La Résidence (La residencia) est un film espagnol réalisé en 1969 par Narciso Ibáñez Serrador. Aux côtés de l'Allemande Lilli Palmer, dont la présence ici est un clin d'œil à Jeunes filles en uniforme, il réunit trois icônes du cinéma d'horreur ibérique : Cristina Galbó (Le Massacre des morts-vivants), Maribel Martín (La Mariée sanglante) et María Elena Arpón (La Révolte des morts-vivants).
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Court métrageTranscription
00:00:00 [Sounds of a boat on the water]
00:00:07 [Sounds of a boat on the water]
00:00:14 [Sounds of a boat on the water]
00:00:21 [Sounds of a boat on the water]
00:00:28 [Sounds of a boat on the water]
00:00:36 [Sounds of a boat on the water]
00:00:41 This is the bossy, isn't it?
00:00:42 That's right, sir.
00:00:43 Put our luggage in the tavern and I'll come and pay you there.
00:00:48 All right, sir.
00:00:49 I hope I can hire a carriage here.
00:00:51 Yes, I'm sure you will.
00:00:52 This is my car. Visit me any time.
00:00:54 Thank you.
00:00:55 Come along, dear.
00:00:59 [Music]
00:01:07 Yes?
00:01:08 I brought a new girl for the school.
00:01:10 Right.
00:01:12 [Music]
00:01:31 [Music]
00:01:41 [Music]
00:01:51 [Music]
00:02:01 [Music]
00:02:11 [Music]
00:02:25 Whoa!
00:02:26 Whoa! Stand still, there.
00:02:28 [Music]
00:02:38 May we go inside?
00:02:39 Yes, sir.
00:02:40 [Music]
00:02:50 [Music]
00:03:00 [Music]
00:03:10 [Music]
00:03:20 [Music]
00:03:30 [Music]
00:03:40 [Music]
00:03:50 [Music]
00:03:53 [Sound of a whip]
00:03:54 Moliere was an absolute master.
00:04:02 Was an absolute master.
00:04:09 In creating his characters.
00:04:11 In creating his characters.
00:04:17 He had an inimitable gift.
00:04:24 He had an inimitable gift.
00:04:30 Of portraying life.
00:04:37 Of portraying life.
00:04:40 In its most vivid aspects.
00:04:45 In its most...
00:04:48 Mademoiselle Lisy, you don't feel like writing this afternoon?
00:05:00 No.
00:05:03 I don't want to.
00:05:06 I don't want to.
00:05:07 Perhaps you're also bored by the company of so many girls.
00:05:19 How would you like to live a few days in complete seclusion?
00:05:24 If I remember correctly, you've already had that experience.
00:05:28 Would you like to try it again?
00:05:30 As you wish.
00:05:31 No, as you wish, Mademoiselle Lisy.
00:05:33 I don't give a damn.
00:05:35 I doubt that.
00:05:36 You can doubt all you please.
00:05:39 Very well.
00:05:41 We shall see who's right.
00:05:43 Mademoiselle Toupin!
00:05:44 Yes, Madame.
00:05:45 Accompany Mademoiselle Lisy to the seclusion room and then come back at once, please.
00:05:50 Here's the key.
00:05:52 Mademoiselle Lisy.
00:05:56 May I take a book with me?
00:05:59 No.
00:06:00 No doubt I'll see you later.
00:06:02 Yes, we'll have a talk.
00:06:05 Now, where have you come to?
00:06:07 In its most vivid aspects.
00:06:11 In its most vivid aspects.
00:06:15 There's a gentleman with a girl to see you.
00:06:20 They're waiting in the library.
00:06:22 Girls, Mademoiselle Desprez will continue dictation in my place.
00:06:27 I'm not going to let you go.
00:06:31 Mademoiselle Desprez will continue dictation in my place.
00:06:34 Mademoiselle Noël, are you too tired to stand up?
00:06:49 Excuse me, please, Madame Frenot.
00:06:51 At which paragraph were you?
00:06:59 At which paragraph were you?
00:07:00 Go to hell!
00:07:03 Monsieur Baldy, I am Madame Frenot, the principal of this college.
00:07:19 What can I do for you?
00:07:21 Pleasure to meet you, Madame.
00:07:22 I'd like to enroll Madame Zargavan as a pupil here.
00:07:26 Are you a relative?
00:07:28 No, just a friend of the mother.
00:07:32 We read your advertisement in the paper,
00:07:35 and a colleague of mine recommended your establishment.
00:07:37 But I hope you like it.
00:07:40 Would you care to look around?
00:07:41 Madame.
00:07:42 This is the room for painting, drawing and modeling.
00:07:50 Three times a week, our pupils copy from real life in oil, aquarelle and clay.
00:07:56 Some of the paintings you see hanging on the walls of this establishment are the works of our pupils.
00:08:02 There is?
00:08:05 This way, please.
00:08:07 I believe in healthy minds and healthy bodies for the girls entrusted in my care.
00:08:22 This room is for music and dancing.
00:08:24 Solfeggio is obligatory, but afterwards the pupils can choose.
00:08:28 Piano, violin, harp or the violoncello.
00:08:32 The barn and the mirror are for belly exercises.
00:08:35 I don't insist on them perfecting this art, but they must practice one hour a day.
00:08:40 Besides providing them with graceful movements,
00:08:43 don't forget most of our pupils are no longer children,
00:08:47 it also provides them with useful exercises and prevents them from indulging in morbid thoughts.
00:08:52 You play the piano, mademoiselle?
00:08:56 I learnt a little three years ago, but I had to stop.
00:08:59 But you still remember your solfeggio?
00:09:02 Yes, I think so.
00:09:16 What's the matter?
00:09:17 No, nothing.
00:09:21 We want our girls to be experts in gardening.
00:09:28 One of our pupils, Marguerite Chagrin, became an authority on the subject.
00:09:33 In our library we have many of her essays on botanical specimens.
00:09:38 They've been published by the Academy of Science.
00:09:45 Oh, it's nothing, just a flowerpot that burned down.
00:09:47 It was probably the wind.
00:09:49 This way, please.
00:09:51 Our garden in springtime is the envy of the entire neighborhood.
00:09:57 Naturally we use it.
00:10:14 Of course our pupils are also given cookery lessons.
00:10:16 As you know, culinary art is most important for future housewives.
00:10:20 There's a very cordial atmosphere between our pupils.
00:10:24 Their ages vary between 15 and 21,
00:10:27 but I'm sure that mademoiselle will soon meet good and new friends among them
00:10:32 and that she will soon feel absolutely at home with us.
00:10:35 This is the dining room.
00:10:39 I could also show you the kitchen.
00:10:43 I could also show you the workroom and the reading room,
00:10:46 but I don't want to tarry.
00:10:48 Would you like to see the dormitories?
00:10:52 No, it's not necessary, thank you, madame.
00:10:54 How old are you, mademoiselle?
00:11:04 18 and a half.
00:11:06 Have you ever been to boarding school?
00:11:08 No, madame.
00:11:11 Ah, Marie!
00:11:12 Please take mademoiselle Gravel to the dining room.
00:11:22 It's five o'clock, she might like some tea and biscuits.
00:11:26 We'll join you there in a few minutes.
00:11:28 Thank you, madame.
00:11:30 I'm afraid I'm not going to be able to see her.
00:11:33 I'm afraid I'm not going to be able to see her.
00:11:35 I'm afraid I'm not going to be able to see her.
00:11:38 We'll join you there in a few minutes.
00:11:39 Madame.
00:11:41 Shall we go into the library?
00:11:45 Certainly, after you, madame.
00:11:47 Please sit down.
00:11:53 Thank you.
00:11:55 Name of the parents, please.
