00:04:17These are my friends, Constance and Lucille.
00:04:20I forget your name.
00:04:22Gaston Morel.
00:04:23I always think of you just as the puppeteer.
00:04:26You've seen this puppet show in the park, of course.
00:04:29No, I've missed that.
00:04:30You've missed his wonderful puppet operas?
00:04:32Oh, they're great fun.
00:04:34I should like to see one sometime.
00:04:36I should like you too.
00:04:38I haven't been showing my puppets much of late.
00:04:40It's difficult to get a crowd these evenings.
00:04:43Because of their bluebeard scare.
00:04:45But if you say you'll come, I'll give one tomorrow night.
00:04:49Tomorrow night?
00:04:51What do you say?
00:04:52Well, I...
00:04:53Of course you'll come.
00:04:54He's afraid of Bluebeard.
00:04:56Aren't you?
00:04:59What would Bluebeard want with me?
00:05:01I should think he might find you irresistible, mademoiselle.
00:05:05You'll give the puppet show tomorrow night then?
00:05:06At the same place.
00:05:08We'll be there.
00:05:09Won't we, Lucille?
00:05:10Yes.
00:05:11Tomorrow night.
00:05:12We've got to go back.
00:05:26I'm going to call the
00:05:29moon.
00:05:31Let's go.
00:05:37I'm going to call the moon.
00:05:40Music By the moon.
00:05:40You've got to call the moon,
00:05:40I'll call them.
00:05:41We're going to call them,
00:05:41on our eyes,
00:05:42Ring, ring, ring with a hand.
00:05:56Marguerite, having been convinced that Faust deserted her,
00:06:00and in a pit of despair, having killed her child,
00:06:03finally found the courage to give herself up.
00:06:06She was tried and sentenced to prison,
00:06:09where Faust, with the aid of Mephistopheles, finds her.
00:06:13The heart is the voice of my beloved,
00:06:18my lonely heart responds to his heart.
00:06:23Marguerite.
00:06:25And the sound of that awful laughter,
00:06:29surrounded by demons, I recognize his heart.
00:06:34Marguerite.
00:06:35His heart.
00:06:37I've come back to you.
00:06:41Yes, come back to you.
00:06:45And I'll surely save you.
00:06:49Yes, I've come to save you.
00:06:53I'm here.
00:06:54Come, come to my heart.
00:07:06I am not a lady or a beauty.
00:07:19I am not a lady or a beauty.
00:07:19Not a lady or a beauty.
00:07:26And I need your help to see me on my way.
00:07:34Take a warning, take a warning, but it will be too late.
00:07:39It is he, the devil.
00:07:43He's there in the shadows.
00:07:47We'll never get lost without fire.
00:07:51Oh, dear Lord, take my soul in your kingdom.
00:08:00Holy angels, radiant and bright.
00:08:06Carry my soul and the fire.
00:08:11We must party.
00:08:12I will never get lost without fire.
00:08:16All right.
00:08:26Jeremy, you take over to help this soldier.
00:08:28Demonstrate the purpose to whoever comes back.
00:08:30I'm going to take up the collection tonight.
00:08:57Would you like the show?
00:08:59Very much.
00:09:02I created the puppets myself.
00:09:04Did you make the costumes?
00:09:06I designed them.
00:09:07Why?
00:09:08Lucille's a modiste, so it's natural she's interested in clothes.
00:09:11Modiste?
00:09:13Do you think you can make some new costumes for me?
00:09:16Oh, well, I...
00:09:17Come backstage.
00:09:18Let me show you the costumes.
00:09:28Let me show you the costumes.
00:09:28If that was a woman, you wouldn't need no strings to make her talk.
00:09:33How do you make the eyes?
00:09:34Oh, the eyes.
00:09:35Oh, that's very simple.
00:09:36You see these two strings here.
00:09:38You like my little people, huh?
00:09:40Very much.
00:09:41They seem quite real to me.
00:09:43There are likenesses of people I've known.
00:09:47Mephistopheles, too?
00:09:48Yes, the evil one, too.
00:09:50One other thing is he's also my business manager.
00:09:54And now, Giri.
00:09:56Is she a friend of yours?
00:09:57She was.
00:10:00Was?
00:10:01Yes.
00:10:02Unfortunately, she made a tragic ending.
00:10:06It must have been very beautiful.
00:10:09They say you'll show me how the puppets work.
00:10:11Let's get out of here until these people leave.
00:10:13They'll be asking endless questions.
00:10:26I can't talk with a lot of people around.
00:10:29I should think in your business you like crowds.
00:10:32As a puppeteer, you mean?
00:10:34As a matter of fact, I prefer creating puppets, performing them.
00:10:38You make them act so well.
00:10:39Yes.
00:10:41There's something in your voice.
00:10:43It made me feel you've suffered.
00:10:46You're very discerning.
00:10:47It's your Marguerite.
00:10:49The memory of that tragedy, isn't it?
00:10:52Partly.
00:10:53And you're keeping the tragedy alive deliberately, aren't you?
00:10:56Why?
00:10:57If you wanted to forget it, you could create a new puppet.
00:10:59One that would remind you of someone else.
00:11:02Someone who might make you happy.
00:11:03One that would remind you of someone else.
00:11:06Is it much trouble to create a puppet?
00:11:08It takes time.
00:11:10First I'll make a sketch.
00:11:11A painting.
00:11:12Do you paint too?
00:11:14Enough to get the effect.
00:11:17You have very lovely eyes.
00:11:20Truthfully.
00:11:24Would you let me make a puppet in your image?
00:11:27Would you like to?
00:11:28Very much.
00:11:29Let's see.
