Carola (1973) - full transcript

(dramatic music)

- [Clavaroche] Why don't you come?

(Fortunio murmurs)

- [Fortunio] I must conceal my thoughts.

(dramatic music)

(Fortunio murmurs)

- [Clavaroche] You abandon me

to an insupportable tete-a-tete.

(murmuring)
(dramatic music)

And that was at the very
moment when the sparkling wine

for the husband must made more delightful



the charming conversation of the wife.

- [Fortunio] That's singular.

What does it mean?

- [Clavaroche] Let's see.

Rings, eh?

What are you going to do
with them, make a present?

- [Jacqueline] You know our little scheme.

- [Clavaroche] But by Jove, they're gold!

(dramatic music)

If you count on using the
same stratagem every day,

our scheme will soon go bankrupt.

By the way, that dinner amused me,

and what a curious figure
our young initiate cut.

- [Fortunio] Initiate?



Into what mystery?

Is he speaking of me?

Well, his confidence--

- [Clavaroche] How he
trembled, poor fellow,

when he raised his glass.

How amusing, too, with his cushions!

- [Fortunio] He is
certainly speaking of me

and of the dinner today.

- [Clavaroche] You will
return it, I suppose,

to the jeweler?

- [Fortunio] Return the chain?

If they are making a plaything of me,

there must be a motive.

All these words are so many enigmas.

- [Clavaroche] I think
you'd better dismiss him.

- [Jacqueline] As you wish.

But who knows if tomorrow, tonight,

perhaps even within an hour.

- Do you mean--
- A storm.

- [Fortunio] Good heavens!

He is her lover!

- [Jacqueline] It seemed
to me that something moved.

- [Clavaroche] Yes, I
thought I heard a sigh.

- [Jacqueline] Oh, it
is probably Madeline.

She is working in the cabinet.

(audience applauding)

- Oh!

Freezing.

Oh!

Damn!

(audience applauding)

- So, they're closing us, huh?

- Closing us?

Why should they close us?

We're doing business.

- Ah, the theater's full of Krauts.

- What does it matter as long as they pay?

(Josette coughs)

- Have they done anything
to repair those radiators?

- [Mireille] Not yet.

- Oh.

Ooh, ooh, ooh!

Oh, Parmentier, please, I
beg you, come in, go out,

but close that goddam door.

Phew!

- Why should they close us?

We've done nothing wrong.

- [Mireille] Well, there's
a war on, haven't you heard?

(audience applauding)

- Ah!

Let me look at you!

Do you know what you are?

- Your bank account.

- No, no, no, no, no, no, no, no,

the greatest star since Sarah Bernhardt.

- Woo!
- The applause.

They're still applauding.

- Would you mind?
- Uh?

- [Carola] The door.

- The door?

- Shut it!

Your backstage is an icebox, Campan.

- You can't complain, my little pet,

your heater still works.

- Thank you, I'll survive.

- We'll all survive, my children.

The theater will not close, we will work,

and so will all the
radiators, even backstage.

- Bravo, Campan!

You are a great director!

- Is this true?

- Well, there's just one
little thing, nothing really.

- Here it comes.
- A mere detail,

just a formality.

I'll tell you later.
- Yeah, I don't doubt it.

- You know we got a summons last week.

That bastard who sells his
black market coal turned us in.

I thought he was a gentleman.

His sister is the mistress of a colonel

on the staff of General Dietrich.

The breath I wasted trying to explain

the coal was not for me but
for my actors, my public.

I brought a part, the prestige of Paris,

the morale of the population.

- Hm.

- Nothing, absolutely nothing.

They're all asses.

They calmly told me they were going

to close the theater as an example.

Close my theater.
- Mine is much too neat

for the love scene, do you know?

- But now we're all set.

The show goes on!

And a cold situation is in the bag.

(laughing)

- Almost.

- What do you mean, almost?

- Remember that mere detail?

- Oh, yes.

I've just had a little chat
with a very important person,

at his invitation, in his box.

- I think I shall change
the color of my base.

- Box eight, second tier, near the stage.

- Jacqueline ought to be pale.
- No, no, no, no, no, no.

- The public likes you as you are.

(suspenseful music)

- This man out front is very important.

He can keep our theater open,

get us out of this black market mess.

You must see him.

- What does he want in exchange?

- [Campan] A little chat.

- What sort of a chat?

- Just a chat, that's all.

Five minutes, no more, right
here in your dressing room.

- In my dressing room?
- Social, just social.

- Don't do it, Carola.

- I'll stay with you.
- Then you'll say yes?

- [Carola] Oh, all right, if it'll help.

- It will.

You'll keep the theater from closing.

- Closing?

Then you must see this man, whoever he is.

- What's his name?

- General von Clodius, in
charge of defense installations

on the whole Western front.

- General von Clodius.

(Campan laughs)

- [Campan] The general
von Clodius himself!

- [Mireille] You know him?

- [Carola] He wants to see me?

- That's why he came.

Outside of you, he doesn't
seem to care about the play.

- [Carola] Well, I cannot see him.

Anyone else, anyone, but not him.

- Carola's right, I'd rather
eat dirt than go with a German.

- We close, that's what you will eat.

- Well, I'd rather and choke

and then I won't have to
see those Germans anymore.

- They'll survive.
- Don't do it, Carola.

- Ah, you're an idiot!

Who do you think will be the
winners in this dirty war?

The ones who stay alive!

And our lives, yours,
mine, and everyone's,

depends on the operation of this theater.

Carola, your duty is to
see General von Clodius.

- I am free to do as I like.
- No, you're not.

- No.
- You owe yourself

to the theater.
- To your fellow players.

- I refuse to see General
von Clodius, is that clear?

- Well, we...

We close?
- So what?

There's still the streets.

- That.

You see?

You're making Josette a whore.

- Indecent.
- Immoral.

- Oh, leave me alone!

Oh, please, I beg you, don't force me.

- Watch your makeup!

You pimp!

And you, you pig.

- Leave me alone with Carola.

- But, my dressing room is freezing.

- You've got your electric heater.

- It doesn't work.

- Will you get out of here?

Now.

And you, too, dearie.
- She stays.

- This is our affair, darling.

- Ho, ho, ho, my affair, surely.

- Whatever you say, my sweetheart.

(Josette coughs)

- Who are they?

- Admirers of Carola, I suppose.

(dramatic music)

- You were in love with von Clodius?

- I knew him.

- I see.

That's no reason for not seeing him now.

If we refused to talk to all the people

we've ever slept with,

there wouldn't be much
conversation, would there?

Especially in our business.

- Mireille, give me the blue ribbon.

- The velvet one?
- Yes.

- You see, if we're really
honest with ourselves,

we have to admit happiness
exists only in the imagination.

Most idyllic nights of love
were spoiled by indigestion,

pastoral promenades under
blossoming cherry trees

were ruined by hay fever,
but in our memories,

the only things that live
on are a bewitching smile,

the inviting grasp of a little white hand.

Carola, when I look back on my life,

there are only a few moments

where I'm certain I was completely happy.

During those curtain calls,
when the public went wild

over you, forgive me, but
those moments were for me,

our real moments of love.

Can't hurt you to see von
Clodius; he doesn't exist.

People in real life don't exist.

Von Clodius is less real than your lover

or husband in our play.

Use your imagination, create a new image

of an ideal von Clodius.

Remember the mornings he
used to bring you flowers?

Heaps of flowers.

He silently slipped into your room

and gently transformed the whole place

into a nest of flowers.

Then he stood, watching you adoringly,

as the perfumes sweetly aroused you.

You open your eyes,

he opens his arms,

you rise, Marguerite Cartier,

and come to him,

crushing the fragrant
blossoms with your bare feet.

Roses...

No, no, no, no, no, no, no, gardenias.

Roses have thorns.

- Stop it.

Get out of here.

You are a worm!

- Why?

What's wrong?

- Nothing was wrong.

That's the way it happened.

- Forgive me.

I am an idiot.

- How beautiful.

You'd better get ready for the third act.

- [Campan] Yes?

- Have you seen a young man,
tall and thin, blue tie,

brown hair, brown sweater, khaki raincoat?

- Who gave you permission to come back?

Ah, I see, I didn't realize.

I'm sorry.

- This door?

- The dressing room of our star.

- Oh, Carola Janssen.

- You wish to speak with her?

- Not right now.

Where's your phone?

- My office.

- Show me.

- Gentlemen, this way.

- Clavaroche should never
have told me he was out front.

How will I act?

- [Mireille] Oh, don't worry about that.

- This sash is too high.

Campan said Box eight?
- Mm-hm.

- Oh, that's much better.

- I liked it better the other way.

- No, too modern.

I must fix my face.

He was my first lover.

I might even say my first love.

Ah, my only love.

- Four star general, must be well to do.

Good family?
- Oh!

His family's completely international.

His mother was lady-in-waiting
to the empress of Russia.

All his ancestors served
the Byzantine Emperors.

His lineage goes all the
way back to the Romans.

- My first one was a sailor.

(chuckles)

I met him on a merry-go-round.

Then he went to Africa
and I never saw him again.

Well, I love Ernest, but, oh, that sailor,

I will never forget him.

(chuckles)

- I never forgot Franz.

- Franz, that is his name?

You're upset.

- Being silly!
- Oh.