00:11:59 Her mother's called Violette Gravel.
00:12:05 She's a very good friend of mine.
00:12:07 As I said...
00:12:08 I want you to know that we are very discreet here.
00:12:11 Particularly what concerns the parents of the students.
00:12:14 So a friend of mine told me.
00:12:16 Monsieur Moreau from Avignon, who recommended you to me.
00:12:19 The mother of Therese only wishes she could educate the girl all by herself.
00:12:23 But I'm afraid that at the moment she's not able to.
00:12:26 Well, she can stay with us until she comes of age.
00:12:29 All we need to know is the name and address of the person directly responsible for her.
00:12:34 And the sum of 300 francs per term must always be paid in advance.
00:12:37 All right.
00:12:39 Mother's name is Violette Gravel.
00:12:42 Place des Arts, Avignon.
00:12:46 Avignon.
00:12:49 Put two terms in advance.
00:12:52 Would you like a receipt?
00:12:55 No, it's not necessary.
00:12:57 This school specializes in students...
00:13:01 whose character is, shall we say...
00:13:04 difficult.
00:13:06 And there are few among them who, in spite of their youth...
00:13:10 have not exactly led exemplary lives.
00:13:13 In order to bring them back to the right path...
00:13:17 I must run this establishment with a firm hand.
00:13:21 [Music]
00:13:50 [Music]
00:14:19 [Music]
00:14:41 M'sieur, would you be looking for something?
00:14:44 No, nothing. Thank you.
00:14:46 Have you finished your tea yet?
00:14:48 Yes.
00:14:49 Why don't you eat the biscuits?
00:14:51 They're very good ones.
00:14:53 No, I'm not hungry.
00:14:55 Keep them then. You won't get much to eat for supper.
00:14:58 Danny is the true maid, his way to the fastness...
00:15:03 where Apollo rules enthroned on high into the vast cavern beyond...
00:15:07 which is the awful civil's own secluded place.
00:15:10 Here the prophetic Delian god breathes into her the spirit's visionary might...
00:15:17 revealing things to come.
00:15:18 They were already drawing near to Diana's wood and the golden temple there.
00:15:23 Diadolus, for this is the story, adventured his life in the sky.
00:15:28 He consecrated his wings to Phoebus Apollo...
00:15:33 for whom he founded a gigantic temple.
00:15:36 On the temple gate he pictured the death of Androbius...
00:15:39 and lower down the Athenians obeying the ghastly command...
00:15:42 You're home. Thank you.
00:15:45 ...of St. Orwart's sons' annual repartation.
00:15:47 And there was the urn from which the locks had just been drawn.
00:15:50 The island in which Cronus stands, rising high above the sea...
00:15:54 balanced the scene on the other length of the gate.
00:15:57 There he had depicted the bull's brutal passion...
00:16:00 and Theseus' secret union with him.
00:16:03 And there in the midst, as a warning against wicked love...
00:16:06 their high-bred offspring, child of two breeds, the Minotaur.
00:16:12 Here wore the cretin building in all its elaboration with...
00:16:15 Enough, Mademoiselle Perrier.
00:16:18 You're excused, Mademoiselle.
00:16:33 What's your name?
00:16:34 - Therese Agravant. - Did you bring much luggage?
00:16:37 - Everything I own. - I've run out of stockings.
00:16:40 - Can you let me have a few pairs? - Shh! Oh, shut up, you.
00:16:45 - What's your name? - Therese Agravant.
00:16:47 - Did you bring much luggage? - Everything I own.
00:16:50 - I've run out of stockings. Can you let me have a few pairs? - Shh! Oh, shut up, you.
00:16:54 Oh, shut up, you.
00:16:55 Mademoiselle Toupin, Fragonard and Rigaud. Will you please come with me?
00:17:19 Mademoiselle Toupin, Fragonard and Rigaud. Will you please come with me?
00:17:21 It's all right, she's gone.
00:17:31 - What's her name? - Where are you from?
00:17:34 - Shh! Quiet a moment, not so loud. - Her name's Therese.
00:17:37 - Yes, Therese Agravant, from Avignon. - Oh, do you know her?
00:17:40 - My name's Yolette. - Oh, Avignon.
00:17:42 - Isabelle, Claire, Cecile. - And I'm Suzanne.
00:17:44 - And my name's Margaret. - Wait a minute.
00:17:47 - You're Yolette, to know us. - Can we look at your luggage?
00:17:49 - Yes, of course. - Oh!
00:17:51 - Come on, give me some. - Come on, give me some.
00:17:57 - Oh, this is nice. - Yes, of course, please.
00:18:02 - Yes, it's nice. - Oh, it's better on me.
00:18:11 - I think it looks awful.
00:18:16 - What did you say? - Are you mad?
00:18:17 - Your family's got a lot of money. - Oh, no.
00:18:20 - But these things are such good quality. - Yes, thanks a lot.
00:18:22 - Isabelle, doesn't it suit me? - My mother gave me most of these things.
00:18:26 - She doesn't need them. - And did this belong to your mother?
00:18:29 - Yes. - Well, I think it's lovely.
00:18:34 - Will you sell it to me?
00:18:36 - I'll give it to you. - Thank you.
00:18:40 - And does your mother know anything about this school? - Thanks.
00:18:45 - I think so. - Do you think your parents will let you leave here, if you want to?
00:18:49 - Here? - Oh, of course.
00:18:51 - Then you won't be staying much longer. - Three have already escaped.
00:18:54 - Therese, Mademoiselle de Prene will be here in a minute. Get ready quickly.
00:18:58 - Don't listen to those two. You won't find it all that bad here.
00:19:01 - Tomorrow when you see Catherine.
00:19:03 - That is, unless they keep her another day and night in the punishment room.
00:19:06 - Ask her what she thinks of the place.
00:19:08 - Who is Catherine?
00:19:10 - A very nice girl.
00:19:12 - A very nice girl.
00:19:13 - Well, have you thought about your behavior this afternoon?
00:19:26 - Yes.
00:19:29 - Are you ready to apologize in front of your friends?
00:19:33 - Mademoiselle Lizzie, I'm talking to you. Answer me.
00:19:42 - Get up.
00:19:43 - Get up!
00:19:45 - You're a very bad influence, not only on your friends, but on the other girls as well.
00:19:53 - I will not stand for your insolence any longer.
00:19:57 - Why don't you throw me out?
00:19:59 - Nothing I would like better.
00:20:01 - But your people insist that you must stay.
00:20:04 - This is not the first time that I must punish you. Remember?
00:20:10 - Now for the last time.
00:20:11 - Will you come down with me now and apologize in front of everybody?
00:20:18 - All right.
00:20:23 - Take off your clothes.
00:20:25 - This is an order. Take off your clothes.
00:20:32 - This time you will have to do it.
00:20:34 - As you wish.
00:20:38 - As you wish.
00:20:39 - Go on.
00:20:41 - Let go!
00:20:43 - Get out of me!
00:20:45 - Let go!
00:20:47 - Get off me, you bitches!
00:20:49 - Hurry up, mademoiselle. It's late.
00:20:59 - In the name of the Father, the Son and the Holy Ghost.
00:21:06 - Thou art our refuge and our shelter.
00:21:09 - Thou shalt be our shield and our strength.
00:21:13 - In the name of the Father, the Son and the Holy Ghost.
00:21:18 - Oh, oh, oh!
00:21:20 - Oh!
00:21:47 - And all who fear evil things that appear at night,
00:21:50 - Nor sudden, bloody or spooky infuriating which may befall,
00:21:54 - And we pray for thine eternal presence.
00:21:57 - Our help and support in this horrible day,
00:22:07 - Suffering and harm, by sending, O Lord,
00:22:10 - Thine after-love guardian angels to carry us.
