- 5 weeks ago
The Blue Sovereign tells the story of absolute authority wrapped in mystery and cold majesty. A cinematic vision of power, dominance, and silent control—where loyalty is demanded, fear is earned, and the color blue becomes a symbol of rule, depth, and unchallenged command.
Category
🎥
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
00:05:31Marloride, having been convinced that Faust deserted her
00:05:48And in a fit of despair, having killed her child
00:05:52Finally found the courage to give herself up
00:05:54She was tried and sentenced to prison
00:05:57where Faust with the aid of Mefitopheles finds her
00:06:00Oh, there's the voice of my beloved
00:06:06My lonely heavenly son to his heart
00:06:11Margarita
00:06:13And the sound of that awful laughter
00:06:16Around my feet I repudiate his heart
00:06:22Margarita
00:06:23His heart is here and open
00:06:28And then he said
00:06:34I am free
00:06:38He's here and once more I am here
00:06:42Yes, I, I love you
00:06:48Yes, I've come, I love you
00:06:52Even though that mocking devil
00:06:56Try to keep us far apart
00:06:59I'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
00:07:18Come, come to my heart
00:07:23Pray, do not think me bold
00:07:28My bad and furious lady
00:07:33My arm is yours to hold
00:07:38I'll help you on your way
00:07:45Oh, I'm sure
00:07:47I am not a lady
00:07:51Or a beauty
00:07:54Not a lady
00:07:57Or a beauty
00:08:00And I'll hold you
00:08:04And I'll need your help
00:08:05To see me on my way
00:08:10Take warning, take warning
00:08:12But it will be too late
00:08:14It will be too late
00:08:17It will be too late
00:08:18To see me
00:08:20There is a shadow
00:08:22There you go
00:08:24When I'm a fire
00:08:27Holy Easter's raining a cry
00:08:34There is a shadow
00:08:37And a hope
00:08:40Dear Lord
00:08:42Take my soul in your craving
00:08:46I'm sure to help and protect me
00:08:50Forgive me
00:08:52Forgive me
00:08:53Holy Easter's raining a cry
00:08:59Take my soul and the fire
00:09:05We must hurry
00:09:06To rise
00:09:08To rise
00:09:10To rise
00:09:11To rise
00:09:12To rise
00:09:13To rise
00:09:14To rise
00:09:16To rise
00:09:18To rise
00:09:20To rise
00:09:21To rise
00:09:25To rise
00:09:26To rise
00:09:27To rise
00:09:28To rise
00:09:29To rise
00:09:30To rise
00:09:31To rise
00:09:32To rise
00:09:33To rise
00:09:34To rise
00:09:35To rise
00:09:36To rise
00:09:37To rise
00:09:38To rise
00:09:39To rise
00:09:40To rise
00:09:41To rise
00:09:42To rise
00:09:43To rise
00:09:44To rise
00:09:45To rise
00:09:46To rise
00:09:47To rise
00:09:48To rise
00:09:49To rise
00:09:50Check out the collection tonight.
00:10:17Would you like the show?
00:10:19Very much.
00:10:22I created the puppets myself.
00:10:24Did you make the costumes?
00:10:26Well, I designed them.
00:10:27Why?
00:10:28Lucille's a modiste, so it's natural she's interested in clothes.
00:10:31Modiste?
00:10:33Do you think you can make some new costumes for me?
00:10:36Oh, well, I...
00:10:37Come backstage.
00:10:38Let me show you the costumes.
00:10:39Now, if that was a woman, you wouldn't need no string to make her talk.
00:10:51How do you make the eyes?
00:10:54Oh, the eyes.
00:10:55Oh, that's very simple.
00:10:56You see these two strings here.
00:10:58You like my little people, huh?
00:11:00Very much.
00:11:01They seem quite real to me.
00:11:03They're all likenesses of people I've known.
00:11:05Mephistopheles, too?
00:11:08Yes, the evil one, too.
00:11:10One other thing is he's also my business manager.
00:11:12And my gilings.
00:11:16She a friend of yours?
00:11:17She was.
00:11:20Was?