00:11:32Let's see.
00:11:33Are you trying to decide how you'll paint me?
00:11:35No.
00:11:38I'm not going to paint you.
00:11:41Lucille!
00:11:42Lucille!
00:11:47You better go with him.
00:11:49You better stay close to him.
00:11:52But you're a Marguerite costume.
00:11:55Don't you want me to make it for you?
00:11:57As you please.
00:12:06I'm looking for you.
00:12:06Where's Rene?
00:12:07Oh, looking for you.
00:12:09Oh.
00:12:10Was she difficult?
00:12:12The way she always is when you avoid her.
00:12:15If she comes back, tell her I'm looking for her.
00:12:18Which you won't be.
00:12:20Of course not.
00:12:21Good night, Lucille.
00:12:22Good night.
00:12:24You picked up a little something?
00:12:26What?
00:12:28Oh.
00:12:29You mean some money?
00:12:30For the musicians, you know.
00:12:32For the musicians, of course.
00:12:39Oh.
00:12:40My word of honor.
00:12:57I'm going to stop and save my children.
00:12:57Oh, what huh?
00:12:59I wanted to aspire to.
00:13:02Oh, boy.
00:13:13You're the only one who's going to put it in the box.
00:13:17You're the only one who's going to stop,
00:13:19you're the only one who's going to put it in the box?
00:13:22This one, Tristan, is the only one who's going to put it in the box
00:13:27And watch you flirt with that girl?
00:13:30Who is she?
00:13:31I don't know.
00:13:32Just a girl.
00:13:34Another, I suppose, to take my job for a few days.
00:13:37A few weeks.
00:13:39And you think you'll come back to me again?
00:13:41I think you'd better go now, Renée.
00:13:42Oh, no, not this time.
00:13:45Renée?
00:13:46I won't stand for it.
00:13:48I warn you.
00:13:50You'll regret it.
00:13:51Regret it?
00:13:53Gaston, I've regretted it from the start.
00:13:55From the first day I met you.
00:13:57I didn't ask you to fall in love with me.
00:14:00No?
00:14:01Then why did you keep telling me you needed me?
00:14:04That I was necessary to your success?
00:14:07What was I to think?
00:14:08What did you think, Renée?
00:14:13Gaston,
00:14:14these girls,
00:14:17I've known they didn't mean anything to you really.
00:14:20Because you always came back to me.
00:14:24But Gaston, what's happened to them?
00:14:27What do you think?
00:14:29David Morris Isydries'
00:14:38What's happened to her sonny?
00:14:50How did you stop her?
00:14:52Man?
00:14:55Well, she won't stop,
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00:18:09Now, how can we get Faust again, until we find a new Marguerite?
00:18:14Oh, Mademoiselle Renée is not with us anymore.
00:18:18What a pity. She had a good voice.
00:18:22Do you have somebody else in mind for Marguerite?
00:18:25No. I'm thinking of giving a new puppet show.
00:18:29So?
00:18:30Yes, something on the order of a ballet, with a lot of new costumes.
00:18:36What is her name?
00:18:42Where do I find this one?
00:18:45Madame Blanche.
00:18:48When do you want her to sit for you?
00:18:56I'm not going to paint this one.
00:18:59No?
00:19:01Definitely not.
00:19:03I want her to make some costumes for me.
00:19:07That's a new one.
00:19:10It's a fact. Nothing more.
00:19:13Just to make some costumes for my puppets.
00:19:16At your studio?
00:19:17I don't know where she'll make them. I don't even know if she will make them.
00:19:21That's what I want you to find out.
00:19:23When?
00:19:23As soon as possible.
00:19:30Oh, and a soldier.
00:19:32Yes?
00:19:33There are two girls, friends of hers.
00:19:35I can trust you to exclude them.
00:19:39My word of honor.
00:19:51What do you mean, breaking in here?
00:19:53We don't admit beggars.
00:19:57I did not come here professionally.
00:19:59that is not from a standpoint of my profession.
00:20:03I came here on a very confidential mission.
00:20:07To see Mademoiselle Lucille.
00:20:10I'm Lucille. Did you want to see me?
00:20:12Oh, yes.
00:20:15Privately.
00:20:27A certain gentleman has requested me to ask
00:20:30if you would do him a great favor.
00:20:33Who?
00:20:34Gaston Morel, the puppeteer.
00:20:37Oh, the puppeteer.
00:20:39Yes.
00:20:40He wanted to know if he would make some costumes for his new puppets.
00:20:45Why, yes, I'd be delighted to.
00:20:47When?
00:20:49Now.
00:20:51Where is he?
00:20:52At his studio.
00:20:55Why, I'll go right along with you.
00:21:01He has so many ideas.
00:21:05One never knows what he will turn up with next.
00:21:10I always hope one day,
00:21:13he will make a stonkler rat to me.
00:21:24Why?
00:21:25I will run along.
00:21:31Come in.
00:21:46Come in.
00:21:51So this is where you work?
00:21:53It is.
00:21:55The puppets.
00:21:59Did you make them?
00:22:01Yes.
00:22:05You don't seem very glad to see me.
00:22:07I'm delighted.
00:22:09These are the costumes.
00:22:11Do you think you can make them?
00:22:15They're quite good.
00:22:17Did you create them?
00:22:18Scarcely.
00:22:19They're purely.
00:22:21Oh.
00:22:22Why so many?
00:22:24I'm thinking of devoting more time to my puppets.
00:22:26Up to now, they've been merely a toy.
00:22:29To your painting?
00:22:31Yes.
00:22:35I'm giving up my painting.
00:22:38Why?
00:22:39I have my reasons.