- Mireille, do you believe it's true

what your Jewish friend
told you in Marseilles?

- Well, he was a bit out of his mind,

but yes, I believe it's true.

He told what they did to an old woman.

She refused to give them an address,

so they filled a bathtub with--

- No!

- Yes, it's better not to talk about it,

and the poor man was a bit mixed up.

- When I was a little girl,
I had a school friend,

I was very fond of her, and
then one day we found out

that her brother was a murderer.

After he went to prison,
his sister tried to see me.

I refused.

I just couldn't.

- But why?

That poor girl was not guilty of anything.

- Hm.

What is guilt?

Perhaps just to know, just to be silent.

(knocking on door)

(door clicks open)

Well, Camille, why the long face?

What's wrong?

- Well, things aren't so good.

In fact, they're bad, the
Gestapo's in the theater.

- Gestapo?

- Two Frenchmen in civilian clothes.

I spotted them in the hall
when I was fixing a window,

and when I got back to
my place downstairs,

I found Antoinette trembling.

I asked her what was wrong.

She said while I was gone fixing a window,

this young man came into the stage door

and asked her for permission to see you.

- Well, Antoinette let him in?

- Well, yes.

The kid was hardly in the theater

when these two Gestapo
men tapped on the window,

oh, very polite, like gentlemen.

But Antoinette knew, especially

when they showed their cards,
and then they asked her

if she'd seen a man, young,

brown sweater, blue tie, raincoat.

It was the kid she just let in.

- But why?

Oh, for God sakes!

I mean, there's a strict company rule!

No visitors without a pass!

- But you know Antoinette.

The kid was so sincere,
she thought you'd be glad

to see him, so she let him in.

- What do they want him for?

- Who knows.

- Where are the Gestapo agents?

- With Campan.

And they ordered me to lock
in both the stage doors,

the one to the street and
the two to the audience.

- Then we're lock up!

Huh, I'll refuse to play act three!

- Oh, yes, you will.

- What about me?

All I tried to do was mind my own socks.

This kid has to butt in.

This goddamn kid, he's gonna,
he's gonna send me to Germany.

Jesus.

Antoinette alone, and with that furnace.

She's so delicate, you know
her, a little doll, a doll.

A baby, a baby without a father.

Now, that's bad.

That goddamned kid!
- Locked up.

I just can't stand being locked up.

- We can't let them grab him.

- Who?

- The kid.
- Oh.

- Two things, either I fish
him out of some trap door

where he's hiding, then
I can take care of him,

or he finds his way and pops up here.

- Oh, I hope he doesn't.

- If he does, here's what you do:

now, you know the theater, right?

- Like the back of my hand.

- Well, you know on this side
of the flies, on stage right,

there's a hidden door
behind the big beams.

- Oh, I've found that long ago with...

Never mind.

We opened it together many times.

- Well, then you know
it opens onto the attic.

Everything we've ever used

in the theater is stored up there.

Even Campan would get
lost in that junkyard.

Well, the kid could
hide there for a while.

- Who would feed him?

- You.

And now they're after the stage manager,

that means the third act
will be late going up.

- What about the audience?

The last subway, the curfew?

- You think that worries them?

They love to catch people
with their goddamned curfew.

Well, let me know if you hear from him.

- [Carola] Who?

- The kid.

- [Carola] Oh.

(suspenseful music)

- Excuse me.

Where is Miss Janssen's dressing room?

- In there.

- Thank you.

- This mascara's hopeless.

- You didn't spit in it.

(knocking on door)

- Don't answer it.

- It may be Camille with some news.

- Miss Carola Janssen?

- Yes.

- I...

Could I--
- Just a minute.

- It's him, it's that kid.
- Yes.

- I don't want to see him.

I don't want to get involved.

- We ought to tell--
- No!

- Carola, we have to tell him

the Gestapo's after him.

(sighs)

- All right, let him in.

- Young man, Miss
Janssen will see you now.

Come in.

Hurry, hurry, quickly.

- I'm very sorry to bother you.

I beg you, would you...

Could you--
- Yes.

- I'm...

I'm sorry, uh...

I'm so scared.
- Oh, I don't doubt it.

- You know?
- Of course I know.

- Out in the hall I had
a whole speech prepared,

but in front of you...

- What are we talking about?

- [Henri] Maybe I'd better go.

- Oh, wait a minute.

What are you afraid of?
- Of you.

(Mireille laughs)

What's so funny?

- You!

You're priceless.

- The Gestapo is looking for you.

They're here, backstage.

- I apologize, I thought I'd lost them.

- And they've locked the doors.

I'm going to hide you in the grid.

- The grid?

- Over the stage in the attic.

Come on.

- Thank you.

That's very kind of you.

- Wait here, I'll see if it's all clear.

- I'm sorry it's all so--
- All clear, let's go.

- I can't leave.

I can't leave like this.

It's what I've always wanted from you.

I've been dreaming of it for two years.

- Oh what is it?

Hurry!

- Your autograph.
- Oh, my God!

- [Carola] Now, goodbye, it
was very nice to meet you.

- [Mireille] We'd better hurry.

- Excuse me.

You forgot to write my name.

Henri.

"To Henri, with envy, signed, Carola?"

I don't understand.

You envy me?

- [Carola] I envy your courage.

- [Henri] I still don't understand.

- Well, you're in a position that's...

Shall we say, awkward.

I mean, if they caught you...

Well, if I were you, the last thing I'd do

would be to ask some
actress for her autograph.

I'd run as fast as I could.

- But that wouldn't be right.

Your game, I don't know.

In the theater I'm a stranger,
but my game, I do know.

Have you ever played hide the thimble?

(Mireille laughs)

- In kindergarten.

- Have you got a thimble?
- No.

- Well, let's pretend
this glove is a thimble.

Now close your eyes.

You, too.

What's your name?

- Mireille.

- Happy to meet you.

My name is Henri.

- Oh.
- Oh, your makeup.

- This game was a bad idea.

I'm going.

- Wait a minute, you silly kid.

- Miss Janssen, please forgive me.

Why did I start that ridiculous game?

I'm a brute.

- Parmentier is out there.

We have to wait.

He talks a lot.

He'd turn you in.

Well, let's play hide the thimble.

- No, no, no, that's impossible.

She doesn't like the game.

It upsets her.

- Upsets her?

Why?

Why should it upset her?

- I don't know why.

It just does.

- Does the game upset you?
- Not at all, not at all.

- You see?

- Let's play.

Let's play.

I mean, why not?

The world is mad, anyway.

(laughing)
- You really wanna play?

- Oh yes.

- Your wish is my command.

(Carola laughs)

Close your eyes.

You, too, Miss Carola.

Sorry, didn't mean to be so rough.

You have to close your
eyes to play the game.

Thank you.

Turn you around.

(Mireille chuckles)

- Oh.

Oh.

(mumbling)

- One for the money,

two for the show,

three to get ready,

and four to go.

(Mireille chuckles)

- Yeah.

- Cold.

- Cold, cold.

Yeah.

- [Henri] Cold as ice.

- [Mireille] Oh, cold as ice.

- [Henri] Getting warmer,
warmer, warmer, warmer.

- [Mireille] Oh, no fair, sitting.

- Let's play.

Let's play, let's play.

Now, let's see, where am I?

Looks cold.

- Look warm.
- Look warm.

(laughing)

- Warmer.
(laughing)

Warmer.

Warmer.

Warmer.

Hot, hot, you're on fire!
- I give up.

- [Henri] Oh!

- Oh!
(Carola laughs)

- Now, why should the
Gestapo be smarter than you?

- [Mireille] Well, I
thought of the shawl too,

but it seemed too easy.

- That's just my point.

Only childish games escape
their scientific methods.

And now, I'd better get
on with my own game.

If they found me here,
it might be annoying.

- Please go.

I don't want you here.

- Parmentier is still out there.

You cannot leave.

He cannot leave.
- No.

(sighing)

- We might as well be friends.

Say something.

- What I'd like to say
wouldn't please Miss Janssen.

- [Mireille] Oh.

What is it?

- I'd like to hold her hand.

(Mireille and Carola chuckle)

- Go ahead.

Go on, go on.

I'll tell Camille we found the kid.

- Who's the kid?

- You are.
- You were.

Now you're Henri.

No, Mireille, stay here.

- What did you do before the war?

- In real life I'm a bank teller.

(Mireille laughs)
- Oh, you're joking.

- You have a dimple at the corner

of your mouth, right there.

It doesn't show in your photographs.

- They're retouched.

- Why do they do that?

I think it's beautiful.

You're just like I dreamt you'd be.

- You'd better keep me in your dreams.

The real me might disappoint you.

- You're beautiful.

- It's makeup, stage makeup.

Oh, on stage, I look well.

It's my job.

On stage I feel sure of myself,

as if I had the whole world in my hands.

My fellow players, the
audience, time itself.

I should never leave the stage.

- I'm glad you're here.

- [Carola] Can't you see the difference?

- No.

- Oh, you're so young.

Can't you see that I'm afraid?

Terrified?

A complete coward?

If they knocked on that
door, I'd be paralyzed.

I'd let them take you.

When we're afraid we do shameful things.

Oh, we may cry over them later,

but tears don't wash acts away.

- You're afraid.

How marvelous!

Courageous people are so boring.

I know three of them.

No, two.