00:11:21Yes.
00:11:22Unfortunately, she made a tragic ending.
00:11:26It must have been very beautiful.
00:11:29They 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.
00:11:35I can't talk to a lot of people around.
00:11:49What you think, in your business, you like crowds.
00:11:52In the puppeteer, you mean?
00:11:54As a matter of fact, I prefer creating puppets, too.
00:11:57Performing them.
00:11:58You make them act so well.
00:12:01But there's something in your voice.
00:12:03It made me feel you'd suffered.
00:12:06You're very discerning.
00:12:07It's your marguerite.
00:12:09The memory of that tragedy, isn't it?
00:12:11A puppet?
00:12:13You're keeping the tragedy alive deliberately, aren't you?
00:12:16Why, I...
00:12:17If you wanted to forget it, you could create a new puppet.
00:12:19One that would remind you of someone else.
00:12:22Someone who might make you happy.
00:12:26Is it much trouble to create a puppet?
00:12:28It takes time.
00:12:30First, I'll make a sketch.
00:12:31A painting.
00:12:31Do you paint, too?
00:12:34Enough to get the effect.
00:12:37You know, you have very lovely eyes.
00:12:40Truthful eyes.
00:12:44Would you let me make a puppet in your image?
00:12:47Would you like to?
00:12:48Very much.
00:12:49Let's see.
00:12:52Are you trying to decide how you'll paint me?
00:12:55No.
00:12:55I'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.
00:13:15Don't you want me to make it for you?
00:13:17As you please.
00:13:17Where's my name?
00:13:27Oh, looking for you.
00:13:29Oh.
00:13:30Was she difficult?
00:13:32Well, the way she always is when you avoid her.
00:13:35She comes back, tell her I'm looking for her.
00:13:38Which you won't be.
00:13:39Of course not.
00:13:41Good night, Lysolot.
00:13:42You picked up a little something?
00:13:46What?
00:13:48Oh.
00:13:49You mean some money?
00:13:50For the musicians, you know.
00:13:52For the musicians?
00:13:53Of course.
00:13:59Oh.
00:14:00My word of honor.
00:14:12Uh-huh.
00:14:41Why 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.
00:14:51Just a 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, not 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.
00:15:26What was I to think?
00:15:27What did you think, Renée?
00:15:32Gaston.
00:15:33These girls.
00:15:36I've known they didn't mean anything to you, really.
00:15:39Because you always came back to me.
00:15:40I'm disgust on what's happened to them.
00:15:46What do you think?
00:15:47You ever came back to me?
00:15:49Oh!
00:15:50Oh, no.
00:15:50Oh, no.
00:15:50No.
00:15:50No!
00:15:50No!
00:15:51No!
00:15:52Oh, no!
00:15:53Oh, no!
00:15:53No!
00:15:53No!
00:15:54No!
00:15:55No!
00:15:55No!
00:15:56No!
00:15:56No!
00:15:57No!
00:15:58No!
00:15:58No!
00:15:58No!
00:15:59No!
00:15:59No!
00:16:00No!
00:16:00The End
00:16:30The End
00:17:00The End
00:17:30The End
00:18:01She had not turned up.
00:18:03The concierge it was told me the police found another girl in the same this morning.
00:18:07Another victim of Bluebeard.
00:18:08So I got worried.
00:18:10Have you any idea who had a motive to kill her?
00:18:13I can't think of anyone.
00:18:15She was always so kind.
00:18:19When did you see her last?
00:18:20At the proper show.
00:18:22She left before I did.
00:18:23You can prove that, of course.
00:18:25Of course.
00:18:27You didn't notice if she left with anyone?
00:18:30No, I didn't.
00:18:31It's always quite crowded backstage after performance.
00:18:34People come back to see how we pull the strings.
00:18:37Her name slipped away before I knew she was gone.
00:18:40You didn't by chance notice anyone in the crowd has struck you as unusual.
00:18:45I'm sorry I can't give you any information that might help you.
00:18:48We are grateful for your identification.
00:18:50And we will call on you if there's any further way you can help us.