00:22:42Of course.
00:22:45About the costumes, would you like me to make one for your approval?
00:22:48Take your choice.
00:22:52This.
00:23:03It's plain to be seen a woman's care is lacking here.
00:23:06Is the place that dirty?
00:23:08Oh, like any bachelor quarters.
00:23:16Yes.
00:23:17Give me that.
00:23:17It's torn.
00:23:19I meant to throw it away.
00:23:20It's this lovely material.
00:23:22It was my favorite.
00:23:24It needs only a stitch or two.
00:23:26Throw it away.
00:23:27Oh, it would be a crime too.
00:23:30A few seconds will put it right.
00:23:33Why did you decide not to paint me?
00:23:37In the park after the show,
00:23:39you're going to make a puppet after me.
00:23:41You seem really interested.
00:23:43Something happened.
00:23:45What?
00:23:47I can't tell you that.
00:23:48Did I do something or say something?
00:23:51No.
00:23:51Yes.
00:23:53Were you disappointed after seeing me more closely?
00:23:57On the contrary.
00:23:59Then what?
00:24:01You ask too many questions.
00:24:03Oh.
00:24:04You don't like being asked questions.
00:24:06No.
00:24:07Is that something to hide?
00:24:08Yes.
00:24:09Good.
00:24:10And suppose I promise not to ask any more questions.
00:24:14You're very charming.
00:24:17Quite unlike any person I've painted before.
00:24:20I wonder.
00:24:22Here we are.
00:24:25All fixed.
00:24:27Now you can use it again.
00:25:03You have to go.
00:25:04What are you doing, Lamartine?
00:25:05The police have found the button of the last girl.
00:25:09What?
00:25:11Why do you keep going to the scene for the police to find her?
00:25:16You know why?
00:25:17That's the most frightening thing up here.
00:25:19The obsession of yours, Gaston.
00:25:23It has put me to great expense
00:25:25smuggling your paintings out in France
00:25:27to be disposed of.
00:25:29You must make enough out of the transaction
00:25:30to be always after me for another canvas.
00:25:33Is that what you're here for now
00:25:34before you dispose of the last one?
00:25:37As a matter of fact, I've sold the last one.
00:25:40Already?
00:25:41Yes.
00:25:42The Duke of Canillon was in my shop the other day
00:25:44looking for something unusual.
00:25:46The Duke of Canillon?
00:25:48Don't tell me you've sold it to him.
00:25:50Oh, he didn't give me any fancy price
00:25:52such as he's noted for a mere 5,000 francs.
00:25:57Fool, the Duke of Canillon
00:25:58always exhibits his collections.
00:25:59What if someone should recognize the girl?
00:26:01The people who attend the Duke's exhibits
00:26:03are not likely to know such an obscure girl.
00:26:06But his exhibits are public.
00:26:08Anybody can get in.
00:26:09You better persuade him not to show that picture.
00:26:11That might arouse his suspicions.
00:26:13Buy it back from him.
00:26:15He said he gave you only 5,000.
00:26:17I don't think he would part with it.
00:26:20The girl in that painting
00:26:21was one of Bluebeard's victims.
00:26:34A victim of Bluebeard?
00:26:36The fourth, to be exact.
00:26:38Are you sure?
00:26:39Positive.
00:26:42Oh, this is most distressing.
00:26:47One of our men on guard here
00:26:48at your exhibit
00:26:49noticed the resemblance.
00:26:51I called my attention to it.
00:26:52I investigated,
00:26:53and there can be no doubt
00:26:54it's the same girl.
00:26:56Most unfortunate.
00:26:58Most fortunate for us
00:26:59that you happened to buy the picture.
00:27:01Because I'm sure
00:27:01that we can counter your cooperation.
00:27:03Naturally, I'll do anything
00:27:04in my power, Inspector.
00:27:07What do you know about the painter?
00:27:09Nothing.
00:27:10I bought the canvas
00:27:11largely on the recommendation
00:27:12of the art dealer.
00:27:13Although, of course,
00:27:14I recognized its great man.
00:27:17Who was the art dealer?
00:27:19Jean Lamarté.
00:27:20You know him?
00:27:22Only by reputation.
00:27:25Lamarté.
00:27:26What did he tell you about the painter?
00:27:28As a matter of fact,
00:27:29he was evasive on that point.
00:27:31But he did intimate
00:27:32that the painter was someone
00:27:33of reputation
00:27:34who executed this canvas
00:27:36under the pseudonym
00:27:37of Albert Garand.
00:27:39Lamarté.
00:27:41I think I'll pay my visit.
00:27:44You don't seem to recall
00:27:46such a canvas.
00:27:49Of course,
00:27:50the Duke buys many pictures,
00:27:52and not all from me,
00:27:53unfortunately.
00:27:55For this one,
00:27:57it was distinctly
00:27:58having bought here.
00:28:01Albert Garand.
00:28:05Albert Garand.
00:28:06Albert Garand?
00:28:08Albert Garand?
00:28:09I don't recall his name.
00:28:12Strange.
00:28:13Because he informed me
00:28:14he paid 30,000 francs for it.
00:28:16Because you had told him
00:28:17that someday
00:28:18this painter would be
00:28:19quite famous.
00:28:20I might have seen
00:28:22great talent in the painting.
00:28:24I've frequently backed
00:28:25my own judgment
00:28:26successfully.
00:28:30Have you,
00:28:31by any chance,
00:28:32any other paintings
00:28:33by this Albert Garand?
00:28:35I'm sorry to say
00:28:36I haven't.
00:28:39But,
00:28:40I have a canvas
00:28:41by another
00:28:42very promising young man,
00:28:44if you are interested.
