El sádico de Notre-Dame (1979) - full transcript

(somber music)

(thudding)

(dramatic organ music)

(gentle music)

- [Woman] Hello there.

- Me?

- Yeah.

- [Mathis] What do you want?

- Can I drive you somewhere?

Don't look at me like that.

I mean it, really.



Oh, come on in.

Don't be shy.

Alright, where we going?

- [Mathis] Notre Dame Cathedral.

- Whatever you say.

Sure beats hoofing it.

- Yeah, thank you.

- You mean you're splitting?

- What?

- [Woman] Aren't you going to
invite me home for a drink?

- I can't.

I don't have a home.

Not in Paris.

- You from out of town?



- Will you stop pestering
me with stupid questions.

- Oh, come on, don't you get upset now.

It's just that I thought you
lived next to the cathedral.

- I wished I lived in one of those towers.

The church is mankind's true home.

- Poor darling.

We'll do it right here, if
that's the way you want it.

Takes all kinds.

I even have a customer who
only makes it in cemeteries.

- What are you talking about?

- About this.

Look, don't you think I'm attractive?

Now, what do you say, huh?

Come on, why don't you get a feel of it?

- Uh.

No!

- I'll be darned.

You're shy, you could have fooled me!

- What do you mean?

What are you talking about?

- What am I talking about?

You're all excited.

Just relax now.

It'll cost you a hundred
and worth every penny of it.

Hey, what's wrong with you?

(footsteps echoing)

Hey, where do you think you're going?

You can't drop me like this!

You really thought I was
just chauffeuring you around?

- [Mathis] You hussy!

- [Woman] What the hell is this?

- [Mathis] Don't you have
any shame selling your body?

- Why should I be ashamed?

- [Mathis] You see nothing
wrong with selling yourself?

To the first man who comes along?

Inciting him to sin, turning your body

into the instrument of eternal damnation!

Huh?

- Stop it!

- No, I won't!
- You're mad!

- [Mathis] No, I'm not mad.

It's the hand of God's vengeance.

You are going to pay for
every soul you've damned!

(woman screaming) You're a whore!

The court of the Holy Inquisition
said this deserves death!

The flame will purify you and your soul.

(woman screaming)

(dramatic music)

(whistle screeching) Shit, the cops!

(footsteps echoing)

- [Policeman] You there, stop!

(footsteps echoing)

(whistle screeching)

- [Inspector Rochet] Is that him?

- [Officer] Yes, Sir.

- I'm glad to meet you.

Take off your cap.

- No, I won't.

- [Inspector Rochet] I
said take off your cap!

- You'll pay the hospital
bill if I catch cold?

- Alright, I will.

What's your name?

- Bartholo.

- I mean your real name.

- Richard Bartholosky Pathem.

But people usually call
me Bartholo for short.

- I'd like to hear your
version of the facts.

- My version?

I was completely out.

- [Officer] What do you mean by out?

- It means I was pissed out of my mind.

- Could be.

The fact is that she was stabbed

and you had a knife on you
when you were arrested.

- Ah, did you see the knife?

Use it to peel potatoes.

- You've been in jail before.

- Yeah, for misdemeanors.

But I don't go around killing women.

I know it's hard to believe
yet they rather like me.

- I'm sure.

Except you may have murdered one.

And that's no misdemeanor.

You listen good now.

We're gonna keep you here a while.

We're gonna charge you
with first degree murder

and we'll make it stick.

Should we be wrong, I won't
fail to excuse myself.

Take him away.

- [Officer] Come on.

(Bartholo mumbles)

- I don't mean to butt in, Inspector.

But it seems to me you're
after the wrong man.

- You've been sent here by Interpol

because they're after
some kind of psychopath.

Why don't you go after him?

It's what you're here for.

Do you read me, Inspector?

Better mind your own business.

(somber music)

- Mathis.
- Raymond.

- It's been years since
I last saw you, Mathis.

You haven't changed a bit.

After so many years, I recognized you

the moment you came in.

I heard about you.

I was told you had some problems.

- Yes.

- You even were excommunicated.

I find it hard to believe.

You were the best of
us all at the seminary.

If you need help, you can count on me.

- No, no help, no.

No, I don't, nobody's.

Not yours, not your kind.

- [Raymond] I'm the only
one who can help you.

(somber music)

(lively jazz music)

- Hey, Charlie!

Get your ass over here!

Come on, drive me home.

- [Charlie] Get on.

- [Woman] You were supposed to take me.

- [Man] But you can walk, can't you?

Ciao!
- Shit.

(lively jazz music)

(footsteps echoing)

Who's there?

Who's there?

If it's you, John, come on out.

Stop playing stupid games.

John?

(suspenseful music)

John?

(woman screaming)

Help!

Let me go!

- Shut up!
- What do you want?

- Stop it, calm down!

Calm yourself!

- [Woman] Let me go!

- I told you to shut up!

- [Woman] Who are you?

- I don't intend to harm you, child.

- [Woman] Why are you following me?

What do you want?

- I simply want to save you.

I have to punish you for your soul's sake.

- No!

I beg you let me go.

Please, I didn't do anything wrong.

- And so, I'll give you eternal life.

- No, leave me alone!

I didn't do anything wrong.

- You committed a mortal sin.

- No!
- You bitch!

You better not deny it!

I saw you humiliate yourself
- No!

- [Mathis] in front of
that young man a while ago!

You begged him to take your innocence

so as to pervert him!

- No!
- I saw you!

Don't deny it!

Don't you lie to me, Jezebel!

Confess!

- [Woman] What do you want?

- To save you.

- Let me go!
- I'd rather save your soul.