Both morons.

I mean, to be courageous, you
have to be a little stupid.

Most of us are afraid all the time.

There's a trick that helps.

I'll teach it to you.

Now just pretend that the person

that makes you afraid
is more afraid of you

than you are of him.

Concentrate on his chattering
teeth, shaking knees,

bulging eyes, and you'll laugh,

or at least you'll feel better.

- Oh, I'd like to try, but I'm
sure it wouldn't work for me.

- I'll help you.

Close your eyes.

- Again?

- Maybe I'd better go?

- Will I see you again?

- [Henri] I don't know.

- Who are you anyway?

- Lieutenant Henri Marceau,

Free French Headquarters, London.

I was parachuted four days ago,

mission accomplished, returning to London.

(Carola laughs)

- You're joking!

But you're just quite a boy.

- That's the secret of my success.

Also, I'm lucky.

Look,

I met you,

and I'm here with you.

- Oh, I'm glad you came.

- Oh, Carola.

Miss Janssen, if--

- Hm, Carola.

(knocking on door)

- I couldn't get to
Camille, he's with them.

- With whom?

- [Mireille] The Gestapo
in Campan's office.

They mean business, they are coming here.

- Why here?

- What have you done?

- It's a long story.

I shouldn't have stayed.

I'll never forgive myself.

Goodbye, Miss Janssen.

Goodbye, Mireille.

(cocks gun)
How many are there?

- The same two.

- Then I have a chance.

And don't forget, you don't know me.

Some fan came to ask for
your autograph, that's all.

You never saw him before.

- Look out, they're coming.
- Oh!

- [Mireille] The closet!

- No, no!
- We have to hide him

in the closet.
- No, I can't.

You'd be my accomplice,

and if I'm caught--
- There's no time

for that now.

Go, go on, go in.

You like games.

This one is called hide and seek.

(knocking on door)

- Oh, oh.

Henri.

Mireille, I have no choice, I
must see General von Clodius.

(knocking on door)

- Looks like destiny.

(panting)

- What took you so long?
- Nothing.

- Have you seen a tall, young man--

- I haven't left my dressing room.

- There, you see?

It must be some mistake.

- No, no, no, no mistake.

That old actor saw the
man we're looking for.

And what about upstairs, the others?

Any foreigners, any communists?

- No, no, no, no, no, no, no.

In my company, never.

- Carola, have you forgotten?

We have a visitor.

- [Campan] What visitor?

- This table is a mess!
- A mess?

- Yes, a mess.

Can't you see?

- Oh, yes, oh, yes, I see.

Our visitor, we must hurry!
- Visitor?

What's got into you?

- [Mireille] Oh, these
slippers are a disgrace!

- This tall young man is a
secret agent from London.

These gentlemen think he's
hiding somewhere in the theater.

- [Carola] Oh, uh...

Where is the broom?

- In the bathroom.

- Carola, these gentlemen
would like to know if anywhere

on the premises you can--

- Oh, don't you have a better rug?

- [Campan] A rug?

- Oh, well, this one is a
disgrace, look at that stain.

- Will you listen to me?

Have you seen a tall young
man wearing a blue neck tie?

- Oh, of course I have.

- [Campan] You have?

- You.

- [Campan] Don't be cute.

These gentlemen are from the Gestapo.

They're looking for a tall young man--

- Let them look, it's their job.

I'm just getting my dressing
room ready for inspection.

- What inspection?

- Oh, have you forgotten?

Am I not expecting the visit
of General von Clodius?

- Excuse me, uh...

Did you say General von Clodius?

- Oh, did you think I
was cleaning up for you?

- [Campan] You mean you accept?

- Yes.

Pimp.

- She, uh...

She knows General von Clodius?

- Of course.

He's dropping by to see
Miss Janssen after the show.

A little chat, you know.

- [Pierre] Congratulations.

- What did you say?

- I said, my compliments.

- Oh, don't mention it.

- I'm off to tell the general.

Carola, (smacking) you've
made two men very happy.

Gentlemen, may we start the third act?

- By all means.
- Huh.

(Campan laughs)

She accepts.

I'm off to tell the general.

- Carola accepts.

She will see the general.

- That's too bad.

- What made you change your mind?

- Oh, I don't know.

Do you always do what you want?

- My dear child, if you only knew.

I've had only two roles I
wanted in 50 years on the stage.

- Hm.

The stage.

The stage!

Why don't you say whorehouse?

- Never mind.

We're working.

That's what counts.

I'll tell the rest of the company.

They'll all bless you.

- That should set you up.

- I can't find him.

- He's in here.

- Good.

As soon as those two
Gestapo are out of the way,

I'll get him upstairs.

- This is a stubborn one.

- I've got another idea, the window.

We couldn't work it now, too
many people in the street,

but later on, maybe.

(bell ringing)

- There's the bell for the third act.

Quick, my shawl.

No, not that one, it's too sad.

The beige one.

(babbles)

Since he declares his love for me,

I shall not return evil for good.

Evil for good.

Oh, I look a wreck.

Oh, hell, I hope nothing happens to Henri.

- Henri?

- The name of the kid.

(dramatic music)

- He's gone, but Josette's there.

- [Mireille] Josette, she won't talk.

- The general's here.

- God dammit!

- Allow me, sir, this way.

Yoo-hoo, Carola!

Allow me to introduce General von Clodius,

Miss Carola Janssen.

- I am honored.

- I have to go on stage.

- I understand.

- Camille?
- Yes?

- [Campan] The bottle
in my office, bring it.

- Right away.

- Would you care to sit down, General?

This chair has just been reupholstered.

Why don't you just sit down and rest?

Nobody will bother you here.

Carola makes all her changes offstage.

Of course, it would be more exciting

for you to watch the third act.

In the scene with Fortunio (smacking),

Miss Janssen is out

of this world.
- Ladies and gentlemen,

places for act three.

- I have to go.

They're holding the curtain.

- May I have your permission to wait here?

- Oh, are you sure you want to wait?

The third act is endless,
and leaves me very tired.

I would rather see you tomorrow.

- I'm at your service,

but I would prefer to see you tonight.

May I have your permission

to try out your reupholstered chair?

- My chair would be honored.

(speaking foreign language)

- You don't wish to see the last act?

- No.

- Everyone has his own
tastes, but allow me, General,

to express my surprise.

I suppose you know the play.

- I have read it.

- [Campan] The third act
is an extraordinary vehicle

for Carola's talents,
bah, I should say genius.

- I do not know about these things.

- Would you care for a
taste of brandy, General?

- No, thank you.

- Napoleon Brandy, worthy
of General von Clodius.

- Tell me, Mr. Gardan--

- Uh, General (chuckles), Campan.

- Your duties as a theater
manager must be very absorbing.

(Campan laughs)

- My dear sir, if you only knew.

I just tonight--

- Then I will detain you no longer.

- General.

- [General] Rudolph.

(speaking in foreign language)

(dramatic music)

(audience applauding)

(gentle instrumental music)

(speaking in foreign language)

(thudding)

(groaning)

(speaking in foreign language)

- General.

Miss Janssen had nothing to do with this.

- Indeed?

- May I present myself?

Lieutenant Henri Marceau, Free French.

- Rudolph.

General von Clodius.

- [Henri] I must explain.

- No need, Lieutenant.

I wish to ignore Miss
Janssen's private affairs.

- Sir, on my honor, Miss
Janssen had nothing to do

with this, and I don't
wish her to be involved.

- Then what were you doing in her closet?

- Hiding.

She knows nothing about it.

- [General] You seem to be sincere.

- I am.

- Ah, I see.

You're assignment was to
remove General von Clodius.

- I'm not as important as that.

- Well, Lieutenant, either
you are Miss Janssen's lover,

or you wanted to kill
me, one or the other.

I would greatly prefer the latter.

- It's less grandiose,

I was just running away from the Gestapo.

- That's too good to be true,
and truth is never simple.

I should like to ask you a few questions.

- [Henri] At your service.

- Rudolph.

(speaking in foreign language)

(actors murmuring)

Sit down.

You have never seen Miss Janssen?

- No.

Yes, I have seen her on the stage.

- [General] But you do
not know her at all?

- Let's say I have a
great admiration for her.

- Have you met her?

- Well, no sir.

When I came in she wasn't
in her dressing room.

- How do you know this
is her dressing room?

There's no name on the door.

- The costumes.

This dress is the one she
wears in the dinner scene.

- Logical.

Very logical.

But life is never logical.

In fact, right now, I find
life rather confusing.

You could help me by telling me the truth.

You are a soldier, so am I.

It's an old, honorable
profession, so we can be friends.

After all, an Italian
banker will talk more easily

with a French banker than
with an Italian farmer.

The understanding between people

of the same profession is the
only international language.

- We have nothing in common.

You are a real soldier, I'm an amateur.

For me the army's only a hobby.

Regardless of who wins this war,

you'll die with your general star.

In retirement, I hope.

- Thank you.

- I'll die in my white collar.

I'm a bank teller.

I was even rejected by the
army, question of health.

My lungs.

- You're better now, I hope.

- Oh, yes.

Thank you.

The type of life you force us

to lead is extremely healthy for me.

You see, what I needed was fresh air.

If I live through this war,

I'll go onto a very advanced old age.

Hap.

Hap.

Hap.