00:28:46Yes,
00:28:47I might be.
00:28:49This way,
00:28:50please.
00:28:56And this one is very reasonable.
00:29:01Yes.
00:29:03Yes,
00:29:03it's rather good.
00:29:05But not as striking
00:29:06as the Garand.
00:29:07Do you think you could
00:29:09locate this Garand
00:29:10for me?
00:29:11He might have something
00:29:12else I would like.
00:29:13You must have a record
00:29:14of that painting.
00:29:15Come to think of it,
00:29:16I do recall
00:29:18that canvas now.
00:29:20A plain dark girl
00:29:21against a bizarre background.
00:29:23An old man
00:29:24brought it into me
00:29:25one day.
00:29:26Oh,
00:29:26the painter himself?
00:29:27No.
00:29:28Some old man
00:29:29I've never seen before.
00:29:31He said he needed money.
00:29:32You happen to know
00:29:33his name?
00:29:34I paint cash.
00:29:35His name didn't interest me.
00:29:38Do you happen to know
00:29:39from whom
00:29:40he got the painting?
00:29:41No.
00:29:41He said he had been
00:29:43in the family for a long time.
00:29:46But why
00:29:47all this interest
00:29:48in Albert Garand,
00:29:50may I ask?
00:29:51Well,
00:29:51I'm interested in his work.
00:29:53Are you sure
00:29:54you couldn't contact him
00:29:55for me?
00:29:55I wouldn't have the vaguest
00:29:57idea how to locate me.
00:29:59Well,
00:30:00I'm sorry, Monsieur Lamartine.
00:30:02I'm afraid
00:30:02we can't do any business
00:30:03at the moment.
00:30:04If I knew
00:30:05where to reach you, gentlemen.
00:30:06Oh, I might drop in
00:30:07some other time.
00:30:10John?
00:30:28Francine!
00:30:29Lucille!
00:30:30Darling!
00:30:31You, darling!
00:30:33When did you get back?
00:30:34I'm straight off the train.
00:30:35Oh, what a filthy trip.
00:30:37I had to get bathed
00:30:37right away,
00:30:38even before I could
00:30:38report to the office.
00:30:40Ah!
00:30:41You mean you have to
00:30:42go to the office tonight?
00:30:43Oh, yes.
00:30:43From the telegram I received,
00:30:45you'd think the whole of Paris
00:30:46was holding his breath
00:30:47until I got back.
00:30:53Was he with you?
00:30:54He?
00:30:55Who?
00:30:56You know whom I mean.
00:30:58You never told me his name.
00:31:00Oh, Jacques.
00:31:02No, he was not with me.
00:31:04It was Jacques
00:31:05who sent the telegram.
00:31:08Francine, it's outrageous.
00:31:09You're never home anymore.
00:31:11That position of yours...
00:31:13Wait a minute.
00:31:14Remember our agreement?
00:31:15I'm not too
00:31:16in your affairs
00:31:17and you're not too in mine.
00:31:36but someone for me
00:31:37will simply have to wait.
00:31:46Good evening.
00:31:49I bought one of my little people
00:31:51for her to use as a model.
00:31:52Who is it, Lucille?
00:31:56It's one of my customers.
00:31:57Since when are you making clothes for men?
00:32:00For puppets.
00:32:02The puppeteer.
00:32:03Well, have him come in.
00:32:04I'll stay out of sight.
00:32:06It's my little sister, Francine.
00:32:08I'm sorry she isn't presentable.
00:32:09I'd like you to meet her.
00:32:11Tell him to come in and wait.
00:32:13I won't be long.
00:32:14Won't you come in?
00:32:17What's the matter?
00:32:18Was he afraid to...
00:32:20Good evening.
00:32:22Francine, this is Gaston Moyer.
00:32:24How do you do?
00:32:25Usually better than this.
00:32:26I'll be out in a minute.
00:32:28I really can't stay.
00:32:30I thought if you had
00:32:30one of the puppets for fittings,
00:32:32they're all pretty much the same size.
00:32:35Then you want me to go right ahead
00:32:36and make the clothes?
00:32:37Certainly.
00:32:38I'd be glad to.
00:32:40Then if you'll excuse me.
00:32:43I'm very glad to have met you, Mademoiselle.
00:32:45Happy to have met you.
00:32:48Good night.
00:32:49Good night.
00:32:59Good night.
00:33:03I'm doing all day.
00:33:04Good night.
00:33:16Good night.
00:33:16Is that my first time?
00:33:17I've heard of the puppets.
00:33:19Oh, he just came with the puppet.
00:33:22Oh, sure. To keep it from breaking.
00:33:25Well, he's not bad looking.
00:33:27The one who pulls the strings, I mean.
00:33:31Oh, Francine.
00:33:35I can't tell you how glad I am.
00:33:36Well, of course, we all are.
00:33:38So have you back.
00:33:39Thank you, Inspector.
00:33:40Oh, may I present my sister?
00:33:42Your sister?
00:33:43But you never told me you had such a charming sister.
00:33:46I'm no fool.
00:33:47Oh, how do you do it?
00:33:50I'm very happy to know you.
00:33:52Really, Francine has told me a great deal about you.
00:33:55Gentlemen, that will be all for the present.
00:33:58But now you must tell me about your success.
00:34:06Would you sit down?
00:34:09And you?
00:34:14And now you can talk.
00:34:15Tell me all about yourself.
00:34:17I thought you called me back here on business.
00:34:19About Bluebeard.
00:34:21Bluebeard.
00:34:22He's a thaw in my side.
00:34:23You seem to be getting nowhere.
00:34:25What have you done so far?