00:22:14 - Oh!
00:22:15 - And may thy guardians protect us with their own hands,
00:22:25 - That we may not stumble into evil.
00:22:28 - Enough.
00:22:36 - Enough!
00:22:39 - Enough!
00:22:40 - Good night.
00:22:50 - Good night.
00:22:51 - Good night.
00:22:55 - Say your prayers.
00:22:57 - You made me do this again.
00:23:08 - Don't you realize that I can't allow anybody
00:23:11 - To defy me?
00:23:13 - Not even you.
00:23:15 - You know this, don't you?
00:23:20 - Try to understand my position, please.
00:23:27 - I'm sorry, Katrin.
00:23:32 - I'm sorry.
00:23:37 - I'm sorry.
00:23:38 - Get some sleep.
00:23:42 - I know I won't.
00:23:44 - I know I won't.
00:23:45 - I'm sorry.
00:23:46 - I'm sorry.
00:23:47 - I'm sorry.
00:23:49 - I'm sorry.
00:23:50 - I'm sorry.
00:23:52 - I'm sorry.
00:23:54 - I'm sorry.
00:23:56 - I'm sorry.
00:23:58 - I'm sorry.
00:24:00 - I'm sorry.
00:24:02 - I'm sorry.
00:24:04 - I'm sorry.
00:24:06 - I'm sorry.
00:24:08 - I'm sorry.
00:24:10 - I'm sorry.
00:24:12 - I'm sorry.
00:24:14 - I'm sorry.
00:24:17 - I'm sorry.
00:24:18 - I'm sorry.
00:24:20 - I'm sorry.
00:24:22 - I'm sorry.
00:24:24 - I'm sorry.
00:24:26 - I'm sorry.
00:24:28 - I'm sorry.
00:24:30 - I'm sorry.
00:24:32 - I'm sorry.
00:24:34 - I'm sorry.
00:24:36 - I'm sorry.
00:24:38 - I'm sorry.
00:24:40 - I'm sorry.
00:24:42 - I'm sorry.
00:24:46 son or have her parents come to see me and with good reason. do you understand?
00:24:51 yes mother. then why do you keep on doing it. I'm tired of saying the same thing
00:24:56 over and over again. but mother if I sometimes leave my room... don't you
00:24:59 understand that none of these girls are any good. by the time they bring them to
00:25:04 me they're already marked. if they're not... well you know what I mean.
00:25:11 they've stolen or done worse things and then they hand them over to me for
00:25:17 correction. impossible. in time Lewis in time you'll find the right girl. you'll
00:25:29 marry her. you'll have your own home. these girls are poison. you need a woman
00:25:38 like me who'll love you, take care of you, protect you. we'll find her.
00:26:06 good morning mademoiselle. good morning. good morning madame. she's not married.
00:26:15 she's still an old spinster. today the beds will be made by Suzanne Noel and
00:26:22 Catherine Lessie. but you know Catherine's not here today. I said today
00:26:26 the beds should be made by Suzanne Noel and Catherine Lessie. but as Catherine is
00:26:31 not here then you can take her place. me? yes you. Suzanne will tell you what has
00:26:42 to be done. we're ready mademoiselle. right mademoiselle come to breakfast now.
00:26:50 not much to do. just make the beds and open the windows. no sweeping? no. all the
00:26:59 rest of the cleaning and dusting is done by Lucy. she's a maid who works in the
00:27:03 kitchen as well. don't worry we'll finish this in no time. you got a boyfriend? no.
00:27:14 you mean you've never been out with a boy alone? no. really? yes really. I'm glad for
00:27:23 your sake. it's better for you. you won't mind being locked up here without boys.
00:27:27 as for me I can't stand it. the rest of the bad things aren't important. but to go
00:27:32 months and months you know without seeing any boys. why most of the girls
00:27:37 here on the verge of a nervous breakdown. every three weeks a young man comes to
00:27:42 visit here. here? that's right here. his name's Henry. he delivers wood from the
00:27:47 village. not much to look at but anyway he comes to suck up the woodshed outside.
00:27:52 each time one of us has a chance to meet him there. next time it'll be my turn. how
00:27:59 do you mean your turn? yes we all draw lots to see who's going to meet him each
00:28:03 time. but you'd understand better why we don't if you'd had a boyfriend before.
00:28:08 oh I understand. I think that all the girls who ran away did it because they
00:28:13 wanted to be with their boyfriends or find one and that's why the only one who
00:28:17 doesn't mind being here is Isabel. Isabel? yes Isabel Delon. she sleeps just over
00:28:22 there. she's a blonde about 15. oh yes I know her. well she's in love with madam
00:28:26 for no son. her son? yes he's on the second floor. I suppose he's about 16 or 17
00:28:33 years old. personally I think he's stupid. he's a peeping Tom as well. he spends
00:28:38 most of his time watching us through any door or window he can find. Isabel of
00:28:43 course thinks he's terribly intelligent. do you mean they meet? oh yes when
00:28:48 mademoiselle Duprez in charge of class you can always slip away.
00:28:53 [music]
00:28:55 [music]
00:28:57 [music]
00:28:59 [music]
00:29:01 [music]
00:29:03 [music]
00:29:05 [music]
00:29:07 [music]
00:29:09 (soft piano music)
00:29:38 - We'll continue tomorrow.
00:29:40 (people chattering)
00:29:43 (people chattering)
00:29:46 (people chattering)
00:29:49 (people chattering)
00:29:52 (people chattering)
00:29:55 (people chattering)
00:29:58 (door thudding)
00:30:01 (door thudding)
00:30:20 (door thudding)
00:30:23 - Hello.
00:30:37 - Hello.
00:30:38 Were you waiting long?
00:30:40 - I came after lunch.
00:30:43 - But you've been here more than three hours then.
00:30:47 - Oh, it doesn't matter.
00:30:48 (soft music)
00:30:50 - Did anyone see you come in?
00:30:55 - No, I don't think so.
00:30:56 - I'm terribly worried in case they find out about you.
00:31:04 Worried for your sake, I mean.
00:31:06 - And I'm worried for your sake.
00:31:10 Is that for me?
00:31:18 - Yes, for you.
00:31:21 - Thank you.
00:31:22 (soft music)
00:31:25 - One day,
00:31:47 very soon, the two of us,
00:31:49 we'll leave this place.
00:31:52 - And your mother?
00:31:54 - I've told you again and again, it doesn't matter.
00:31:57 I can't.
00:31:59 I can't nor want to go on like this,
00:32:04 having to hide so that we can meet all the time,
00:32:06 frightened that at any moment they might catch us,
00:32:10 and that...
00:32:12 (soft music)
00:32:14 (footsteps thudding)
00:32:44 - Who's out there?
00:32:45 - I don't know.
00:32:50 - Right, we'll plant the seeds here.
00:32:57 Later on, they start shooting, we put them into flower pots.
00:32:59 - And what do I do?
00:33:00 - Oh, it's very easy, like this.
00:33:01 Hole, another one, another one, all at equal distances.
00:33:05 Then when you've finished the whole box,
00:33:06 you start planting here at the seeds.
00:33:09 Put them in the holes and you cover them up with earth,
00:33:11 and then cover it all with this stuff.
00:33:13 It's fertilizer.
00:33:13 - Fertilizer?
00:33:14 - Yes, you know what I mean.
00:33:15 Oh, I think you know.
00:33:16 Oh, it's for growing.
00:33:18 It turns them into plants.
00:33:20 - What seeds are they?
00:33:21 - Azaleas, you know, the poisonous plant.
00:33:23 Well, they say the seeds are as well, so be careful.
00:33:26 - Don't believe it, Therese.