- Hello.
- Open the door.

- All right, but it's on your backs,

because me, I take care of my own socks.

These doors are supposed to be closed

when the actors are on the stage.

It's the rule.

(Carola murmurs)

- Hap.

Hap.
- Enough.

So, you said this was the dinner dress?

- [Henri] Yes, sir.

- But the dinner scene
comes toward the end

of the second act.

- [Henri] Yes, sir.

- Then you came here
during the intermission,

and you met Carola.

- Carola?

- Isn't that her name?

- You know her well enough to
call her by her first name?

- Relax, young man.

I knew Miss Janssen 12 years ago;

I haven't seen her for the past 10.

Now what confounds me is
this idiotic situation.

What were you doing in the closet?

- You are a strange general.

I will be frank, I wanted two
things at once, both vital:

get rid of your Gestapo, get
an autograph from Miss Janssen.

(General chuckles)

- That I can understand.

Her handwriting is most unusual.

- Unique.

And it was my last chance.

I have to get back to London.

I'll probably never see her again.

- Ah, you're going back to London.

May I ask you to convey my
respects to my aunt, Lady Leston?

- I'd never get past the door.

- Not at all, Britishers
are stuffy, but well bred.

Do sit down.

- [Henri] Thank you.

(Carola murmurs)

- We're forced to trouble the general.

(speaking in foreign language)

(actors murmuring)

- The Gestapo knocked on
the door while I was here.

She insisted that I hide in the closet.

- Ha, that is so like
Carola, she is charming.

- Isn't she?

- You make me very happy.

- When I heard no more noise,

I decided the room was empty,
came out, bumped into you.

- Delighted.

- I tried to make you
believe I hadn't seen her,

because I didn't want
to put her on the spot.

- I understand perfectly.

- I would give my life
to keep her from harm.

- Your life?

- My life.

- You are exaggerating.

- [Henri] Not at all.

- But one does not give
up one's life that easily.

One dies for one's country,
or a belief, or a great love.

- Yes, for a great love!

I agree with you completely.

- But that's very annoying.

That changes everything.

(knocking on door)

What is it?

(speaking in foreign language)

- Tell them to go to hell, I'm busy.

(speaking in foreign language)

- All right, all right, all right.

What do you want?

- Inspector Pierre Ducroux, sir.

French Gestapo.

We've traced a young resistance
agent to this theater.

Thought I might search Miss
Janssen's dressing room.

The man we're looking
for is Henri Marceau.

- [General] Well?

- We've been following
him since this morning.

Now, I've just telephoned to headquarters,

and they've instructed me--
- That's not my concern.

I am not a policeman.

- But sir, this is serious, very serious.

That army bastard, who
does he think he is?!

If I had my way I'd--
- Yeah, but you don't,

so what are we going to do?

- Get a big wheel.

- A German wheel.
- Huh.

Then they can bitch at
each other in German.

- Lieutenant Marceau,
I ask you to be honest

with yourself and with me.

You are in love with Miss Janssen.

I believe you when you
say you just met her.

Still, you are in love with her?

- Yes, I am.

But my love is completely unrealistic.

I know she'll never be
my mistress or my wife,

or even my friend.

When I was a child, I was deeply in love

with Marie Antoinette.

I even saved her from the
guillotine many times,

in my dreams.

And in those dreams, my wildest outburst

of passion never took me
beyond kissing her hand.

Miss Janssen has replaced
Marie Antoinette, that's all.

- That's all?

But that's too much.

You risk your life for a shadow, a dream?

Have you got a mistress?

- Not at the moment.

I'm too busy.

- But you must have a mistress.

A boy your age without a
mistress, that's not normal.

- I'll think about it.

- [General] You promise?

- I promise.

But, uh...

Before I find this little mistress,

I hate the thought of being cooped up

in this closet while you
converse with Miss Janssen.

- And the idea of you
eavesdropping is absurd.

- Then we're in complete agreement.

I must go.

Goodbye, General.

- They may still be out there.

- If Miss Janssen weren't in danger--

- [General] But she is in danger.

- Then I'll have to stay here with you.

- But I don't care for that at all.

What I have to tell Miss
Janssen is of a private nature,

not for a social gathering.

- Well, I have to be somewhere.

Since I can't go out,
why don't you go out?

- Are you insane?

I've waited 10 years for this moment.

- Well, that may be, but
if I were in your place,

I'd go anyway.

- Young man, you talk too much.

Now, the important thing is to find a way

to get you out of here.

- That's easy, call the Gestapo.

They'll get me out.

- And Carola?

You just finished telling
me you would risk your life

to avoid compromising her.

- And I would!

- Keep it down.

It's annoying and dangerous
to raise your voice.

- Don't give me orders,
I'm not in your army.

(actors murmuring)

- Where are you going?

- They're flowers for Miss Janssen.

- Hm.

I will knock.

- What is that?

- [Camille] Flowers for Miss Janssen.

- From whom?

- [Camille] From you, General.

- Oh, I'd forgoten.

Lieutenant.

- Who could have sent those?

- Never mind, find a vase.

Put it on the table.

Oh, anywhere, anywhere.

- Miss Janssen wouldn't
like that arrangement.

I'll fix it.

No, no, no.

- They're my flowers.

Enough nonsense.

Now, we must get back to
the one important question,

the only one.

Say something.

- [Henri] What shall I say?

- Say anything.

I want to know what you can hear

when you are installed in this closet.

And please pull the drapes.

- I'll take care of the
general, leave it to me.

♪ The bear went over the mountain ♪

♪ The bear went over the mountain ♪

♪ The bear went over the mountain ♪

♪ And what do you think he saw? ♪

- The other side of the mountain.

- So you can hear.

- When you stand too close to the door.

I shall have to trust
that your good breeding

will keep you away from the door.

May I demonstrate?

- [Rudolph] Uh, that is closed.

- I wish to speak with the general.

(actors murmuring)

- You again.

- Ah, a nest of flowers.
- Yes.

- General, would you permit
me to make a request of you?

- Tell me, Mr. Canton.

- General, if you don't
mind, my name is Campan.

- When you are in the mood for
an after-theater celebration,

you know, with the best
champagne, the best possible food,

where do you go?

- Well, Maxine's will always be Maxine's.

Very French.

- You meet too many Germans there.

- There's the Blue Danube.

It's a different style.

(hums)

- Viennese music depresses me.

No, I should prefer
something more intimate

with discrete service where I could talk

without being overheard.

- Oh.

I see.

Well, now, there's, it's
rather hard to find,

maybe impossible, Willy's.

- [General] Willy's?

- Willy will give you a private
room, authentic antiques,

exquisite decor, candlelight, everything.

Ah.

Everything.

And if you wish to
rest, an excellent sofa.

Have to have this one replaced;

the springs are completely shot.

- I beg your pardon.

- Ah, but Willy's sofas are famous,

and the discretion of
the staff, legendary.

- All right, all right.

- As for microphones, as you know,

that's a different problem.

- This is insufferable.
- Why don't you stay here?

You can have the champagne
and caviar sent over

from Willy's, your car won't
be stopped after curfew,

and here, General, I can assure you,

there are no microphones.

- No, I think I prefer to go to Willy's.

That is, if Miss Janssen will accept.

- She will be flattered,
of course, but, uh...

- But what?

- Those gentlemen have searched.

- What gentlemen?

- The gentlemen from the Gestapo,

they've searched the entire theater

with the exception of one
dressing room: this one.

If they could just be
sure no one was hiding

in Miss Janssen's dressing room,

they would give up their search.

Everyone could go wherever he pleased.

- Who is in charge?

- The general wishes to speak with you.

(actors murmuring)

- I intend to take Miss
Janssen out after the theater.

Mr. Calderon informs me that you plan

to confine the artists to this building.

(Campan chuckles)

- General, I beg of you: Campan.

- I'm sorry, sir, I didn't know.

Of course, you can take
out anyone you want.

- I'm glad to hear it.

You may go.

- May I inform the general that
Colonel Kroll is on the way?

- Colonel Kroll.

- [General] Who is he?

- He is the head man.

He'll be sure to question all of us.

- Tell me, Mr. Campan...

I do believe I got your
name right this time.

- General, I am profoundly flattered.

- Well, Mr. Campan, do those men

from the Gestapo know about that closet?

- General, my theater is a house of glass.

- [General] Did you tell them
about that little closet?

- Why should I hide it?

Nothing here but a few old
costumes, a stray prop or two.

- You told them about the closet?

- Well, yes, of course.
(audience applauding)

Listen.

Sensational.

Last week, 13 curtain calls.

- How unlucky.

- Of course, tonight they're afraid

they'll miss the last subway.

(grunts)

This war.

- Yes, it rations everything.

Even curtain calls.

- What'd he say?
- Listen, another call.

(audience applauding)

- What call?

- Curtain call, what else?

- Can we search the room?

- What room?

Oh, I'm working on it.

(Campan laughs)

Bravo, bravo!

- The audience loved me tonight!

Did they talk to you?

- Yes, they asked me if I'd
seen a fellow with a blue tie.

But I didn't see him.

- But I did.

- You saw him?

- That's what I said.

- Oh.

You probably told them,
too, you old jackass!

They've been in here.

Those bastards, they've got their nerve.

You were wonderful tonight.

I watched you from the
wings, I couldn't leave.