00:34:27Here's a complete dossier.
00:34:28I want you to read it and you find time.
00:34:31Up to recently, I haven't classified as a painter.
00:34:34But we have questioned practically every art authority in Paris.
00:34:38Yes, Professor Boisang.
00:34:40And even Reckermian Downe.
00:34:42Another questioning artist model.
00:34:45But no one seems to know this man's technique.
00:34:48Well, I don't quite follow you.
00:34:50You see, I have the painting that the Duke of Cadenault bought.
00:34:54However, it would be much quicker to show you.
00:34:58Would you come along too?
00:34:59You too, go ahead.
00:35:00I'll stay here.
00:35:01All right.
00:35:02It's only down the hall.
00:35:03We'll be back in two minutes.
00:35:04Yes, ma'am.
00:35:06Alain Berrault.
00:35:09Alain Berrault.
00:35:24Duke of Cadenault, mademoiselle Francine Atcheng.
00:35:27You'll be late.
00:35:27How do you do?
00:35:28How are you, Renard?
00:35:33Well, I'm very well.
00:35:36Call the service, Charles.
00:35:39La Hoya.
00:35:51You are an artist's model?
00:35:53At the Beaux-Arts.
00:35:59Will you please study that picture?
00:36:03Have you any idea who actually painted that picture?
00:36:10No.
00:36:12You will notice the distinctive style.
00:36:15In what would you say that distinction lies?
00:36:20In the background.
00:36:21Exactly.
00:36:23Have you ever known a painter who used that type of background?
00:36:29No.
00:36:29No.
00:36:30Next girl.
00:36:31Mimi Robert.
00:36:35And so it goes, Francine, with no one seeming to know this painter's work.
00:36:39Perhaps if I were to question Lamarté.
00:36:41No, no, no.
00:36:42He's too suspicious already.
00:36:44Lamarté is the dealer who sold Duke the painting.
00:36:47I suspect that he knows, the painter, but I have no proof yet.
00:36:51Would you mind questioning a few, Inspector?
00:36:53I've been at it for hours.
00:36:54Well, certainly, Renault, certainly.
00:37:01You understand, mademoiselle, you're not here on trial for any offense.
00:37:05Oh, that's good.
00:37:08We are merely codifying witnesses.
00:37:11You are an artist's model?
00:37:14But of course.
00:37:15What do you take me for?
00:37:17Mademoiselle, that's beside the pint.
00:37:23I've modeled for the greatest painters of France.
00:37:26Oh, no doubt.
00:37:27But we are only interested in contemporary artists.
00:37:30And the most famous sculptors, too.
00:37:32You know, of course, the Venus de Milo.
00:37:35Oh, yes.
00:37:37An historic masterpiece.
00:37:39But surely you're not going to tell us you're modeled for her.
00:37:44Why?
00:37:45I'm the exact duplication of her measurements.
00:37:49I'm the exact duplication of her measurements.
00:37:50But recently, have you been occupied as a model?
00:37:54Well, not exactly as a model.
00:37:58You see, since I've retired, I've been...
00:38:01I don't think you need to be into that.
00:38:08Just one question.
00:38:11Do you know who Albert Gallo is?
00:38:15Albert Gallo.
00:38:17But of course.
00:38:18Who is he?
00:38:20Bluebeard.
00:38:21Take a look at that picture.
00:38:25Have you any idea who that painter might be?
00:38:30Well, when I modeled for money...
00:38:34The question is, do you know who painted that?
00:38:37No.
00:38:39Next model.
00:38:52The Duke of Carignan says, do you want a portrait of your daughter?
00:38:57And ask me to help you find a satisfactory painter.
00:39:01Being strangers here, we naturally look to the Duke, who is a relative for recommendations regarding a number of things.
00:39:09The Duke of Carignan's paintings.
00:39:13The Duke of Carignan's paintings, I noticed one that particularly attracted me, the canvas of a young girl against her
00:39:22very startling background.
00:39:24I was wondering if this painter is available.
00:39:27What did the Duke say of that painter?
00:39:31Unfortunately, we had no opportunity to ask him.
00:39:33You see, we only arrived in Paris last evening, just before the Duke left town.
00:39:37Yes, and since we're sailing back to South America, before he returns, we had the chance only for a few
00:39:43intimate matters.
00:39:44And I mentioned wanting a portrait.
00:39:47What was this painter's name?
00:39:50I couldn't make it out very well.
00:39:54Karoff or Caron?
00:39:57Garon?
00:39:58Possibly.
00:39:59At any rate, whoever he is, his flesh tones are superb.
00:40:04It was that painter who decided to capture my daughter's subtle beauty.
00:40:12Please, Father.
00:40:16Unfortunately, Mr. Deschamps, I don't know the painter you have referenced.
00:40:21But surely, for a commission, you could look him up?
00:40:27A rather good commission.
00:40:29I don't know where to find him.
00:40:31But for a commission of 75,000 francs, you could...
00:40:38Advertise?
00:40:39Advertise.
00:40:51A hundred and fifty thousand might make an attractive figure.
00:40:56Agreed.
00:40:57But mind you, I don't promise that we have success.
00:41:01Well, at least you can try.
00:41:03Oh, by the way, let me give you a little something on account.
00:41:07That isn't necessary.
00:41:09But if I do find this painter, and he turns out to be someone of reputation,
00:41:15painting under a pseudonym, he may not wish to use that name.
00:41:19Whatever name he paints under does not concern me, so long as he is the painter who did the canvas
00:41:24I like so much.
00:41:26It's better to have such matters understood.
00:41:29But it will have to be painted soon.
00:41:30Don't forget, I want to take it with me to South America.