00:33:27 If those seeds were poisonous,
00:33:29 Madame Faneuil wouldn't be alive today.
00:33:32 I'm sure we've all put a lot of those seeds in her supper.
00:33:35 - Any news of Catherine?
00:33:36 - Nobody knows.
00:33:37 - When do the seeds become plants then?
00:33:39 - Oh, months.
00:33:40 During this time, you'll have to tend them
00:33:42 and plant them and transplant them
00:33:44 and water them and water them and fertilize them a bit,
00:33:46 and then in the end, they flower.
00:33:49 - They flower, we cut them,
00:33:50 then of course they fade and die.
00:33:52 And all this stupid waste of time
00:33:53 is what they call the art of gardening.
00:33:55 - The art of gardening is the poetry of nature.
00:34:10 (dramatic music)
00:34:13 - Theresa, come and see Madame Faneuil.
00:34:26 - I haven't finished yet.
00:34:26 - Doesn't matter.
00:34:27 - All right.
00:34:30 Where can I wash?
00:34:31 - Do it later.
00:34:32 She's waiting for you.
00:34:34 (people chattering)
00:34:37 - What do you want?
00:34:43 - Don't know.
00:34:44 - But where's Madame Faneuil?
00:34:51 - I called you.
00:34:54 Come in.
00:34:55 I'm making some tea.
00:34:57 Would you like some?
00:34:58 This morning, I left you alone with Suzanne on purpose.
00:35:04 She talks a lot.
00:35:06 And I imagine by now that you know how the school is run.
00:35:09 - No.
00:35:10 - Didn't she talk about me?
00:35:12 - No.
00:35:13 - Are you sure?
00:35:15 - Yes, of course I am.
00:35:17 - Didn't she tell you about Henry
00:35:19 and about what goes on in the shed every three weeks?
00:35:22 - Yes.
00:35:23 She told me that.
00:35:25 - So she did tell you.
00:35:26 - I don't understand.
00:35:29 - I'm the one who organizes everything around here.
00:35:32 Amongst others, the visits to the shed
00:35:34 on the day that Henry comes.
00:35:36 And many other things which you'll find out soon.
00:35:40 Madame Faneuil doesn't like anyone lacking in discipline.
00:35:43 And it's up to me whether she finds out or not.
00:35:46 Have some tea.
00:35:52 What have you been doing?
00:35:57 - I was gardening.
00:35:58 - Wash your hands.
00:36:00 (gentle music)
00:36:03 It depends on you whether your life here in school
00:36:14 will be nice or not.
00:36:16 I can see to it that you eat well
00:36:18 and that you don't have to work too hard.
00:36:20 I can even let you meet Henry.
00:36:28 (gentle music)
00:36:30 All you have to do is obey me.
00:36:32 Obey me in everything I tell you.
00:36:36 (gentle music)
00:36:42 (bells ringing)
00:36:44 - This is the third night they've kept Catherine
00:37:03 knocked up there. - She's used to it.
00:37:04 - Don't go out dressed like that.
00:37:06 - Why?
00:37:07 Any men around?
00:37:08 - It's freezing.
00:37:09 Put something on.
00:37:10 (people chattering)
00:37:13 (dramatic music)
00:37:36 (gentle music)
00:37:39 - Still no toilet paper.
00:37:54 (water running)
00:37:56 (gentle music)
00:38:17 (fire crackling)
00:38:20 - Good night, mademoiselle.
00:38:43 - Good night. - Good night.
00:38:45 (gentle music)
00:38:47 (fire crackling)
00:38:50 (gentle music)
00:39:07 (fire crackling)
00:39:09 (gentle music)
00:39:13 (fire crackling)
00:39:16 (gentle music)
00:39:18, (fire crackling)
00:39:23 (gentle music)
00:39:26, (fire crackling)
00:39:31 (gentle music)
00:39:34 (door clunking)
00:39:37 (gentle music)
00:39:40 (doorbell ringing)
00:39:51 (gentle music)
00:39:55 (fire crackling)
00:39:58 (gentle music)
00:40:00 (fire crackling)
00:40:03 (gentle music)
00:40:06 (fire crackling)
00:40:08 (gentle music)
00:40:11 (fire crackling)
00:40:14 (gentle music)
00:40:16 (fire crackling)
00:40:19 (door clunking)
00:40:47 (gentle music)
00:40:49 (fire crackling)
00:40:52 (gentle music)
00:41:03 (door clunking)
00:41:18 (door clunking)
00:41:21 - Louis?
00:41:22 Louis?
00:41:29 (fire crackling)
00:41:33 (dramatic music)
00:41:44 (fire crackling)
00:41:46 Louis?
00:41:50 (gentle music)
00:41:56 (fire crackling)
00:41:59 (gentle music)
00:42:02 (fire crackling)
00:42:04 (gentle music)
00:42:07 - How am I going to run this establishment
00:42:32 if I have to look after you?
00:42:34 I don't even know which girl it is.
00:42:36 But I'll find out.
00:42:37 I asked you for the last time.
00:42:41 If any one of you see Isabelle Delorme
00:42:43 leave here last night,
00:42:44 it is better for you to tell me all that you know now.
00:42:49 I must warn you--
00:42:50 - The gate to the punishment--
00:42:51 - That anyone covering up for her
00:42:54 will be punished in exactly the same way
00:42:56 as the one who escaped.
00:42:57 This morning, when Mademoiselle Desprez came to wake you,
00:43:03 this door was open.
00:43:04 Therefore, Isabelle Delorme left this way.
00:43:08 She must have used a key or something,
00:43:09 and a key makes a noise.
00:43:11 - Well, I sleep by the door, but I heard nothing.
00:43:14 - That's very strange, Mademoiselle Dupin,
00:43:17 especially since you're the only one
00:43:20 with the key to the dormitory.
00:43:22 - The keys that you gave me were with me all the time.
00:43:24 It would be impossible to take them without waking me.
00:43:27 - Well, if any one of you thinks
00:43:32 you're following in the footsteps of Mademoiselle Delorme,
00:43:36 I advise her to do it very well and very secretly.
00:43:39 Don't let me catch you at it,
00:43:44 for if I find another girl trying to escape,
00:43:47 well, you know me by now, don't you?
00:43:53 Have the locks changed.
00:44:01 It's the dormitory and it's the door.
00:44:03 - How many keys shall I get?
00:44:04 - Three, one for me, one for you, and one for Dupin.
00:44:08 - You don't think Irène Dupin helped Isabelle to escape?
00:44:11 - Irène?
00:44:13 No.
00:44:14 Get a carpenter.
00:44:15 Have every window on the ground floor nailed down.
00:44:18 - They want to escape, they will.
00:44:20 This is a boarding school, not a prison.
00:44:22 - If it isn't one, we'll make it one.
00:44:26 Go to the village, please,
00:44:27 and see if there's any news of Isabelle.
00:44:29 - Yes, madame, but it's Tuesday today.
00:44:31 The girls take their showers.
00:44:33 Who will be there?
00:44:34 - I will.
00:44:59 - Monsieur Brassard, the water!
00:45:01 - The water!
00:45:02 (water dripping)
00:45:05 (water dripping)
00:45:09 (water dripping)
00:45:12 (water dripping)
00:45:41 - Madame, everything is ready for you now.
00:45:44 - Thank you.
00:45:45 - Hurry up, girls.
00:45:49 Hurry up.
00:45:51 Hurry up.
00:45:54 (water dripping)
00:46:07 (water dripping)
00:46:09 (water dripping)
00:46:13 (water dripping)
00:46:16 (water dripping)
00:46:19 (water dripping)
00:46:36 (water dripping)
00:46:39 (water dripping)
00:46:42 (water dripping)
00:46:45 (water dripping)
00:46:48 (whistle blowing)
00:46:56 (water dripping)
00:47:01 - Get out, get out.