- Ah.

- You were rather good tonight.

- Thank you, darling.

- Keep working.
- Not since Sarah Bernhardt.

- Ah, that tender touch again.

Now what do you want?
- He's still in there.

Kick him out!

- Don't be childish.

- You too?

You've given in like all the rest?

It's contagious!

(coughs)

- General's waiting for you.
- I know.

- There's something else,
even more important.

Please let the Gestapo
search your dressing room.

The general leaves it up to you.

- They want to search my room?

Why?

- Just a formality.

Then they can feel
they've done their duty,

and they can go home.

We'll all live happily ever after.

- Oh, shut up!

I refuse to let them
search my dressing room.

- Why, what difference
does it make to you?

- No difference, except I refuse to do it.

- For God sake, what's wrong?

What's wrong with searching
your goddam dressing room?

Now, think, why play
around with these idiots?

- I just don't want their
filthy hands grabbing

round my things.

I refuse.

Besides, the general's waiting for me.

You don't want me to
throw him out, do you?

- The general wants to take you to Willy's

after you're gone?
- And who told you

I want to go to Willy's?
- Okay, okay, okay,

take it easy.

You think about it.

I'll be back.

Five minutes, huh?
- Oh.

- Get the general to take you out.

Camille and I will take
Henri to the attic.

- Oh, then I have to go to Willy's.

Goddammit!

Well.

How have you been?

- [General] All right.

And you?

- All right.

- [Mireille] Oh, ho, ho,
ho, oh, a nest of flowers.

- A little tired.

- I am tired, too.

- You sent those?

- Do you like them?
- Oh, they're lovely.

- Thank you.

- The arrangement is interesting.

- Carola, I have so many
things to tell you--

- Oh, no, no, not now.

Why don't you take me to a restaurant?

I'm famished.

- You're right.

Let's go to Willy's.

- Oh, perfect.

Their foie gras is perfect.

Tonight I'm just dying for foie gras.

- We'll get a private room.
- Oh, wonderful.

I'll just be a minute.

- I'll wait outside.

- Why don't you wait in Campan's office?

The hall is freezing, you'll catch cold.

His office is well heated.

- I don't like that man.

- [Carola] No, you never liked my friends.

- I recognize an old quarrel.

I almost welcome it.

- I'm sorry, Franz.

- Thank you, Carola.

- For what?

- You called me Franz.

- [Carola] Isn't that your name?

- I thought you'd forgotten it.

- [Mireille] They know about the closet.

Camille heard them.

- What are we going to do?

(speaking in foreign language)

- Camille says Henri can
climb up the rain pipe.

It's a good pipe, it's cast iron.

Camille is waiting for him up at the top,

and he'll hide him in the attic.

- Oh, but don't they have
people watching from outside?

- Only on the corners, not
down here, and it's very dark.

Anyway, what else can we do?

Honey, we have to do something.

They know about the closet.

- It doesn't matter.

- You still have a chance.

The window.

- As you like.

- The streets are being
watched on the corners,

but you can climb up the rain pipe.

Camille is waiting for you at the top.

- [Henri] You're too kind.

- What's the matter with you?

- Nothing.
- Come on, hurry!

You see that rain pipe?

You crawl along the ledge.

- Are you leaving just like
that, without saying a word?

- [Henri] Camille is waiting.

- Oh, but Henri, you said before

we might never see each other again.

- [Mireille] Not so loud.

- [Henri] Isn't that just what you want?

- [Carola] What got into you?

- I heard you.

I heard everything you said.

I tried not to listen,

but I couldn't help hearing certain words.

- What did you hear?

- You called him Franz.

I cannot accept that.
- What?

- I cannot accept it, that's all.

- Oh, don't be ridiculous!
- You're both fools.

Stop squabbling.

Go on, get out.

Do you have your gun?

- [Henri] The general
has it in his pocket.

- The general?

You talked to the general?

- I talked to Franz.

- And you're still free.

- [General] How much the
general must love you.

- I'm inclined to agree
with you, Mireille.

I saw him.

I heard him.

I heard you both.

I heard your silences.

- I think you'd better go now.

- Let us hear from you.

Just a couple of words.

All's well, Henri.

We would like to know.

Don't grab the statue!

That cupid is only plaster.

It will break.

- [Carola] Goodbye, Henri, goodbye.

- [Mireille] Listen.

- [Carola] I can't see him anymore.

- [Mireille] Listen.

That's the upstairs window.

He's safe.

- [Carola] Safe.

Oh, call Clodius.

- [Mireille] Yes.

Miss Janssen wants to see you now.

- [General] Is he gone?

- Yes, through the window.

Thank you, Franz.

- Please, let's not talk about it.

- [Carola] Shall we go to Willy's?

- Are you sure that you want
to go out now that we're alone?

This dressing room seems very pleasant.

- I'm going to find a nicer vase.

- Carola, I must talk to you.

- Oh, I don't want to stay here.

I would like noise, music, people.

- Carola, I simply must talk to you.

Please.

Just five minutes of your life.

- All right.

I'm sure it's a mistake, but
if you insist, all right.

- I don't know how to begin.

- Take your time.

- Why do you wear those things?

- To be glamorous.

- I don't like masks.

- They help.

Wait until I take the
rest of this grease off.

Then you'll see.

- I hesitate.

After all, what I have
to say is very simple.

I love you, Carola.

- Well, here we are.

- What is the answer?

I feel awkward, clumsy, as
if I can't find the words

that might convince you.

I feel I said, "I love you"
as if I don't, and I do.

Very much.

Please say something.

- What?

- [General] But Carola,
don't you understand?

I love you.

- Oh, yes, I understand.

You want to have another affair with me.

(dramatic music)

- [Campan] Ah, here is her
dressing room, right here.

(speaking in foreign language)

- Colonel.

- Suppose I do listen to you.

Suppose I let myself fall
into this trap of memories.

Memories are always a trap.

What happens then?

We leave the theater, arm
in arm, a beautiful couple,

and my fellow players, the
stagehands, the electricians,

the whole company starts to whisper.

One more cheap actress
sleeping with one more general.

And what will it be for you?

That unpleasant feeling

of finding yourself
suddenly involved in a...

In a disagreeable complication

of having acted out of impulse.

And this would go on and on,
Franz, because you're so good.

That's why you're so cruel.

Remember our separation 10 years ago?

You hated my ideas, you
hated my way of life,

you hated my friends, I
even think you hated me too,

but you didn't dare say
it, because you're so good.

Oh, God, it must be so
exhilarating to be so good!

And you let it go on and
on, and I was miserable,

and finally it was I who
had the courage to say it.

The truth is, Franz,

that men often mistake
their curiosity for love.

They have a passion for enigmas,

and the moment they know the
answer, or think they do,

they turn their back on the Sphinx.

- Carola, I do love you.

Our separation was due to
a tragic misunderstanding,

but I am here now, trying to tell you

about a feeling which
has never left my heart,

the only real feeling I have
ever had about anything,

including honor, duty, even my country.

I mean this, Carola.

I am not just being sentimental.

- You're a German.

All Germans are sentimental.

- You mean liars?

That's not true.

I mean every word I say.

- Well, I don't want to hear them!

I don't want to suffer anymore, Franz,

so let's stop all this nonsense!

You want some?

- No, thank you.

- [Carola] Then get out of here.

- No, Carola.

- Oh, for Christ's sake!

- [Kroll] Monsieur
Campan, would you allow me

to use your office?

- Colonel, my office is
yours, my theater is yours.

- [Kroll] You're too kind.

We will need it for a while.

We've a few questions.

- [Campan] Questions?

Who?
- I'll start with you.

I'm sure you're anxious
to help us find this spy.

- Colonel, my devotion, my loyalty is--

- Colonel, new evidence.

- At ease.

- [Martin] But sir, this is important.

- Evidence, clues, my friends,

if you want to get down, I'll trade.

Allow me to give you a piece of advice.

There's only one thing
that counts: the dream.

- Well, that may be
sir, but one of our men

on the street heard some talking,

followed by the noise of a window,

a window in this building.

- Mr. Martin, would you be so kind

as to begin the interrogation
with Monsieur Campan?

I may join you in a moment.

For the present, I am going to meditate.

Ducroux, nobody goes out.

- That's already been taken care of, sir.

- With the exception of
Miss Janssen, naturally.

- Naturally.

(speaking in foreign language)

- 10 years.

It was a certain evening in July.

- It was the 7th of July.

A little before midnight, by the shore.

- We sat there like statues.

Frozen.

I prayed for a sign of weakness from you.

Just a tear, but your eyes were dry.

- So were yours.

- My whole body was tied in a knot.

I wanted you to cry, I
wanted to protect you,

to take care of you.

(she laughs)

- Oh, I told you, Franz, you are so good,

(laughs)

but all the tears in the world

wouldn't have changed the facts.

Our love was dead, strangled
by the imbecilic pride

of the master race.

You're 10 years too late.

- Carola, try to understand.

Then you will see that nothing
will separate us again.

Nothing.

There will be no more General von Clodius,

no more Carola Janssen, the
great star of the French stage.

We'll forget the army, which I detest.

We'll forget your theater,
which I detest even more.

We'll make up for those
10 years we threw away.

- I do not love you.

- You do not love?

- I don't love you anymore.

- Do you love someone else?