00:18:52Good evening.
00:18:53Good evening.
00:19:02Bernard?
00:19:03Yes?
00:19:04Send for Francine at Yang.
00:19:06Rush her 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?
00:19:27Now, 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.
00:19:37She had a good voice.
00:19:40You have somebody else in mind for Marguerite?
00:19:43No.
00:19:45I'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.
00:19:52Oh.
00:19:53What is her name?
00:19:58Priscilla Tannes.
00:20:00Where do I find this one?
00:20:03Madame Blanche, Mordi's shop.
00:20:06When do you want her to sit for you?
00:20:08I'm not going to paint this one.
00:20:17At all?
00:20:19Definitely not.
00:20:21I merely wanted her to make some costumes for me.
00:20:25That's a new one.
00:20:26It's a fact.
00:20:29Nothing more.
00:20:31Just to make some costumes for my puppets.
00:20:34At your studio?
00:20:35I don't know where she'll make them.
00:20:37I don't even know if she will make them.
00:20:39That's what I want you to find out.
00:20:41When?
00:20:42Soon as possible.
00:20:43Oh, and a soldier.
00:20:50Huh?
00:20:51There are two girls.
00:20:52Friends of hers.
00:20:54I can trust you to exclude them.
00:20:56My word of honor.
00:20:58What do you mean breaking in here?
00:21:11We don't admit beggars.
00:21:12I 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.
00:21:42A certain gentleman has requested me to ask if 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 for his new puppets.
00:22:03Why, yes.
00:22:04I'd be delighted to.
00:22:05When?
00:22:06Now.
00:22:08Where is he?
00:22:10At his studio.
00:22:12Fine.
00:22:13I'll go right along with you.
00:22:18Yes.
00:22:19He has so many ideas.
00:22:22But one never knows what he will turn up with next.
00:22:28I always hope one day he will make a stonzer after me.
00:22:33I will run it off.
00:22:46Come in.
00:22:49Oh, this is where you work.
00:23:11It is.
00:23:13The puppets.
00:23:17Did you make them?
00:23:18Here.
00:23:22You don't seem very glad to see me.
00:23:25I'm delighted.
00:23:27These are the costumes.
00:23:29Do you think you can make them?
00:23:32They're quite good.
00:23:34Did you create them?
00:23:36Scarcely.
00:23:36They're purely.
00:23:38Oh.
00:23:39Why so many?
00:23:40I'm thinking of devoting more time to my puppets.
00:23:43Up to now they've been nearly a toy.
00:23:46Sideline.
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?
00:24:04Take your choice.
00:24:09This.
00:24:20It's plain to be seen a woman's care is lacking here.
00:24:23Is 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.
00:24:39It was my favorite.
00:24:42It needs only a stitch or two.
00:24:43Throw it away.
00:24:45Oh, it'd be a crime to.
00:24:47A few seconds or put it right.
00:24:51Why'd you decide not to paint me?
00:24:54In the park after the show?
00:24:56You better make a puppet after me.
00:24:58You seem really interested.
00:25:01Something happened.
00:25:02What?
00:25:04I can't tell you that.
00:25:05Did I do something or say something?
00:25:08No.
00:25:10Are you disappointed after seeing me more closely?
00:25:14On the contrary.
00:25:16Then what?
00:25:18You ask too many questions.
00:25:20Oh.
00:25:21You don't like being asked questions.
00:25:23No.
00:25:24Got something to hide?
00:25:26Yes.
00:25:26Good.
00:25:28And suppose I promise not to ask any more questions.
00:25:31You're very charming.
00:25:34Quite unlike any person I've painted before.
00:25:37I wonder.
00:25:39Here we are.
00:25:42All fixed.
00:25:42Now you can use it again.
00:25:45There we are.
00:25:46Go, Nick.
00:25:46THE END
00:26:16What brings you here, Lamartine?
00:26:23The police have found the bug into the last girl.
00:26:26Well?
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 just put me to great expense, smothering your paintings out in France to be disposed of.
00:26:45You 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've disposed of the last one?