00:47:13 Hurry up.
00:47:15 Hey, Moselle, you can get out.
00:47:17 Hurry up.
00:47:33 Hurry up.
00:47:44 (dramatic music)
00:47:46 (water dripping)
00:47:49 (dramatic music)
00:47:53 (water dripping)
00:47:57 (water dripping)
00:48:00 (water dripping)
00:48:14 (water dripping)
00:48:24 (dramatic music)
00:48:27 (guns firing)
00:48:43 (guns firing)
00:48:53 (dramatic music)
00:48:56 (water dripping)
00:49:05 (dramatic music)
00:49:12 (dramatic music)
00:49:22 (water dripping)
00:49:25 (dramatic music)
00:49:50 - Mademoiselle Lysier, what do you think you're doing?
00:49:53 - Taking this off.
00:49:55 I want to really wash my back for a change.
00:49:58 I think you know why.
00:49:59 Does it bother you?
00:50:01 - No.
00:50:05 (dramatic music)
00:50:18 (Moselle gasping)
00:50:21 (Moselle laughing)
00:50:31 (dramatic music)
00:50:35 Mademoiselle, you can come out.
00:50:46 (water dripping)
00:50:49 (guns firing)
00:51:05 (guns firing)
00:51:14 (water dripping)
00:51:17 Mademoiselle Graber.
00:51:31 Mademoiselle Graber!
00:51:34 - What do you do?
00:51:36 - You can come out from under the shower.
00:51:38 - Yes, madame.
00:51:39 (water dripping)
00:51:44 (water dripping)
00:51:47 Mademoiselle.
00:51:56 Mademoiselle, please.
00:51:59 Mademoiselle.
00:52:01 I'm here.
00:52:03 I've looked in the passage for you.
00:52:08 Mademoiselle, help me.
00:52:10 Help me.
00:52:13 - What are you doing, Teresa?
00:52:15 What do you do in the boiler room almost every afternoon?
00:52:18 We've seen you go in there several times.
00:52:20 - But you've seen me there.
00:52:21 - One of the things that Madame Fonreau resents most
00:52:24 is any one of us talking to her son.
00:52:27 Didn't you know?
00:52:28 All three of us can swear that Louis and you
00:52:31 have locked yourselves in there alone quite a few times.
00:52:34 We want to talk to you later,
00:52:37 after the music class.
00:52:39 We'll expect you in the dining room.
00:52:43 And if you're not there,
00:52:45 we'll have to talk to Madame Fonreau.
00:52:47 (keys jingling)
00:52:49 (door creaking)
00:52:56 (keys jingling)
00:52:58 (door creaking)
00:53:10 (door creaking)
00:53:12 - All right, let's go then.
00:53:21 (horse galloping)
00:53:39 - The woodman's just arrived.
00:53:41 (hooves clopping)
00:53:46 - Do you want a hand?
00:53:52 - No, I can manage.
00:53:53 When I've finished unloading, I'll give you a shout
00:53:55 and you can lock up the shed.
00:53:56 - Very well.
00:53:57 - Right.
00:53:58 - Needlework can be very beautiful,
00:54:04 especially when you learn how to mix the colors.
00:54:08 Almost like painting.
00:54:09 - Excuse me, Madame Fonreau,
00:54:12 but an hour ago in our cookery class,
00:54:14 we used up some apples to make a stew.
00:54:16 We left it on the stove,
00:54:18 so I wonder, could one of us possibly go and check it?
00:54:21 - Yes, of course, you can go.
00:54:23 - Well, if you don't mind, I'd rather finish this.
00:54:26 Could I send...
00:54:27 Suzanne?
00:54:29 - All right, you can go, Mademoiselle Noël.
00:54:36 - Yes, Madame.
00:54:37 (footsteps tapping)
00:54:40 - Well, how's it going?
00:54:49 - Oh, it's all right, but it's not ready.
00:54:51 - Have they put you in charge?
00:54:53 - I'm in charge of everything today.
00:54:55 Cooking and the gardening and the greenhouse as well.
00:54:58 Keep an eye on this a moment, would you?
00:55:01 I must go over and check the greenhouse.
00:55:03 - All right, but don't overdo it.
00:55:05 - Thank you.
00:55:06 - We're not supposed to help you girls
00:55:07 with your cooking, you know.
00:55:08 - Yes, yes, thank you.
00:55:09 - What are you looking at, Mademoiselle Chausson?
00:55:19 - Uh, nothing at all, Madame.
00:55:21 Just taking a rest from sewing.
00:55:23 (gentle music)
00:55:35 (door slams)
00:55:37 (gentle music)
00:55:40 (footsteps tapping)
00:55:43 - Me again.
00:55:56 Do you mind?
00:56:04 (laughing)
00:56:07 (screaming)
00:56:20 (laughing)
00:56:24 (laughing)
00:56:28 (laughing)
00:56:31 (sobbing)
00:56:35 (gentle music)
00:56:39 (sobbing)
00:56:42 (gentle music)
00:56:45 - I, I, no.
00:57:00 (sobbing)
00:57:03 No, no, no.
00:57:07 (sobbing)
00:57:10 (gentle music)
00:57:13 (sobbing)
00:57:16 (gentle music)
00:57:19 (sobbing)
00:57:22 (sobbing)
00:57:25 - Mademoiselle.
00:57:26 Mademoiselle.
00:57:31 Finished for today.
00:57:36 (footsteps tapping)
00:57:39 (gentle music)
00:57:50 (footsteps tapping)
00:57:53 (gentle music)
00:57:56 (birds chirping)
00:57:59 (gentle music)
00:58:02 (birds chirping)
00:58:05 (gentle music)
00:58:08 (birds chirping)
00:58:11 (gentle music)
00:58:14 (birds chirping)
00:58:17 (gentle music)
00:58:20 (birds chirping)
00:58:23 (gentle music)
00:58:26 (birds chirping)
00:58:29 (gentle music)
00:58:32 (birds chirping)
00:58:35 (gentle music)
00:58:38 (birds chirping)
00:58:41 (gentle music)
00:58:44 (birds chirping)
00:58:47 (gentle music)
00:58:50 (footsteps tapping)
00:58:53 (gentle music)
00:58:56 (door opening)
00:58:59 (door closing)
00:59:00 - Louis.
00:59:01 - Yes, Mother?
00:59:02 - What were you doing in the garden?
00:59:04 - I needed some fresh air.
00:59:07 Well, as the girls were having their music lesson,
00:59:10 I thought it would be all right.
00:59:12 - Now?
00:59:13 It's much too damp for you.
00:59:15 Come inside.
00:59:16 You know you have to be careful.
00:59:19 - But I am careful, Mother.
00:59:20 - No, you're not.
00:59:21 You read until all hours.
00:59:24 You don't sleep enough.
00:59:25 You don't eat enough.
00:59:26 - But Mother, I'm not--
00:59:27 - How am I going to run this establishment
00:59:29 if I have to look after you all the time?
00:59:31 You know you're not like ordinary boys.
00:59:33 You've always been sick.
00:59:34 Remember you asked for.
00:59:36 Now your chest.
00:59:37 I know it's hard for you to be always indoors,
00:59:41 but it's absolutely necessary.
00:59:42 Doctor said so.
00:59:43 It's either that or the hospital.
00:59:45 - Yes, Mother.
00:59:46 - Oh, I would love to send you to college
00:59:48 to be with boys of your own age,
00:59:50 but at the time, it's absolutely impossible.
00:59:53 - I know, Mother, I know.
00:59:55 - More than anything in the world, Louis,
00:59:58 I would love you to lead a normal life,
01:00:02 but you must help me.