- No.

- That young man.

- Don't be silly.

(knocking on door)

(speaking in foreign language)

- Your verity is touching, Franz.

You think I spent the past 10
years just crying over you,

and that the day you condescend

to forget our little misunderstanding,

all you have to do is appear

and I should throw myself into your arms?

(knocking on door)

- What's the matter with these people?

(speaking in foreign language)

- Oberst Kroll, from the Gestapo.

(speaking in foreign language)

My dear Miss Janssen, my deepest respects.

Colonel Kroll of the Gestapo.

- Good evening, Colonel.

- Miss Janssen, I am
grieved to trouble you.

Permit me to glance around your sanctuary.

This is where you meditate?

- It's where I make up, where I dress.

- I want to ignore such
materialistic details.

When I see you on the stage,
I don't see your clothing.

I do not even see your body,
nor your admirable face.

I see only your soul.

- Is it to ooze about Miss Janssen's soul

that you inflict us with your presence?

- Herr General, it is a worthy subject.

- Oh, I would like to know what I can do

to help these gentlemen.

- Please, let's not talk about it.

It's not important.

It's just routine.

This is precisely why I
wish to use this opportunity

to make the most of the essential: you.

- Me?

- [Kroll] I mean your
talent, your radiance.

- Oh, but I'd like to--
- Please, let me forget

for a moment that I am a policeman.

This interview must be savored.

For once in my life I have
been received by a queen.

- The queen?
- Even more.

A living symbol of the
ideas of our Fuhrer.

- Colonel, Miss Janssen is very tired.

- No, no, no, not at all,
and it's so very interesting.

Would you tell me how your
investigation is coming along?

- You are the irrefutable
answer to the asinine stupidity

that almost destroyed
our Western civilization,

that men are born equal.

Don't you think so, Herr General?

When I saturate myself with
your pure Aryan personality,

my confidence in our
cause is strengthened.

- Get to the point, Colonel.

Ask your questions and get out.

Your presence here annoys me.

- Herr General, Miss Janssen understands.

She understands.

We're both artists.

- Tell me frankly, why are you here?

Are you looking for someone?

- [Pierre] We're still looking.

- I feel exactly as you do:

it is exhausting to have to arrest people.

- [Carola] I pity you.

- If you would do your job

and stop composing these
saccharine phrases,

we'd be rid of you.

- Jawohl, Herr General.

Bitte, please.

- General, we know that Henri
Marceau is hidden somewhere

in this theater.

Somebody must know where.

We have to ask some questions.

With your permission, we'd like

to question Miss Janssen's maid.

- My maid?

You mean Mireille?

Why?

- We suspect her.

- Oh, but she's with me all the time.

- Not now.

- Miss Janssen needs
someone to help her change.

You will leave her alone.

- [Kroll] Jawohl, Herr General.

- Oh, no, please, Colonel.

Please, Franz, I want to
get these formalities out

of the way, and then we can
all relax and go to Willy's.

Oh, tonight I'm just dying
for fois gras and champagne.

- Did you say Willy's?

Oh, don't go to Willy's.

- [General] I beg your pardon?

- Oh, I'm sorry, sir, I wouldn't
dare give you any advice,

but please don't go to Willy's.

- May I ask why not?

- The other day I was investigating
one of the kitchen cooks

at Willy's, and guess what I saw?

A rat that big, quietly installed

on the kitchen counter nibbling away

at a plate of fois gras.

- Indeed?

- The head waiter just
came in and flicked him off

with a napkin and took what
was left in to a customer.

You'll never guess who, it
was General Dietrich himself.

(Carola chuckles)
- That's not very encouraging.

- What a charming story.

Tell me, why do you suspect Mireille?

- One of our men in the street
heard some conversation,

followed by the sound of a window closing.

- A window?

Which window?

- That's the question.

- There are only three windows
opening on this street.

- It couldn't have been
yours since you were here.

- That's right.

Oh, by the way, wouldn't you like

to search my dressing room?
- Never, Miss Janssen, never.

- There's a little cupboard there.

- Immaterial, of absolutely no importance.

Your genius, that's what's important.

- I am beginning to suspect

that behind these artistic
affectations, Mr. Kroll,

there's just plain clumsiness.

- Herr General, I agree with you entirely.

I am not a practical man.

- Well, you are certainly
making a mess of things,

and your little ego
keeps you wallowing on.

- Oh, please, Franz, these
gentlemen are doing their duty.

They have to ask questions.

I assure you, I swear to
you, Mireille knows nothing.

How could she?

She's a very good woman.

She couldn't do anything bad, she's...

- You're exhausted.
- She's a very good woman.

- Yes, the role of Jacqueline is crushing,

and the way you live every moment of it.

- Colonel Kroll,

I am very patient, incredibly patient,

but you just went too far.

- Jawohl, Herr General.
- Stand at attention!

I said attention, shoulders
back, chest out, Colonel.

I suggest you return to
basic training, you need it.

- Jawohl, Herr General.

I never had basic training.

I come from civilian service.

- Obviously.

I order you to stop this
investigation at once.

Totally useless, as there is no evidence

that your fugitive is in the theater.

This inquiry seems motivated
by a sense of hostility.

- Against who, Herr General?
- Against me.

- Herr General, on my honor--
- What honor?

Do you think I don't know the feelings

of the Gestapo towards the army?

Get out.

Now.

(speaking in foreign language)

- Everything is going well.

- What about the wardrobe mistress?

- Later, later.

We have plenty of time.

- He knows.

I'm sure he knows.

- Don't be afraid, there's
no reason to be afraid.

I shall have those imbeciles punished.

- No, don't do that.

They'll come back, they'll find me again.

They'll wait.

Sooner or later you'll
leave me, I'll be alone,

and they'll come back.

Tomorrow, any day.

They are so patient.

You just can't escape.

One fine day somebody like Henri falls

into your dressing room,
it's fate, it's your destiny,

you can't escape.

- We can escape, and we must.

There are still some
places left on this earth

that haven't been touched by this plague.

I found one of them.

Three years ago, in Guatemala.

A small fishing village,
far from any city,

just a few Indians.

It's warm and green there, the
opposite of this graveyard.

- How would we get there?

- I had my plan carefully arranged.

I'm going to send your play on tour.

- Impossible.

- Abbess is a friend of mine.

You will start in Portugal.

I will join you there within the month.

I already have my new passport.

I am Mr. Miller, a Swiss art dealer.

- General von Clodius, a deserter?

- Quite the opposite.

I am faithful to my only faith: you.

- Me?

Have you looked at me carefully?

- I have looked at you, Carola.

- But you did not see me.

I'm just a shadow, Franz.

I would like to die.

- I'm sure it's very
tempting, but the information

about what goes on in the
other world is rather vague.

It might be worse than here.

- Hm.

To die is to forget.

- To forget?

Is that enough to make you happy?

- It is.

To die is to forget
you've ever been afraid.

That's why people drink, take drugs.

- Carola, I am not asking you anything.

- I drink because I'm a coward
and because I loathe myself.

Campan nurses me, he's my lover.

- I am not asking you anything.

- Actually, I don't drink so much anymore

for one reason: memory.

I found I had to choose:
drink, drugs, or the theater.

And, actually, acting is
a better drug than liquor.

Best way to forget.

- To forget?

Is that the only word you can say?

Forget what?

Have you committed a crime?

- Would you really like to
know what I wanted to forget?

- [General] Yes.

- I wanted to forget Franz von Clodius.

The only love of my life.

- Carola.

You love me.

And I am here, we're
together, we're alone.

- We are not alone!

There's Kroll, the Gestapo,
the Jews, the torturers,

the firing squad, and there's Henri,

and there's me, as I am now.

- Carola, you are beautiful.
- Oh, my poor friend!

But you are blind!

Try to see me as I am!

Can't you see all those hands
that have been over my body?

This, this blue mark, there.

Campan did that.

This, this redness here,
that was somebody else.

These scars that you can't erase,

that was anybody, anywhere.

I have let strangers use this
body so I wouldn't be alone.

I look at my mouth
constantly in the mirror.

Eyes can lie and gestures
can lie, but not a mouth.

Each decaying touch leaves its
mark on the mouth of a woman.

And you dare pretend that you love me,

as you loved this young girl
12 years ago in Lausanne

under the linden tree?

Get out of here!

Get out!

You lie, you lie, you lie!

- Carola!
- You lie!

(she sobs)

You lie!

- Carola!

(she sobs)

(gentle instrumental music)

(mumbling)

- [Kroll] You are indeed
Monsieur Robert (mumbling),

stage manager?

- [Man] No, sir, I'm the
assistant stage manager,

and I play Fortunio.

(door slamming)

(gentle instrumental music)

- [Kroll] My dear young lady,
this theater is not so large.

- [Mireille] I already told
you, I didn't see anyone.

(door slamming)

- General von Clodius is
off on a bat in Paris,

mounted an actress, had her.

- Please, please.

- Don't look so sad.

- Forgive me, Carola, but
this Kroll makes me uneasy.

- What shall I do after Willy's?

- You go home.

The important thing is not
to let the watchers know

that we love each other.

Until your play goes on tour,

your life must continue
without a single change.

- What about Campan?

He shares my apartment.

- And that Campan bothers me.

I think I will have him arrested.

- Oh!

(laughs)

That would be too ridiculous.