00:26:54As a matter of fact, I've sold you the last one.
00:26:57Already?
00:26:58Yes.
00:26:59The Duke of Canillon was in my shop the other day looking for something unusual.
00:27:04The Duke of Canillon?
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 Canillon 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.
00:27:26You better persuade him not to show that picture.
00:27:28That might arouse his suspicions.
00:27:30Buy it back from him.
00:27:31You said he gave you only 5,000.
00:27:34I don't think he was part of it.
00:27:36The girl in that painting was one of Bluebeer's victims.
00:27:51The victim of Bluebeer?
00:27:53The fourth, to be exact.
00:27:55Are you sure?
00:27:56Sit here.
00:27:56Oh, 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.
00:28:18Because I'm sure that we can count on your cooperation.
00:28:20Naturally, I'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.
00:28:34Who 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.
00:28:54Lamarté.
00:28:55Lamarté.
00:28:56I think I'll pay him a visit.
00:29:01He 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.
00:29:11But this one, in the course, distinctly having bought here.
00:29:16It was painted by one Albert Garand.
00:29:22Albert Garand?
00:29:23I don't recall his name.
00:29:29Strange.
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.
00:29:37Yes, I might have seen very talented paintings.
00:29:41I'll frequently bet my own judgment successfully.
00:29:46Have you by any chance any other paintings by this Albert Garand wrong?
00:29:52I'm sorry to say I haven't.
00:29:55But I have a canvas by another very promising young man, if you are interested.
00:30:02Yes, I might be.
00:30:05This way, please.
00:30:13And this one is very reasonable.
00:30:18Yes.
00:30:20Yes, it's rather good.
00:30:22But not as striking as the Garand.
00:30:24You 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.
00:30:36A plain dark girl against a bizarre background.
00:30:40An 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?
00:30:51I hate cash.
00:30:52His name didn't interest me.
00:30:54Do you happen to know from whom he got the painting?
00:30:57Well, no, he merely mentioned it had been in 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.
00:31:16Well, 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.
00:31:26Monsieur.
00:31:45Francine!
00:31:45Lucille!
00:31:46Darling!
00:31:48Luke!
00:31:48You darling, when 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.
00:31:57You 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 his breath until
00:32:03I got back.
00:32:04Was 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.
00:32:26You'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.
00:33:02Good 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?
00:33:17For 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.
00:33:27Tell 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.
00:33:39This is Gaston Morel.
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 fitting,
00:33:48they'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.
00:33:57I'm very glad to have met you, Mademoiselle.
00:34:02Happy to have met you.
00:34:04Good night.
00:34:05Good night.
00:34:06Good night.
00:34:06Just a customer, eh?
00:34:18Yes.
00:34:19Just a customer.
00:34:27Good night.
00:34:27Well, 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.
00:34:51I can't tell you how glad I am.
00:34:52Well, of course, we all are.
00:34:54To 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 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.
00:35:14Well, now you must tell me about your, uh, your success.
00:35:22Won't you sit down?
00:35:25And you?
00:35:26Well, now 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.
00:35:36Hmm.
00:35:37Bluebeard.
00:35:38He's a thaw in my side.
00:35:39I seem to be getting nowhere.
00:35:41But what have you done so far?
00:35:43Here's a complete dossier.
00:35:44I want you to read it and you find time.
00:35:46Up to recently, I haven't classified as a painter.
00:35:49But we have questioned practically every art authority in Paris.
00:35:54Yes, Professor Boisin.
00:35:56And even Reckamian D'Arm.
00:35:58And now we are questioning artist models.
00:36:01But no one seems to know this man's technique.
00:36:04Well, 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?
00:36:15Well, you two 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.
00:36:21Yes, ma'am.
00:36:22Alain Voreau.
00:36:26Alain Voreau.
00:36:41Duke of Cadenault, mademoiselle Francine object.
00:36:43Be light.
00:36:43How do you do?
00:36:44How are you, Renard?
00:36:48Oh, thank you.
00:36:49I'm very well.
00:36:52Call the service shop.
00:36:55All right.
00:37:07You are an artist's model?