01:00:04 And above all, I would like to trust you.
01:00:07 - But why do you say that, Mother?
01:00:11 I always do whatever you ask me to.
01:00:14 - Really?
01:00:15 I know you meet one of the girls nearly every afternoon.
01:00:20 - It's not true.
01:00:23 - You've been seen.
01:00:25 - By whom?
01:00:26 - Never mind by whom.
01:00:28 I don't even know which girl it is.
01:00:30 But I'll find out.
01:00:32 Oh, I should really send you away, you know,
01:00:34 but there isn't a school that would accept you
01:00:36 in your present state of health,
01:00:38 so I have to keep you here.
01:00:40 Louis, I've told you a hundred times,
01:00:43 none of these girls is any good to you.
01:00:47 You need a woman like me,
01:00:50 who loves you and takes care of you.
01:00:53 Now promise,
01:00:55 you'll never see that girl again, ever.
01:00:59 - I promise.
01:01:01 - Thank you.
01:01:05 Thank you, Louis.
01:01:09 You'll see.
01:01:10 The day will come,
01:01:12 not so long now,
01:01:14 when you'll meet the right girl
01:01:17 and you will fall in love with her.
01:01:20 The kind of girl I used to be.
01:01:23 Can you see?
01:01:25 Strong, capable.
01:01:28 And she'll live for you,
01:01:31 the way I live for you.
01:01:33 And she'll love you,
01:01:35 the way I love you.
01:01:37 (somber music)
01:01:41 (airplane engine roaring)
01:01:45 (airplane engine roaring)
01:01:49 (airplane engine roaring)
01:01:52 - Right.
01:02:19 (footsteps tapping)
01:02:22 - Are we going to the kitchen?
01:02:33 - No.
01:02:34 - Well, where then?
01:02:35 - You'll see.
01:02:36 - But where?
01:02:37 - You'll see.
01:02:47 - Why, lock it.
01:02:48 (knocking)
01:02:56 Who's in there?
01:03:16 Come in.
01:03:17 Go on then.
01:03:23 - Was she late?
01:03:25 - No, she came to the dining room
01:03:26 as soon as the lesson finished.
01:03:28 - That's good, Therese.
01:03:33 I like order and punctuality.
01:03:36 Come in.
01:03:38 This afternoon, after needlework,
01:03:41 I spoke to Madame Fulner
01:03:43 and I told her that her son
01:03:45 often goes to the boiler room
01:03:47 to meet someone.
01:03:48 Don't worry, Therese.
01:03:51 I didn't say it was you.
01:03:53 I just said it was one of the girls,
01:03:56 but I hadn't found out yet which one.
01:03:58 It will depend on you
01:04:01 whether I do tell her or not.
01:04:02 Come in, Therese, dear.
01:04:04 Come in.
01:04:06 You should have seen Madame's reaction.
01:04:07 She said she's going to expel the girl
01:04:09 after writing to the father.
01:04:10 By the way, Therese,
01:04:13 you haven't a father, have you?
01:04:15 Therese, dear, I asked you a question.
01:04:20 Have you or not?
01:04:22 - No.
01:04:26 My father's dead.
01:04:27 - Are you sure?
01:04:29 - Yes.
01:04:31 - You're lying.
01:04:32 - My mother has a photograph.
01:04:35 It's a very old one.
01:04:36 - But that could be anybody's.
01:04:38 You've got your mother's name, haven't you?
01:04:41 - Well, have you or not?
01:04:43 - Yes.
01:04:48 - In Madame's office,
01:04:50 there's a register of all the girls,
01:04:51 and as I'm in charge of the correspondence,
01:04:53 I get to know a lot of things.
01:04:55 So don't try and deceive me, Therese, dear.
01:04:58 Make us some tea.
01:05:01 What does your mother do?
01:05:02 Therese, we want to get to know you,
01:05:08 and get to know all about your family.
01:05:10 Do you understand?
01:05:12 - Yes.
01:05:14 - Your mother works?
01:05:15 - Yes.
01:05:18 - What has?
01:05:19 - She's a housewife.
01:05:20 - And she's a housewife?
01:05:22 - Yes.
01:05:23 - And she's a housewife?
01:05:24 - Yes.
01:05:25 - And she's a housewife?
01:05:26 - Yes.
01:05:27 - And she's a housewife?
01:05:28 - Yes.
01:05:29 - What has?
01:05:30 - Well, she sings.
01:05:33 - Oh, a singer?
01:05:34 - Yes.
01:05:37 - Opera?
01:05:38 - No.
01:05:41 - Where does she sing, Therese?
01:05:42 - In Avignon.
01:05:47 - Oh, how interesting.
01:05:49 Bring us a tea.
01:05:51 So your mother works in Avignon?
01:05:58 But that's a town.
01:05:59 In which theatre or concert hall does she sing?
01:06:02 I said in which theatre?
01:06:06 - In, in the Tivoli.
01:06:12 - The Tivoli?
01:06:14 But that's a music hall or something worse.
01:06:17 What is the Tivoli, Therese, dear?
01:06:20 What is the Tivoli, Theresa?
01:06:24 - It's a castle.
01:06:27 It's a cabaret.
01:06:28 - A cabaret?
01:06:30 But those places are only for prostitutes.
01:06:34 Is your mother one?
01:06:37 Theresa, I'm asking if your mother is a prostitute.
01:06:42 - No, no, no, she isn't.
01:06:43 - I think she is.
01:06:44 - No, she's a singer, that's all.
01:06:46 - Your mother's a prostitute.
01:06:47 - No.
01:06:48 - Like all the women who go to those kind of places.
01:06:49 - No.
01:06:50 - Don't deny it.
01:06:51 - No, I promise.
01:06:52 - She is, she is, I think she is.
01:06:53 Don't tell me lies, your mother is a prostitute.
01:06:54 - No, she isn't, she isn't.
01:06:55 - Don't talk nonsense because I know very well.
01:06:56 - No, she's not.
01:06:57 - The mother of that woman is an honest lady.
01:06:58 All she does is sing, sing for the gentleman
01:07:00 who comes to see her.
01:07:01 And to sing, she wears these sort of clothes, right?
01:07:03 - No, no, no, please.
01:07:04 - Yes, I think this is your mother's, isn't it?
01:07:05 Of course it is, I find it in your trunk.
01:07:07 It's just like the one you gave Helene.
01:07:08 - No, no, no.
01:07:09 - Those ones really are theatrical consumables.
01:07:10 Now put it on.
01:07:11 - No.
01:07:12 - Put it on.
01:07:13 Put it on.
01:07:14 - No, I won't, I won't.
01:07:15 - You wouldn't like my daughter to find out
01:07:16 it's you who sees her son in the afternoon
01:07:18 and all the girls who know what kind of work your mother does.
01:07:20 Now put it on.
01:07:22 You will put it on.
01:07:23 - No, no, no, please.
01:07:25 Please.
01:07:26 (sobbing)
01:07:28 - We've never been to a cabaret.
01:07:36 And we'd love to know what goes on in there.
01:07:38 That's why you're going to sing a song
01:07:40 from your mother's repertoire.
01:07:41 Do you know any?
01:07:42 - No.
01:07:43 - And your mother never heard her songs?
01:07:45 And your mother never sang any of them at home?
01:07:48 I'm sure you remember some of them.
01:07:50 Or some of the words at least.
01:07:52 Come, sing a little and then we'll leave.
01:07:56 Sing, Theresa.
01:08:00 Sing.
01:08:01 Sing!
01:08:02 - This is the moment I know.
01:08:09 - Louder, Theresa, louder.
01:08:11 - This is the moment I know.
01:08:13 - We still can't hear you.
01:08:15 - This is the moment I know.