00:41:33I'll do my best.
00:41:35If I have any good news for you, I'll get in touch with you at once.
00:41:40At the Duke's.
00:41:41We will be most grateful to you, Monsieur Le Martais.
00:42:31Why don't you come in the front way?
00:42:33Perhaps if you paid me my rent, you could dictate which way I should enter my own property.
00:42:39You've made plenty out of my paintings.
00:42:40In the past.
00:42:42I made a small profit.
00:42:44In the past.
00:42:46But do you think I'm going to let you go on living here for nothing?
00:42:53I'll pay you.
00:42:59For what?
00:43:00What do you make with your puppet show?
00:43:02I'll manage.
00:43:04Don't be ridiculous.
00:43:05But I'll make you a proposition.
00:43:0825,000 francs, if you will do.
00:43:1225,000?
00:43:13I might even get you 30.
00:43:16Oh.
00:43:17That would give me a magnificent puppet show.
00:43:19A dozen of them.
00:43:21What's the proposition?
00:43:23A rich South American wants a portrait of his daughter.
00:43:27Oh.
00:43:27I thought so.
00:43:29No.
00:43:29I've told you, I'm through painting.
00:43:31So you can be.
00:43:32For good.
00:43:33After just this one.
00:43:35Think of it, Gaston.
00:43:3730,000 francs.
00:43:40I am thinking of it.
00:43:46No, it's too risky.
00:43:52Besides, I've told you I won't pay any more of your girl.
00:43:55But this is different.
00:43:57This is a portrait.
00:43:58And this is safe.
00:44:00She's leaving almost at once for South America to be married.
00:44:03And she's taking the painting with her.
00:44:09It's a trap.
00:44:11Do you think I would run any further risk?
00:44:18Yes.
00:44:18If there's no risk, why shouldn't I paint her at your studio?
00:44:21My studio?
00:44:22Yes.
00:44:23The workroom over your shop.
00:44:25That's all right to paint a portrait in.
00:44:27Why?
00:44:28Yes.
00:44:30So it is.
00:44:31I paint her there or I don't need her.
00:44:34All right.
00:44:35All right, Gaston.
00:44:37You think you're there?
00:44:40So the shop will be completely surrounded
00:44:42with every possible escape route.
00:44:45But how are we to know that this Garong
00:44:47has actually showed up at Le Montez?
00:44:49We'll give you a signal.
00:44:51The champ can stand at the window and light his cigar.
00:44:54You notice that window at the back of the office.
00:44:57Station someone that can watch the window and relay the signal.
00:45:00But don't enter too soon.
00:45:02Give the painter a chance actually to start painting.
00:45:04That's it.
00:45:05We must have something on canvas as evidence.
00:45:08Perhaps, Francine, you could persuade the painter
00:45:11to demonstrate the background intensity.
00:45:14I'll try, surely.
00:45:16The thing will mean only that the artist has arrived
00:45:18and started painting.
00:45:19Yes.
00:45:20I'll leave the timing to you, Renaud.
00:45:22But remember, you're also absolutely responsible.
00:45:41that there should be absolutely no visitors.
00:45:45Not even you, sir.
00:45:46Rather than risk his outright refusal, I accept it.
00:45:51Yes, but my daughter...
00:45:53Oh, you wouldn't be concerned about me.
00:45:55And I'm sure Le Montez will not object if you wait here and smoke.
00:45:59Not at all.
00:46:01Very well.
00:46:02So, if you will be good enough to excuse us,
00:46:06I'll take the lady to our painting.
00:46:36The painter has requested that he be permitted to work unobserved.
00:46:41He finds it more satisfactory than to him.
00:46:44The senator is here.
00:46:46Are you ready?
00:46:48Quite ready.
00:46:50I hope he will be quite comfortable.
00:46:53If there's anything you want,
00:46:55we have only to call down the speaking tube.
00:46:59The artist who stands the need for haste is quite agreeable.
00:47:03Therefore, I won't take up any more time.
00:47:22I think you'd better close me.
00:47:25I must ask you to do that yourself.
00:47:27The effect will be more individual.
00:47:56It didn't take you long.
00:47:58Not too long, I hope.
00:48:00Our painter was ready.
00:48:01He has started.
00:48:03So, if you don't mind, we'll get on with our business arrangements.
00:48:07I have brought the cash as you stipulated.
00:48:10For the full amount?
00:48:12One hundred and fifty thousand francs.
00:48:15Good.
00:48:16I will write you a receipt.
00:48:22Surely you must have done some pictures
00:48:24other than the one I saw at the Duke's.
00:48:27Haven't you?
00:48:29Pardon?
00:48:30I say I would love to see some other pictures you've done.
00:48:35Head higher, please.
00:48:49Have you a match?
00:49:02See ya.
00:49:03Thanks, sir.
00:49:05I don't smoke.
00:49:06But they always have matches with me.
00:49:09I find they frequently come in handy.
00:49:26I have some interesting curious back here.
00:49:30If you would like to look at them.
00:49:32But I would like to tempt prying eyes.
00:49:40I wore this simple dress thinking you might give me an interesting background.
00:49:44I liked particularly the background you gave that girl in the Duke's picture.
00:49:48Do you think you could do one for me like that?
00:49:51I could.
00:49:53You have not liked that you're a cigar.
00:49:56Huh?
00:49:57Oh, well, I've been smoking a little too much lately.
00:50:01And besides, I got interested in this statue.
00:50:04Good.
00:50:05Then you won't mind excusing me a moment while I go up and see how our painting is coming on.
00:50:11By all means.
00:50:12Go ahead.
00:50:18Don't you think we'd better?