00:37:09At the Beaux-Arts.
00:37:10Will you please study that picture?
00:37:17Have you any idea who actually painted that picture?
00:37:23No.
00:37:24You'll notice the distinctive style.
00:37:30In what would you say that distinction lies?
00:37:35In the background.
00:37:35In the background.
00:37:36In the background.
00:37:37Exactly.
00:37:38Have you ever known a painter who used that type of background?
00:37:43No.
00:37:44No.
00:37:45Next curve.
00:37:47Mimi Robert.
00:37:48No.
00:37:49No.
00:37:50No.
00:37:51No.
00:37:52No.
00:37:53You're going to know this painter's work.
00:37:54Perhaps if I were to question La Marte.
00:37:57No.
00:37:58No.
00:37:59No.
00:38:00No.
00:38:01No.
00:38:02No.
00:38:03No.
00:38:04Dan.
00:38:05Who knows the painter.
00:38:05I have no proof yet.
00:38:07Would you mind questioning if you, Inspector, I've been at it for hours.
00:38:10Certainly, Renard.
00:38:12Certainly.
00:38:18You understand, mademoiselle.
00:38:19You're not here on trial for any offense.
00:38:21Oh, that's good.
00:38:24We are merely corralling witnesses.
00:38:27You are an artist model.
00:38:30But of course.
00:38:31What do you take me for?
00:38:33On myself, that's beside the point.
00:38:36Why isn't the portrait?
00:38:39I'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 Malo.
00:38:51Oh, yes.
00:38:53An historic immorality.
00:38:54But 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.
00:39:14You see, since I've retired, I've been...
00:39:17I don't think we need to mean to that.
00:39:24Just one question.
00:39:27Do you know who Albert Gowell is?
00:39:31Albert Gowell?
00:39:33But 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?
00:39:45Well, 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.
00:40:24Why, true so, chiefly.
00:40:26The Duke is a man of acceptance.
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.
00:40:43What 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, 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.
00:40:59And I mentioned wanting a portrait.
00:41:02What was this painter's name?
00:41:05I couldn't make it out very well.
00:41:08Well, uh, uh, uh, Caron, uh, Garand, uh, Garand, possibly.
00:41:15At any rate, whoever he is, his flesh tones are superb.
00:41:19It was that which decided me that this is the painter to capture my daughter's subtle beauty.
00:41:27Please, Father.
00:41:29Unfortunately, Monsieur Deschamps, I do not know the painter you have reference to.
00:41:38But, uh, surely, Monsieur, for a 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?
00:41:54Advertise.
00:42:08A 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 account.
00:42:22That isn't necessary.
00:42:25But if I do find this painter, and he turns out to be somewhat of reputation, painting under a pseudo-mean, 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.
00:43:07THE END
00:43:37Oh, 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.
00:44:01Do 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 puppet show?
00:44:17Oh, I'll manage.
00:44:18Don't be ridiculous.
00:44:20But I'll make you a proposition.
00:44:2325,000 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 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.
00:44:43No, 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.
00:44:53I am thinking of it.
00:45:00No, 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.
00:45:20Oh.
00:45:20Oh.
00:45:23It's a trap.
00:45:25Do 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 right to 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.
00:45:48All right, Gaston.
00:45:51You paint her there.
00:45:53So 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 sheriff 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.
00:46:18That's it.
00:46:20We must have something on the 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 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.
00:46:53He further stipulated that there should be absolutely no visitors.
00:46:58But even you, sir, rather than the risk is outright refusal, I 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 Montes 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.
00:47:46The 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 extends the need for haste is quite clear.
00:48:17Therefore, I won't take up any more time.
00:48:35I, uh...
00:48:36I think you had better close me.
00:48:39I must ask you to do that yourself.
00:48:41The effect will be more individual.
00:48:43Help me.
00:48:54Oh.
00:48:55I didn't...
00:48:55I...
00:48:56a...
00:48:57It didn't take you long.
00:49:12Not too long, I hope.
00:49:14Our painter 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?
00:49:25One hundred and fifty thousand francs.