- Yes, and it might draw attention to us.

- Oh, I'll just send him to some hotel.

(laughs)

And then?

When shall I see you again?

- [General] In Lisbon.

- Not before?

- I'm afraid not.

- [Mireille] I have not seen anybody.

I cannot say I have seen someone

when I have not seen someone.

- [Kroll] Very well, madam,

but we shall see each other again.

- Who's there?

- [Mireille] Mireille.

- Goodbye, Franz.

- But are we going to Willy's?
- Doesn't count.

(knocking on door)

Quick, hurry, put on your jacket.

Your collar's all wrinkled.

- You are sure this young
admirer of yours got away?

- No, he didn't get away.

Camille told us the
street was being watched.

- Where is he?

- Oh, he's on the roof, just off the grid.

He climbed up the drain
pipe and Camille hid him.

- This is very serious.

Who else besides Mireille
and Camille know about this?

- Nobody.

- And you trust these two?

- [Carola] Better than myself.

- What happened to you?

- They've started the
questioning in Campan's office.

- [Carola] They haven't left?

- They never intended to.

They suspect that Henri
is still in the theater.

- Franz, what are we going to do?

- This Kroll is extremely dangerous.

Of course, I have to do something.

If I don't, they will simply
torture Mireille and Camille

until they confess.

- If Mireille is in danger,
I will stay with her.

- You must do what the general orders.

After all, that's what generals
are for, to give orders.

- Staying with Mireille won't help her,

and it certainly won't help you.

Rudolph.

Rudolph,

get the car.

The large Mercedes.

Blankets, food for two days.

You will accompany Miss Janssen to Spain,

and you will leave within the hour.

Make the passport arrangements at once.

Do we have some photographs?

- [Carola] Only in costume.

- I'll take you to the general
staff, photographic section.

They'll do it in 10 minutes.

Thank you, Rudolph.

With a good car you'll
be in Spain in 15 hours.

- I'm not going to Spain.

I won't leave my friends just
because they don't happen

to have a general for a protector.

- But the only way you
can help them is to go.

- You mean help myself.

- If you don't go I will tell you exactly

what's going to happen.

I will reiterate my orders to
abandon this investigation,

but it will mean nothing.

This war is the war of the Gestapo,

the war of the informers.

Kroll will smile politely,
pretend to give in

and do exactly as he pleases.

They are the masters and they know it.

This theater will be watched,

and your young man will never
get out, and neither will you.

- But they have no proof that he's here.

- They smell it.

They will find the boy, I
guarantee it, and they will know

that you hid him and that I know about it.

The dogs are after bigger game now.

- Oh, Henri won't talk.

- Carola, since the days
of the Inquisition, the art

of the question has undergone
remarkable improvements.

I don't want you in their hands,
and the only solution left

to me would be to fly over
London and get shot down.

May I say, I prefer the
jungles of Guatemala.

- I won't leave.

- In any case, Mireille will
be taken to headquarters.

You know what she can expect there.

Look, once you are in
Spain, you can wire Kroll.

You tell them that you are the guilty one,

you are the one who helped
Henri escape, the only one.

Mireille was not with you,

and Henri went down the rain pipe, not up.

You watched him disappear
into the street below.

- You really believe that
would make them release her?

- I am still General von Clodius.

I don't know how long this
will last, but for the moment,

it gives me some small authority.

- Oh, it all seems so unreal, so...

So unlikely.

- It's the best I can offer.

- What would they do
without me tomorrow night?

- Who?

- Here, the theater.

- Campan will close it.

- Oh.

- I'll see that the actors are paid.

- Oh, you can't close a theater

just like a grocery store.

And Campan will never close a hit.

Josette will replace me.

Oh, I wish I had rehearsed with her more.

That little girl is just not ready.

- I realize this is a painful decision,

but hurry, Carola, hurry!

- I want to take Mireille with me.

- Then take her.

- My running out will
really help the others?

- I sincerely believe it.

- Then I'm going.

I'm going.

- You must dress warmly.

Have you a good coat?

- Yes.

- The car is heated, but
it's snowing in Burgundy.

- They say it's good for the wine.

- I'll say goodbye to you in the car.

I'll ride with you as
far as Fontainebleau.

Wait here.

Do not leave this room.

(men shouting)

(speaking in foreign language)

(door slamming)

- It's very nice of you
to want to take me along,

but I'd better not.

You know Ernest.

He'd be too unhappy without me.

And then there is his
stomach, very delicate.

He can only eat what I cook.

For instance, he loves boiled beef,

but if he eats boiled
beef in a restaurant,

he burps all night and keeps me awake.

I'll tell you my recipe for boiled beef.

I skim off the fat,

and then I skim it off
again, and again, and again.

In a restaurant they think
the more fat the better.

That's how they poison their customers.

My boiled beef?

Light as dew.

You should have wool socks.

The feet always get the coldest.

- The car is well heated.

(Mireille chuckles)

- Progress.

It's a good thing.

It...

It bothers me to see you go,

but you must.

That's the way it is.

And if you had said no,
I would have carried you

by force to the car.

(groans)

It must be beautiful in
Spain with the sunshine

and the flowers.

Of course, they have the bull fights.

I don't like that.

Those poor cows didn't hurt anybody.

Well, anyway, say what you
will, there is only one Paris,

and if we all left,

there would be no more
Frenchmen left in France.

For you, it's different, great artist.

But for the rest of us?

Somebody has to be here
to fill up the streets,

to advance on them on Bastille
Day, to make children.

- Hm.

You should talk.

You didn't make any.

(both laugh)

- Well, you know that
was not Ernest's fault.

When he was in the service,

he fathered a child by the
wife of a real captain.

- [Carola] No.

(Carola laughs)

- Oh, Ernest was supposed to
polish the captain's floor,

but instead he liked it better
to polish the captain's wife.

(both laugh)

I'll get your coat.

It's a good thing you have a wool scarf

and the gloves that I knitted for you.

And don't forget to put lots
of cold cream on your hands.

You know that they, they,
they chap so easily.

- Mireille, give me a hug!
- Oh, Carola!

(sobbing)

We will never see each other again.

- [Carola] Stop it, stop it!

- I know.

I know.

Never.

- Ah, my little children, calm your fears

and dry your tears, all is going well.

The general is perfect, a true
gentleman, real class, race.

You should have seen him,
what composure, he was icy.

You know, you can't learn that.

You have to be born to it.

The rest of them just dissolved.

Well, we're safe, that's the main thing.

Let's celebrate.

Kiss me.
- No.

- Oh, not even to make me happy?

- Oh, please.

- Uh, I see, madam is nervous.

I won't insist.

Curtain, and now let's have act two.

Exit, Mireille.

- I'm busy.
- Get out!

- I guess you'd better go, Mireille.

We're in a hurry, and I
want to get rid of this.

- Oh, that's very nice of you.

- You want to know what
I did with the general?

- No, I don't want to know anything.

We're in the midst of a
battle right on the front line

and our little family quarrels disappear

before the defense of our profession.

Let's forget the general.

- That's very big of you.

- What I have to tell you is unfortunately

much more serious.

Those bastards started to
drag Antoinette out the door.

- Drag her?

- To their headquarters,

where they can really go to work.

Camille tried to stop them,
one of them smashed him

with a rifle while the
others dragged Antoinette

into the alley.

Camille couldn't take it.

He told them.
- Told them what?

- That Antoinette had let some
young man into the theater,

and that he's still here.

What's wrong?

- Nothing.

Go on.

- That's when the general
stepped in, too late.

Camille had already talked.

Parmentier was babbling
he let some young man

into your hall.

- It's not my hall!

- They searched every
dressing room but yours.

You refused to let them!

Now stop this nonsense and
tell me what's going on!

I've got to get you out of this mess.

Where the hell did he go?

- You want to turn him in?

- Me?

Carola, I am hurt.

- [Carola] And what's the difference?

- The difference is I want
to know what cards I've got.

Besides, after all, I
have a right to know.

I am your lover.

I have my pride.

(she laughs)

- Oh, that's a new twist.

I've known you to be more
tolerant just an hour ago.

- There's absolutely nothing uncommon.

It's a question of saving
the theater, and besides,

after all, to be cuckolded
by a four star general,

well, that's rather flattering,

but by a mangy civilian,
that's irritating.

- How could I have lived with you?

- Love is blind.

I get it.

The window.

That's the only way he
could have gotten out.

- He climbed down the
drain pipe into the street.

He's a long ways off by now.
- Say that again.

- Like hell I will.

Call Mireille.
- If I were on the run,

I'd never leave this theater.

Too many good hiding places,
like a maze chock full

of little nooks and crannies,

old passageways, forgotten doors.

He's still here, I'm sure of it.

- You know your theater, he doesn't.

- Uh.

Somebody helped him.

One of your favorite accomplices?

Camille?

Mireille?

How long have you been
sleeping with this guy?

- [Carola] Oh, I pity you.

- He came to the theater to see you.

He knew he was being followed,

but he wanted to bid you farewell.

- [Carola] Poor Campan.

- He's in the attic.

That's easy.

Went along the ledge, up the rain pipe,

through the little window,
up the little stairs,

across the grid, into the attic.

- You know, you are almost right.

- He is in the attic!
- Oh, no, no, no, no, no.

I'm not talking about that.