01:08:17 - We still can't hear you.
01:08:18 Louder and smile.
01:08:19 - This is the moment I know.
01:08:20 - No, Theresa, louder, Theresa.
01:08:22 - This is the moment I know.
01:08:24 - Theresa, smile, Theresa, and come on, sing louder.
01:08:27 - This is the moment I know.
01:08:29 - Now come on, Theresa, sing.
01:08:30 Sing, Theresa, sing, Theresa.
01:08:32 - This is the moment I know.
01:08:33 - That isn't singing, sing.
01:08:34 - This is the moment I know.
01:08:35 - Yes, it's better, it's coming, Theresa.
01:08:36 Well done, now smile more.
01:08:38 Now smile more.
01:08:39 And now louder.
01:08:40 - This is the moment I know.
01:08:42 - Better, Theresa, better.
01:08:43 Come on, smile like your mother.
01:08:45 - This is the moment I know.
01:08:47 - I'm sure that your mother smiles much more than that.
01:08:50 Now doesn't she?
01:08:51 - This is the moment I know.
01:08:52 - Smile.
01:08:53 Come on, smile.
01:08:54 Smile more.
01:08:55 Smile and sing louder.
01:08:57 Come on, louder.
01:08:58 - This is the moment I know.
01:08:59 - I can't, I can't.
01:09:01 - I can't hear you.
01:09:02 Louder.
01:09:03 Come on, sing louder and smile.
01:09:05 - This is the moment I know.
01:09:06 - Smile, Theresa.
01:09:07 Smile, smile, smile.
01:09:09 - I can't, I can't.
01:09:11 - You can't, you can't.
01:09:12 - This is the moment I know.
01:09:13 - You can't, you can't.
01:09:14 - Louder, louder.
01:09:15 - I can't, I can't.
01:09:16 - Louder, louder.
01:09:17 - I can't, I can't.
01:09:18 - Louder, louder.
01:09:19 - I can't, I can't.
01:09:20 - Louder, louder.
01:09:21 - I can't, I can't.
01:09:22 - Louder, louder.
01:09:23 - I can't, I can't.
01:09:24 - Louder, louder.
01:09:25 - I can't, I can't.
01:09:26 - Louder, louder.
01:09:27 - I can't, I can't.
01:09:28 - Louder, louder.
01:09:29 - I can't, I can't.
01:09:30 - Louder, louder.
01:09:31 - I can't, I can't.
01:09:32 - Louder, louder.
01:09:33 - I can't, I can't.
01:09:34 - Louder, louder.
01:09:35 - I can't, I can't.
01:09:36 - Louder, louder.
01:09:38 - Tomorrow we'll go on, all right?
01:09:41 - So they gave away piece by piece everything they owned to the people.
01:09:56 Hearing about this, Lucia's betrothed was furious and complained to the consul Pascasio
01:10:06 saying that Lucia was a Christian and was not obeying the imperial law.
01:10:13 Pascasio, having sent for the young girl to appear, reproached her for having wasted away her--
01:10:24 - Anything wrong?
01:10:26 - And demanded that she should offer sacrifices to the gods.
01:10:31 [music]
01:10:34 [music]
01:10:38 [music]
01:10:41 [thunder]
01:11:05 [music]
01:11:08 [music]
01:11:17 [music]
01:11:20 [music]
01:11:31 [music]
01:11:46 [music]
01:11:49 [music]
01:12:07 [music]
01:12:10 [thunder]
01:12:25 [music]
01:12:35 [music]
01:12:38 [music]
01:12:52 [music]
01:12:55 [music]
01:13:10 [music]
01:13:13 [music]
01:13:30 [music]
01:13:33 [music]
01:13:57 [music]
01:14:00 [knocking]
01:14:15 - What's the matter?
01:14:24 - I'm leaving. I must get away from here. I came to say goodbye.
01:14:29 - Come in. You're going? Where to?
01:14:33 - Any place I can think of. Anywhere but here.
01:14:36 - Why?
01:14:38 - It's not important.
01:14:40 - Did my mother do something?
01:14:42 - No, but she knows we see each other.
01:14:44 - She knows I see one of the girls, but not which one.
01:14:47 - She'll know soon enough, but that's not the only reason I'm running away.
01:14:51 - Well, why then?
01:14:53 - Because today...
01:14:55 ...it's nothing.
01:14:59 - I don't want you to leave.
01:15:01 - You're the only friend I ever had. You know that.
01:15:05 - I shall miss you.
01:15:07 - I'll miss you.
01:15:11 [music]
01:15:15 [footsteps]
01:15:18 [crunching]
01:15:21 [music]
01:15:24 [crunching]
01:15:42 - Here. It isn't much, but you may need it.
01:15:45 - Thank you. I promise I'll return it.
01:15:48 - It's going to be very difficult for me to get out of here.
01:15:51 - Yes. As several girls have already escaped, Mother ordered all the doors to be double locked.
01:15:56 - Yes, I know that. But if I can get into the garden through one of the dining room windows, then perhaps I can climb the wall.
01:16:03 - You won't be able to. It's very high, and the gardener cut down all the creepers on purpose.
01:16:08 - Try to climb the iron gate.
01:16:11 - Yes, all right.
01:16:13 - Goodbye, Lewis, and thank you.
01:16:16 [music]
01:16:19 [door closes]
01:16:39 [footsteps]
01:16:42 [music]
01:17:06 [music]
01:17:09 [door opens]
01:17:27 [music]
01:17:30 [music]
01:17:58 [thud]
01:18:01 [music]
01:18:04 [footsteps]
01:18:19 [door opens]
01:18:24 [music]
01:18:28 [footsteps]
01:18:31 [door opens]
01:18:44 [thunder]
01:18:47 [thunder]
01:18:55 [music]
01:18:59 [music]
01:19:02 [music]
01:19:20 [music]
01:19:23 [music]
01:19:34 [chanting]
01:19:48 [chanting]
01:19:51 [thunder]
01:20:02 [chanting]
01:20:06 [chanting]
01:20:09 [thunder]
01:20:28 [thunder]
01:20:32 [thunder]
01:20:35 [rain]
01:20:41 [thunder]
01:20:46 [rain]
01:20:49 [thunder]
01:20:52 [thunder]
01:21:12 [rain]
01:21:15 [thunder]
01:21:24 [thunder]
01:21:27 [rain]
01:21:56 [thunder]
01:21:59 [thunder]
01:22:18 [clock ticking]
01:22:21 [rain]
01:22:39 [rain]
01:22:42 [clock ticking]
01:22:55 [clock ticking]
01:22:58 [music]
01:23:15 [music]
01:23:18 [music]
01:23:43 [music]
01:23:46 [door closes]
01:23:52 What are you doing here?
01:23:59 To climb the wall without a ladder. It's impossible.
01:24:03 Well, perhaps there's some loose bricks or some cracks in the walls you might have used.
01:24:10 No, madame. Over the main gate. That's the only way out.
01:24:15 She did not leave by the gate.
01:24:17 Very well. Thank you.
01:24:20 Bréjart! Nail down every window in the dining room!
01:24:28 Yes, all right, madame.
01:24:31 -Theresa never left this house. -Don't be absurd, Irène.
01:24:39 Last night I was constantly by the gate. I was watching the house all the time.
01:24:43 Theresa never left it.
01:24:45 Perhaps she left before you even reached the gate.
01:24:49 I don't think so. Everything seems very strange, madame.
01:24:54 What do you mean by strange?
01:24:59 I'm thinking of the broken window. And the light I saw in the dining room.
01:25:04 And the wet patch on the floor.
01:25:07 Five girls have disappeared in less than four months.
01:25:10 Therese is the fifth.
01:25:12 In every reformatory or boarding school, girls are always running away.