00:50:19I'll tell you when.
00:50:22Put your shoulders.
00:50:24Can't you straighten up?
00:50:25Not so square.
00:50:27Well, I've asked you to pose me.
00:50:29I'm quite helpless about such things.
00:50:44I'm quite a bit more, dearie.
00:50:48I'm quite a bit more.
00:50:49What about you?
00:50:50I'm going to leave you in your see-up.
00:50:56Got you.
00:50:58I'm going to leave you in your seat.
00:50:59I can't make you feel like this.
00:51:01Let me see you.
00:51:01I'm going to leave you in your seat.
00:51:02Go ahead, don't look at me.
00:51:04Why, don't you have any problems?
00:51:05Do you believe what Lamarté told you?
00:51:09No!
00:51:34No!
00:52:07I don't know.
00:52:26Lamarté.
00:52:28How many others have you told that I painted the pictures you sold to the Duke?
00:52:32No one.
00:52:34No one.
00:52:35You're not telling me the truth.
00:52:46You were trying to get out of here.
00:52:49You're leaving the blame for this to me as well.
00:52:52No.
00:52:54No, I want it.
00:53:01Sorry.
00:53:03And you even had a time, didn't you?
00:53:06You were going to be gone from here when they got in.
00:53:53Let's go.
00:53:54We're taking the run.
00:53:54We're breaking in.
00:53:55We're down.
00:53:55One more in the rear to keep a soft lookout.
00:53:58Kedok.
00:54:01We're breaking in.
00:54:13Let's go!
00:54:52She's finished.
00:55:04Go!
00:55:05Quickly!
00:55:20La Marte?
00:55:21Yes.
00:55:23His death certainly isn't going to help us any.
00:55:26Where's Francine?
00:55:27He took her out there.
00:55:57Can you see him now?
00:56:00We have no clue about it.
00:56:01closer in capturing him than we were before, not even that close.
00:56:05Le Martais was the only one that we had to follow.
00:56:11Unless...
00:56:11Unless I can find out what happened to that cravat.
00:56:15But I've been all over town,
00:56:17making the rounds at the shops and nothing.
00:56:21A cravat?
00:56:22Yes, this one.
00:56:30What's the matter?
00:56:33You say he used this?
00:56:35Yes, as a carrot.
00:56:37Then you think the owner of this cravat is the murderer?
00:56:40Very likely.
00:56:42If not, he probably could take us to the murderer.
00:56:47Lucine.
00:56:50Lucine.
00:56:51I don't know how to say this.
00:56:54But you know how I felt about Francine.
00:56:58She's your sister.
00:57:00If I could only make you believe, I would do everything I can.
00:57:04And for you too.
00:57:10Now we have something in common, haven't we?
00:57:14Yes.
00:57:17Perhaps I should go in.
00:57:19Please, John.
00:57:23Please.
00:57:48My deepest sympathy.
00:57:50Is that the cravat I mended for you?
00:57:54This, very likely.
00:57:57What happened to the stitches?
00:57:59It may not be the same one.
00:58:01I have several alike.
00:58:05Several?
00:58:06Half a dozen, maybe, at home in my drawer.
00:58:10May I ask where you got them?
00:58:12In a little shop, in a plaster of the glaze, I think.
00:58:15Why?
00:58:18I just wondered.
00:58:20It's such unusual material for a cravat.
00:58:24Yes.
00:58:26Fragile.
00:58:29Would you be so kind?
00:58:33Would you care to go in?
00:58:34Yes.
00:58:36My interest is in the living.
00:58:39I called to offer my condolences.
00:59:33I must see you.
00:59:37Where is the cravat?
00:59:37Oh.
00:59:40Oh, yeah, grey.
01:00:03Where is the cravat?
01:00:05Which one?
01:00:06The one I made for you.
01:00:08All right, if you must know, I threw it away.
01:00:13I wish I could believe you.
01:00:16You've been through a lot, Lucia. Sit down.
01:00:21Let me bring you something.
01:00:23Some cognac?
01:00:25Nothing, thank you.
01:00:29Where were you last night?
01:00:32Right here, working on my puppets.
01:00:37The whole evening?
01:00:38I did go out for a little while.
01:00:44To paint someone?
01:00:46Haven't I told you I don't want to paint anymore?
01:00:48But that meant you wouldn't paint me.
01:00:52Why was that?
01:00:53What good would it do to tell you?
01:00:58You don't believe anything I say to you.
01:01:01Why wouldn't you?
01:01:03As a matter of fact,
01:01:05I was becoming too fond of you.
01:01:08Fond?
01:01:09Yes.
01:01:11But it was more than fondness.
01:01:14I found myself falling in love with you.
01:01:17Really in love.
01:01:19Why should I prevent you from painting me?
01:01:27Lucille.
01:01:30I want to tell you something no other living person knows.
01:01:35Then maybe you'll understand how much I do love you.
01:01:38And why I don't want to paint you.
01:01:45I was a very ambitious youth, Lucille.
01:01:48And extremely sensitive.
01:01:51I almost starved to death as an art student.
01:01:57I didn't mind physical starvation.
01:01:59But there was something in me.
01:02:01A burning ambition,
01:02:03striving to paint something really worthwhile.
01:02:06Something fine.
01:02:08I worked feverishly at the Beaux-Arts,
01:02:11never seeming to get anywhere.
01:02:13I painted every model who came there,
01:02:15but the canvases all turned out to be one after another,
01:02:18just ordinary.
01:02:21And then, one night,
01:02:24as I was going home to my garret,
01:02:27I came across a girl.
01:02:29She collapsed.
01:02:31I didn't know what to do.