00:49:29Good.
00:49:30I'll write you a receipt.
00:49:42I have some interesting curious spec here, if you'd like to look at them.
00:49:48But I wouldn't like to tempt crying eyes.
00:49:55I wore this simple dress thinking you might give me an interesting background.
00:49:59I like particularly the background you gave that girl in the Bute's picture.
00:50:04Do you think you could do one for me like that?
00:50:07I couldn't.
00:50:09You have not liked that you're a cigar?
00:50:12Huh?
00:50:12Oh, uh, well, I've been smoking a little too much lately, and besides, I got 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.
00:50:47Surely 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?
00:51:15Do you believe what Amartya told you?
00:51:25No!
00:51:26No!
00:51:26No!
00:51:45THE END
00:52:15THE END
00:52:45THE END
00:52:47THE END
00:52:49THE END
00:52:51THE END
00:52:53THE END
00:52:57THE END
00:52:59THE END
00:53:03THE END
00:53:05THE END
00:53:07THE END
00:53:09THE END
00:53:11THE END
00:53:13THE END
00:53:15THE END
00:53:17THE END
00:53:19THE END
00:53:21THE END
00:53:23THE END
00:53:25THE END
00:53:27THE END
00:53:29THE END
00:53:31THE END
00:53:33THE END
00:53:35THE END
00:53:37THE END
00:53:39THE END
00:53:41THE END
00:53:43THE END
00:53:45THE END
00:53:47THE END
00:53:49THE END
00:53:51THE END
00:53:53THE END
00:53:55THE END
00:53:57THE END
00:53:59THE END
00:54:03We're breaking in.
00:54:11Redondo, one more to the road to keep a short lookout.
00:54:29Wake it down.
00:54:33He's finished.
00:55:03Let's go.
00:55:05Let's go.
00:55:07Let's go.
00:55:08Let's go.
00:55:10Let's go.
00:55:12Let's go.
00:55:14Let's go.
00:55:16Let's go.
00:55:18Let's go.
00:55:20Let's go.
00:55:22Let's go.
00:55:24Let's go.
00:55:26Let's go.
00:55:27Let's go.
00:55:28Let's go.
00:55:29Let's go.
00:55:30Let's go.
00:55:31Let's go.
00:55:32Let's go.
00:55:33Where's Francine?
00:55:34He took her out there.
00:55:36Let's go.
00:55:38Let's go.
00:55:39Let's go.
00:55:40Let's go.
00:55:41Let's go.
00:55:42Let's go.
00:55:43Let's go.
00:55:44Let's go.
00:55:45Let's go.
00:55:46Let's go.
00:55:47Let's go.
00:55:48Let's go.
00:55:49Let's go.
00:55:50Let's go.
00:55:51Let's go.
00:55:52Let's go.
00:55:53Let's go.
00:55:54Let's go.
00:55:55Let's go.
00:55:56Let's go.
00:55:57Let's go.
00:55:58Let's go.
00:55:59Let's go.
00:56:00What have you now?
00:56:05We are no closer in capturing him than we were before.
00:56:10Not even that close.
00:56:11Remarteye 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 work of town.
00:56:24They can do rounds at the shops and nothing.
00:56:27A cravat?
00:56:29Yes, this one.
00:56:37What's the matter?
00:56:39You say he used this?
00:56:42Yes, the garotte.
00:56:44And you think the owner of this cravat is the murderer?
00:56:47Very likely.
00:56:49If not, he probably could take us to the murderer.
00:56:53Racine.
00:56:56Racine, I don't know how to say this.
00:57:00But you know how I felt about Francine.
00:57:04She's your sister.
00:57:06If I only could make you believe, I would do everything I can.
00:57:10And you too.
00:57:16Now we have something in common, haven't we?
00:57:20Yes.
00:57:23Perhaps I should agree.
00:57:25Please, John.
00:57:42My deepest sympathy.
00:57:56Is that the cravat I mended for you?
00:57:59This?
00:58:00Very likely.
00:58:01What happened to the stitches?
00:58:04It may not be the same one.