I do have a lover, and
I'm going to leave you.

- And the theater?

- It too.

- I forbid you.

I have that exile right now;
I'll turn him over to Kroll.

I'll make sure he doesn't take you away.

- [Carola] I'm leaving with the general.

- With the...

With the g...

(laughs)

With the general?

What can you do with the general?

- Be happy!

I love him.

(he laughs)

- You must be sick.

I can't believe that.

- I warned you.

- [Campan] When?

- When I refused to see him,

but you're so full of the
theater you didn't even hear me.

- But it doesn't make sense!

It's incredible.

To do that to me, with the general?

If it had been an actor...

(she chuckles)

Do you really think that
nincompoop Josette can replace you?

- Oh, Josette has real talent.

- Say that again.

- Josette is very gifted.

- [Campan] You will not leave.

- And who's going to stop me?
- I am.

I may bring down the temple,

but I'm going to teach
you what you have to do.

- Ah, you know what I have to do?

- You're goddam right, I know.

Be on stage when the curtain goes up.

- It's all over.

The interrogations have been suspended

until further orders and
everyone is free to go home.

- What about your cold cream?

Put it on right now.

Wasn't it lucky that the
general came to see you tonight?

Don't skimp.

You can use plenty.

- Mireille is right.

Carola, we owe you everything.

I see that now.

The general did it all for you.

My little Mireille,

would you have the graciousness to depart?

- Again, in and out.

I will go to see Antoinette.

- General, Miss Janssen.

- [Carola] Let's go, Franz.

Campan will postpone his little story.

- No, no, no, I won't.

You're going to swallow
my little story right now.

That's the least you can do,
General, don't you agree?

- [Carola] Let's go, Franz.

- It's a very short little story, General.

Carola is my mistress.

- Mr. Campan, you do like taste.

- Well, sir, all's fair in love and war.

- Who is at war with you?

- You are.

And I'm honored.

You are, by trying to steal

from me my most precious possession,

my only reason for being.

- [General] You do favor
overstuffed words, don't you?

- The theater, my dear sir.

Carola and I belong to the theater.

That's a detail you seem to overlook.

Ask this solemn, silent tomb
to divulge its sinister secret.

Not a bad line, General,
worthy of the melodrama.

(she laughs)

- Oh, my poor Campan, you try so hard.

The general knew that
Henri was in the closet.

- Why didn't he tell them?

- Them?

- Kroll, the others, any one of them.

Why the hell didn't he have him arrested?

I don't get it.

- Don't try.

- Why?

So, I am a worm.

- I'm afraid you are.

- [Campan] Carola, don't go!

- Get out of my way, you worm!

- Don't go, I beg you, don't go.

Sleep with the general as much
as you want, but don't go.

I don't care, you can
cheat on me if you want to.

You're too good for me, too good.

After all, I only love whores.

Whores, do you hear, only whores.

I'll hold onto you, I won't let you go!

I'll throw myself beneath
the wheels of your coach.

Ah, I'll throw myself beneath
the wheels of your coach.

- [Carola] That's enough!

- I'll throw myself beneath
the wheels of your coach.

- This time you're really going.

It breaks my heart, but
it's the right thing.

Look at you.

Stop it.

What's the matter with you?

You should be ashamed of yourself.

- What about you?

- [Mireille] I am a woman.

- Pardon me, Herr General,

but something very serious has occurred.

We will use your dressing room.

Madame, leave the room.

You stay, you're going to help us.

Herr General, during a complete search

of the buildings adjacent to the theater

and the apartment right across the street,

a gentleman told us that
he saw somebody inching

along the ledge of this theater.

- That sounds like nonsense, Kroll.

It's too dark to see across the street.

- As a matter of fact, Herr
General, you're perfectly right.

The darkness did prevent the witness

from distinguishing details,

but he is unshakable in his conviction

that he saw a human form
inching along the ledge,

the ledge which runs outside
of this dressing room.

What impresses me is that
this gentleman saw the figure

at the same time as our men
heard the sound of a window.

- So?

- I took the liberty of placing
a call to Berlin myself.

I expect to hear from them any moment.

Naturally, until I receive further orders,

I could not take the responsibility

of allowing anyone to leave.

Perhaps, when the call comes
through, you could mention

to them that you want to
take Miss Janssen to supper.

That would cover me.

Monsieur Campan, we
have made a vain attempt

to search your attic.

A systematic investigation
of such a place is difficult.

One gets lost among the piles of old junk,

forgotten furniture, baskets
full of old costumes,

pieces of scenery hanging from the beams.

Total chaos.

We need a guide.

- Need a guide?

Where?

- Your attic.

The fugitive is hiding in your attic.

You will be our guide.

We anticipate some difficulties.

- You mean a fight?

- [Kroll] Naturally.

Henri Marceau won't
give up without a fight.

- He's gone.

- What did you say, Miss Janssen?

- Miss Janssen is terrified of guns.

- A battle, the final battle,
the only one that counts.

The battle for Carola.

Carola, you will not leave the theater.

I throw myself beneath
the wheels of your coach.

Ladies and gentlemen:

Campan, the worm.

Campan, the would-be actor
is going to triumph tonight

in a magnificent role.

The role (speaks in foreign language)

will give their crowns to play,

the role of a genuine hero.

- Open the door, open it!

(Campan hums)

Open it or I'll have you all shot.

Open the door, open it, open it!

Who's out there?

- [Mireille] It's me.

- [Carola] Mireille, don't open it!

Don't open it!

- Miss Janssen, you're
against us, I knew it.

The second I met you I knew it.

- You will not touch her.

Don't be afraid, my darling.

- Thank you, Franz, but
I'm not afraid anymore.

- Herr General, don't you
realize that fool Campan,

he is helping Henri Marceau get away?!

- God help them!

- Miss Janssen, you're unwise.

- You can't get out without
a pass from Colonel Kroll.

- I'll never obey anything
from those Krauts.

(Josette coughs)

- [Kroll] Who's out there?

- [Peter] Is that you, sir?

- [Kroll] Yes, you goddam fool.

Open up, let me out of here.

- The key.

- No!

No.

No.

- Martin!
- No!

- What the hell?

Get off him!

Get out of the way!

What the hell's going on?

- They've locked up Colonel Kroll.

- [Martin] They what?!

- No!

No!

Ah!
- Go tell Herr (mumbles)

and the others.

Send men up to the attic.

Marceau's up there.

Hurry.
- I want to be there,

I want to be with them!

- Carola, I beg you!
- I've got to know!

I've got to know!
- No.

- Go back, they're not there!

They got away!

They got away!

- Carola!
(Carola sobs)

Mireille.

(speaking in foreign language)

- Rudolph is here, the car is waiting.

There's still time.

Carola, we are both
lost if you don't come.

- I want to know, I've got to know!

(gun firing)

- Now you know.

Carola, please, I beg you!

Come!

- Yes, now I know.

(gun firing)

My poor Franz.

- Our poor love.

(gun firing)

- Herr General, my mission is completed.

Henri Marceau is dead.

Miss Janssen, you may leave the theater.

Everyone may leave.

- Well, Kroll, you'll get a promotion.

- Unfortunately not, Herr General.

My mission is completed
but not accomplished.

My orders were to take
Henri Marceau alive.

Excuse me, Miss Janssen,
may I borrow a towel?

He defended himself
with an old stage sword.

- And Campan?

- He sided with Marceau,
we had to kill him, too.

- How I envy them.

It must be beautiful to leave this earth

with a great belief,

a belief that propels you toward eternity.

- Miss Janssen, I would
like to add my voice

to those of your friends.

I beg you to go.

In your place I would take advantage

of that calm that strangely
follow moments of violence.

I would escape to Spain
in the large Mercedes

that is waiting for you downstairs.

As a follow up to the report,

which to my great regret I
must submit to headquarters,

you will sooner or later be summoned

by our office for an interrogation.

May I respectfully, Herr
General von Clodius,

give you the same advice?

You'd better leave with Miss Janssen.

- Colonel Kroll, you interfere.

- That is my trade, Herr General,

but I also have a hobby: painting.

I am a Sunday painter,
and painting teaches one

to appreciate beauty and quality.

Let me be frank with you, Herr General:

you were one of the last
gentlemen of the German army,

and I would like to see you live.

- On a reservation, like
the African elephant?

- No, in freedom, like the
white tiger of the Himalayas.

- How magnanimous.

- Take him away with you, Miss Janssen,

otherwise you will have
killed him just as surely

as that Jewess in the bible
killed some Persian general.

- Chaldean.

His name was Holofernes,

and Judith killed him
after a night of love.

- I often wondered if that
Judith really loved the general,

or if it was all an act.

- She loved him, you can be sure of that.

- Why did she kill him?

The Jews were already defeated.

The general's murder

could only provoke unpleasant reprisals.

- Judith killed Holofernes
because he was guilty.

- Guilty of what?

Winning a war is the job of a general.

- Guilty of knowing.

- We all know and we all have to accept.

- No.

What are you going to do?

- Since the Romans, the von Clodiuses

have been good soldiers, at
least legend has it that way.

And you, my poor dear Carola,

what are you going to do?

- Wait.

(gentle instrumental music)

We will play tomorrow.

Tell the rest of the company.

There will be no performance
on the day of Campan's funeral.

(dramatic music)