01:02:33My garret was close by.
01:02:34I carried her there.
01:02:37I took care of her as best I could.
01:02:40I had little money.
01:02:42Barely enough for my paints.
01:02:44She needed nourishment or she would have died.
01:02:49Somehow, I managed to get her the things she needed.
01:02:52And then, one day, to pass the time, I began to paint Jeanette.
01:02:56That was her name.
01:02:58Jeanette LeBeau.
01:03:00There was something in her fever-tormented eyes
01:03:02that was almost spiritual.
01:03:04Something that reminded me of someone I'd seen.
01:03:08Then it came to me.
01:03:11The Maid of Orléans.
01:03:13I'd seen the tomb of the Maid of Orléans.
01:03:17It inspired me.
01:03:18Then, by chance, I sold the painting to La Marte.
01:03:22Jeanette recovered after that.
01:03:24And then, one day, without a word,
01:03:27she disappeared.
01:03:29And then, one night, La Marte turned up to my garret.
01:03:32With a letter.
01:03:34It informed me that the Academy had awarded my picture.
01:03:37The Maid of Orléans, the prize.
01:03:40It would hang in the Louvre.
01:03:42And I was being recommended for the Legion of Honor.
01:03:46And I worked in the Louvre.
01:03:49I was almost insane with joy.
01:03:56Quite naturally, I wanted to share my happiness
01:03:58with the one who was chiefly responsible for it.
01:04:01Jeanette.
01:04:02I went looking for her.
01:04:04Searching everywhere.
01:04:06At last, I traced her through the doctor I'd called in for her.
01:04:10He gave me her address.
01:04:13I went there.
01:04:16Outside her door, I heard laughter.
01:04:18But what laughter?
01:04:22Then...
01:04:23It was then I really saw her.
01:04:26She invited me in.
01:04:29But she wasn't the same Jeanette.
01:04:37A low-cost, loathsome creature.
01:04:41She offered me money.
01:04:43I suppose she thought she could repay me with money.
01:04:47Suddenly, the sight of that Jeanette did something to me.
01:04:50Something indescribably intimidating.
01:04:57I thought that would stop her defiling the image I'd created of her.
01:05:01I started degrading my work.
01:05:03I thought that would be the end of what she could do to me.
01:05:04But it wasn't.
01:05:06Every time I painted again, I painted Jeanette.
01:05:09So I turned to making puppets because I could make them of wood.
01:05:12Because when they became Jeanette, I could take up my fury on them.
01:05:15I couldn't kill wood.
01:05:21There was no money in puppets.
01:05:23At least not enough for Lamartey.
01:05:25I owed Lamartey a lot of money.
01:05:28Only he knew that I'd killed Jeanette.
01:05:30So I had to paint for Lamartey.
01:05:33He wanted pictures of girls he could sell.
01:05:35But again, every girl I painted turned out to be Jeanette.
01:05:38I couldn't stop myself.
01:05:41Every time I painted her,
01:05:43I had to kill her again.
01:05:46Finally, I painted nothing to me.
01:05:48Not even my own.
01:05:54Then I saw you.
01:05:59I knew I had found what I'd missed in my existence.
01:06:02What I'd thought I might find in Jeanette and didn't.
01:06:05I knew I saw a chance for fulfillment.
01:06:08I knew I couldn't live my life over again to deserve you.
01:06:11I knew I couldn't undo the wrongs I'd done.
01:06:14But I could prevent further ones.
01:06:17That's why I definitely quit painting once and for all.
01:06:20I decided there must be no more killings for your sake.
01:06:23That's why I couldn't paint you.
01:06:27Now do you understand?
01:06:29Yes.
01:06:32Yes.
01:06:36Why, Francine?
01:06:41Francine.
01:06:43I didn't want to kill her.
01:06:46I accepted that one last commission because it would mean independence.
01:06:50There wasn't to be a chance for a slip-up.
01:06:53That's why I was to paint her at La Maté's studio with him standing by.
01:06:57I didn't recognize the girl that came there as your sister until it was too late.
01:07:01All I realized suddenly was she was coming between us.
01:07:04You and me.
01:07:05Cutting me off from you.
01:07:07Wrecking our one chance of happiness.
01:07:08Do you think anything could justify her murder?
01:07:13Anyone seeking to destroy our happiness is a menace.
01:07:16A menace that would have to be done away with.
01:07:21What are you going to do?
01:07:23The only thing I can do.
01:07:26You're not thinking of going to the police.
01:07:29Why not?
01:07:31You wouldn't do that.
01:07:34Wouldn't I?
01:07:37Lucille.
01:07:38You couldn't do that to me.
01:07:41Not you, Lucille.
01:07:43And even if you could, I wouldn't let you.
01:07:45I wouldn't let you turn against me too.
01:07:47Oh no, not you, Lucille.
01:07:49Not you.
01:07:57Smash in the door.
01:07:59Quickly.
01:08:00All right.
01:08:08Go.
01:08:09In the middle.
01:08:12Go.
01:08:16All right.
01:08:27Let's go.
01:08:28You drive the car you got.
01:08:29You drive the car you want to be here.
01:08:29Go.
01:08:29You drive the car you're here.
01:08:30Go Get up.
01:08:30Out.
01:08:30Get up.
01:08:32Get up.
01:08:32Get up.
01:08:33Get up.
01:08:34Get up.
01:08:39How did you get here?
01:08:41I followed you.
01:08:43I saw when you looked at that covert as you had some idea.
01:09:32I saw when you saw me.
01:09:32I saw you.
01:09:32I saw me.
01:09:33I saw you.
01:09:42THE END
01:10:03THE END
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