00:58:06I have several, I...
00:58:10Several?
00:58:11Half a dozen made them at home in the drawer.
00:58:16May I ask where you got them?
00:58:17In a little shop.
00:58:18In a plaster of a glaze, I think.
00:58:20Why?
00:58:21I just wondered.
00:58:25Such unusual material for a cravat.
00:58:30Yes.
00:58:31Fragile.
00:58:35Would you be so kind?
00:58:39Would you care to go in?
00:58:40My interest is in the living.
00:58:44I called chiefly to offer my condolences.
00:59:28You see her.
00:59:29I must see her.
00:59:30May I come in?
00:59:31Please do.
01:00:06My...
01:00:07Where is the cravat?
01:00:09Which?
01:00:10The one I mended for you.
01:00:12All right.
01:00:14You must know I threw it away.
01:00:17I wish I could believe you.
01:00:20You have 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?
01:00:36Right 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 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.
01:01:18I found myself falling in love with you.
01:01:21Really.
01:01:23Why should I prevent you from painting me?
01:01:26I'm going 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.
01:01:57I 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.
01:02:23And then, one night, as I was going home to my garret, I 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.
01:02:41Took 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.
01:02:50And then, somehow, 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.
01:03:03There was something in her fever-tormented eyes that was almost spiritual.
01:03:08Something that reminded me of someone I'd seen.
01:03:11And it came to me.
01:03:14The maid of Orléans.
01:03:17I'd seen the tomb of the maid of Orléans.
01:03:20They had inspired me.
01:03:22Then, by chance, I sold the pignet to Lamarté.
01:03:26She left recovered after that.
01:03:27And then, one day, without a word,
01:03:29she disappeared.
01:03:33And then, one night, Lamarté turned up at my garret.
01:03:36And, will that hurt?
01:03:37Then, for me, the Academy had awarded my picture,
01:03:41the maid of Orléans, the prize.
01:03:43We'd hang in the Louvre.
01:03:46And I was being recommended for the Legion of Honor.
01:03:48I am working in the Louvre.
01:03:53I 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.
01:04:04I 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.
01:04:14I went there.
01:04:19Outside her door, I heard laughter.
01:04:22But what laughter?
01:04:24Then,
01:04:26it was then I really saw her.
01:04:28She 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.
01:04:50Suddenly, the sight of that Jeanette did something to me.
01:04:53Something indescribably infuriating.
01:05:00I thought they would stop her defiling the image I'd created of her.
01:05:04Stop her degrading my work.
01:05:06I thought they'd be the end of what she could do to me.
01:05:07But it wasn't.
01:05:09Every time I painted again, I painted Jeanette.
01:05:12So I turned to making puppets.
01:05:13Because I could make them of wood.
01:05:15Because when they became Jeanette, I could take off my fury on them.
01:05:18I couldn't kill wood.
01:05:24There'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.
01:05:44Every time I painted her,
01:05:46I had to kill her again.
01:05:48Finally, I painted 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.
01:06:11I 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.
01:06:16But 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?
01:06:33Yes.
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 wouldn't let you turn against me, too.
01:07:50Oh, no, not you, Lucille.
01:07:52Not you.
01:08:00Fash in the door.
01:08:01Quickly.
01:08:02Hunter.
01:08:04Don't get him.
01:08:11No.
01:08:11No.
01:08:20How did you get here?
01:08:43I followed you?
01:08:46I saw when you looked at that cravat that you had some idea.
01:08:48Yeah.
01:08:48I saw when you looked at that cravat that you had some idea.
01:08:49I was tackling your time in the middle.
01:08:55Go, probably.
01:08:55Go, really.
01:08:57Go, how did I then?
01:09:01Go, how did I do it?
01:09:02Go, I, go!
01:09:07My name is Rival!
01:09:08I love you.
01:09:10I was afraid.
01:09:11I saw when you looked at that cravat.
01:09:13You know what?
01:09:14Yes, I didn't know.
01:09:14I forgot.
01:09:15Yeah, I did think sometimes.
01:09:16Oh, my...
01:09:16I love you.
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