01:25:19 Yes. But in time one hears from them. Their parents write or bring them back.
01:25:24 But I'm in charge of the correspondence here.
01:25:27 We've never heard from any of these girls again.
01:25:30 Well, perhaps they got home and their parents just never bothered to write.
01:25:36 Well, then why didn't you write to them to let them know what has happened?
01:25:39 Are you telling me what I'm supposed to do?
01:25:42 I am telling you that strange things happen here.
01:25:46 You and I know about them. It was you who taught me.
01:25:50 But there are other things that I cannot and shall not tolerate.
01:25:54 What are you talking about?
01:25:56 -I don't know, madame. -Oh.
01:26:00 I really don't know.
01:26:04 All I can say is that I'm leaving.
01:26:06 You're staying, mademoiselle Toupin.
01:26:08 -How will you stop me? -You'll find out.
01:26:11 I don't think it's wise for you to force me to stay here.
01:26:15 Remember that I know many things about you and your methods of teaching.
01:26:19 Whatever I do here is no different from what is done in any other school.
01:26:24 Are you sure, madame?
01:26:28 [typing]
01:26:30 Your keys.
01:26:43 [dramatic music]
01:26:46 [dramatic music]
01:26:48 Virgil shows an exquisite sensitivity.
01:27:08 Virgil shows an exquisite sensitivity.
01:27:15 In portraying his characters...
01:27:18 In portraying his characters...
01:27:22 Who are profoundly human.
01:27:28 -Mademoiselle, is he? -Yes.
01:27:33 [dramatic music]
01:27:38 [dramatic music]
01:27:40 Nothing. Continue.
01:27:50 Profoundly...
01:27:57 The Romans considered...
01:28:04 The Romans considered...
01:28:07 The Ennead...
01:28:09 The Ennead...
01:28:11 The Romans considered...
01:28:15 Pies and cakes need lots of strength and patience.
01:28:19 Just like children.
01:28:21 I remember my mother used to say,
01:28:23 "The harder you beat the pastry before you put the pie in the oven,
01:28:27 the softer it would be in the end."
01:28:29 Let's see. You'll have a lot more work to do yet.
01:28:32 How's yours? Very good. You can go upstairs.
01:28:35 Keep on going.
01:28:37 Knead the pastry gently but firmly to get the best results.
01:28:53 Once the pie is in the oven,
01:28:55 it's very important to keep the heat inside at a constant temperature.
01:28:59 Otherwise, the pastry will be heavy.
01:29:02 The baking time can only be learned by experience
01:29:05 because we can't see what's going on in the oven.
01:29:08 If we could see, life would be much easier.
01:29:11 -It's all packed. What should I do with the drawings? -Burn them.
01:29:15 -How about the kitchen window? -It's easy to open.
01:29:18 -Do you remember if this door has a key? -No, I think it's lost.
01:29:24 -And the kitchen? -No, never.
01:29:26 Good.
01:29:27 -Are you going to escape today? -If I can.
01:29:30 Let's see.
01:29:34 Very nice. Very nice.
01:29:38 Twelve.
01:29:43 Oh, you can do better than that. Pay more attention.
01:29:48 Not bad.
01:29:56 Let's see.
01:29:58 Let's see.
01:30:00 [Music]
01:30:03 [Music]
01:30:32 In the name of the Father, the Son, and the Holy Ghost,
01:30:35 for what we are about to receive, may the Lord make us truly thankful.
01:30:39 Amen.
01:30:41 [Music]
01:30:57 [Music]
01:31:00 -Good night, mademoiselle. -Good night, mademoiselle.
01:31:25 [Music]
01:31:28 [Knock on door]
01:31:45 Come in.
01:31:47 They're all in bed now, madame. Is there anything more?
01:31:52 -Good. Did you lock all the doors? -Yes, madame.
01:31:55 Well, then, you can go to bed now.
01:31:59 -Sophie. -Madame.
01:32:03 I would like to talk to Toupin.
01:32:05 -Is she already asleep? -I don't think so.
01:32:09 I've just put the lights out.
01:32:11 Please.
01:32:14 Tell her to come and talk to me.
01:32:17 And...
01:32:21 You can go to bed now.
01:32:23 Yes, madame.
01:32:25 -And put out the lights, please. -Yes, madame.
01:32:29 -Sleep well, madame. -Good night.
01:32:49 Mademoiselle Toupin.
01:32:51 -What's the matter? -Go downstairs for a moment.
01:32:55 Madame Fonot wants to talk to you.
01:32:58 Why are you dressing, mademoiselle?
01:33:06 I'm feeling cold.
01:33:09 -You've got your keys? -Yes, of course.
01:33:14 Right.
01:33:16 -Until tomorrow, then. -Good night.
01:33:19 Good night.
01:33:21 Good night.
01:33:23 [Footsteps]
01:33:25 [Music]
01:33:39 [Music]
01:33:41 [Music]
01:34:10 [Music]
01:34:38 Mademoiselle Toupin?
01:34:40 [Music]
01:34:47 [Music]
01:35:14 Jacqueline. Jacqueline.
01:35:17 Andre. Andre.
01:35:28 Andre.
01:35:31 Andre, please.
01:35:38 [Music]
01:35:40 [Music]
01:35:47 [Music]
01:35:59 [Music]
01:36:01 [Door opens]
01:36:09 [Music]
01:36:20 [Door closes]
01:36:27 [Music]
01:36:29 [Door opens]
01:36:31 [Music]
01:36:34 [Door closes]
01:36:54 [Music]
01:36:56 [Door opens]
01:37:01 [Music]
01:37:06 [Door closes]
01:37:15 [Door closes]
01:37:23 [Music]
01:37:25 [Door closes]
01:37:29 [Door opens]
01:37:36 [Door closes]
01:37:40 [Door closes]
01:37:45 [Footsteps]
01:37:47 You're in?
01:38:11 [Footsteps]
01:38:13 [Door opens]
01:38:40 [Footsteps]
01:38:42 Irene?
01:38:59 What happened?
01:39:01 Irene! Child!
01:39:03 What happened to you?
01:39:09 Oh my God!
01:39:11 [Gasps]
01:39:17 [Gasps]
01:39:22 [Door closes]
01:39:27 [Music]
01:39:32 [Music]
01:39:35 [Music]
01:39:38 [Music]
01:39:40 [Music]
01:39:50 [Music]
01:40:01 [Music]
01:40:03 [Music]
01:40:30 Mama, I'm so glad you've come.
01:40:34 Come in.
01:40:36 I was just going to call you.
01:40:38 Look, there she is.
01:40:41 Only the hands were missing.
01:40:46 Irene had the same hands as yours.
01:40:49 Slim, but strong.
01:40:52 Look, I took the dress some time ago.
01:40:56 When I decided to make a girl, like you.
01:40:59 A girl for me.
01:41:03 Now she's got everything.
01:41:07 Blonde hair like yours.
01:41:11 The same eyes.
01:41:15 Isabel had almost the same eyes as yours.
01:41:18 You always said I'd have a girl like you when you were young.
01:41:24 And now I've got her.
01:41:26 Do you see?
01:41:34 Louis!
01:41:36 Now you must teach her to take care of me the way you do.
01:41:42 And love me as you've always loved me.
01:41:47 Louis!
01:41:52 Louis!
01:41:54 Louis!
01:41:56 Talk to her, mother.
01:41:58 Talk to her.
01:42:01 Talk to her.
01:42:06 Talk to her.
01:42:14 Louis!
01:42:16 Louis!
01:42:21 Louis!
01:42:23 Louis!
01:42:26 [GUNSHOT]
01:42:28 [MUSIC PLAYING]
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01:43:42 [BLANK_AUDIO]