What I'm doing is for your own good.

Don't you understand?

- No, you're crazy!

- [Mathis] I am the
redeeming hand of the lord.

- You're raving mad!

That's what you are!

(woman screaming)

(dramatic music)

(gentle music)

- Send up the proofs.

I want you to update the lead story.

Yes, right.

- Morning, Chief.

- [Pierre] Morning, Ann.

- Here's the mail.

- Oh, thanks.

- Did you like the show we put on?

Didn't you like the way we did it?

- Not bad.
- Not bad?

- It was okay.

All I care about is how much it pays.

- Look at the cheque.

I'm sure the count
appreciated it as always.

- [Mathis] May I come in?

- [Pierre] Yes, do come in.

What can I do for you?

- I'm Mathis Vogel.
- Hi.

My secretary.
- How do you do?

- How do you do?

- I would like you to read this.

You may like to run it in your magazine.

- Really? Let's see it.

Hmm, fine title.

Return of the Grand Inquisitor.

What's it about?

- The story is somewhat
unusual but what's important

is that the facts stick to the truth

and the story is quite timely.

- Hmm, Mr Vogel, our magazine
is open to any type of story.

And, as you undoubtedly know,

we specialize in
sadomasochistic melodrama.

- Yes, I know.

You have a pretty large circulation.

That's precisely why I came to you.

- Thanks.

What our public wants is strange emotions.

- And what does your
personal taste run to, Miss?

- Oh, anything that
turns on my imagination.

- That goes for me too.

- It's surprising, you
don't look the type.

You're a far cry from our usual writers.

- What do I look like?

- Mm, like a scientist
or perhaps a teacher.

Or even a poet.

You don't have that tortured look.

- Maybe I had it?

I'd better go now.

Read it and tell me what you think of it.

- Alright, I'll be seeing you.
- Goodbye.

- Thanks Mr Vogel.

- [Mathis] Goodbye, Ann.

- [Both] Whew!

- A real weirdo.

- He's nuts! Did you see
the way he looked at me?

He was practically
undressing me with his eyes.

- Maybe he guessed you
liked being undressed?

Shrewd man.

- [Ann] He's an out and
out creep if you ask me.

He scares me.

- Can I undress you with my eyes then?

- No.

- Oh, we're invited to a party.

- Where?

- At the count's place next Friday.

- We going?

- Yeah, there'll be some kind of show.

- [Ann] Erotic?

- Very.

And guess what he wants?

He wants you to rustle up some virgins.

- Is that so?

Admit it's your idea.

- [Pierre] I wouldn't know
what to do with a virgin.

It's the countess' idea.

She wants to sacrifice one.

- [Ann] Alright, but you'll
have to shell out in advance.

- Say the word.

- What about now?

- Now's great.

- [Ann] Let's go to my place.

I'll be comfortable there.

- [Pierre] We don't have the time.

- [Ann] What are you doing?

Stop it, you're crazy!

(moaning)

(lively jazz music)

- There you are.

- How are you?

- [Ann] I'm fine.

- You're awfully late, Ann.

- Oh, guess what?

- [Rosie] Tell me.

- It's the count, he needs a
flock of virgins for a party.

- [Rosie] What does he want virgins for?

- He's putting on some
kind of a show next Friday.

Let's call Martha.

- [Rosie] She's down at the club.

Good idea, let's go ask her.

- Let's go.

Hurry up!

- [Rosie] I'm coming.

(lively jazz music)

- [Pierre] Hi.

- [Woman] Hiya.

- Here comes Pierre.

- Hi, my darlings!
- Hello.

- Hi, tell me the rest.
- Hi, Pierre.

- It's for some show and
you know the usual thing

except she wants it spectacular.

Come along, we usually have a good time.

- [Martha] But I'm no virgin.

- What are you talking about?

We'll just pretend you are.

Who's gonna check?

- Come on, it's great fun.

- Now, clue me in.

What happens afterwards?

- Oh, nothing much.

We fuck.

- Everybody fucks?

- Yeah.
- Can I pick?

- Of course, but forget him.

He's a bad lay.

- If you want to, you can pick a girl.

Even both a girl and a man.

- [Rosie] That's true.

- Come on.
- Those cats are loaded.

- Oh, well, now that you put it that way.

- You clinched the sale.

- Right.
- Well, cheers.

- Right.

(lively jazz music)

- Hello.

- What can I do for you?

- Do you happen to have any rooms left?

- Yeah, plenty.

- I'd like one next to the
two women who just walked in.

- You mean Rosie and Annie.

Yeah I get it.

- Oh, that's just fine.

- It's number three.

May I have your name, please?

- Mathis Vogel.

(soft jazz music)

- I'm not putting you
down but your new recruit

is nothing to brag about.

She strikes me as a big bore.

- You're jealous.

(soft jazz music)

I'm exhausted.

- [Rosie] When you see a bed that's it.

You plunk your ass on it.

Look at your things.

Don't you ever hang them up?

You expect me to do it?

- Yes, mom.

- Just look at that mess.

I'm not your maid.

- Yes, mom.

Are you gonna spank me?

- Here stuff it!

(soft jazz music)

- [Rosie] Let me help you, princess.

- [Ann] Yes, mother.

Here take my pants.

(soft jazz music)

- [Rosie] You'll drive me crazy.

- Let's rehearse.

- What?

- Let's rehearse the show.

- You mean the party?
- Right.

- Yeah, tell me about it.

- Act it out, the whole thing?
- Yeah.

- Well, you're the prince now.

I come up to you

and I stab you.

- You stab me?

Doesn't the countess do that?

- Let me have some fun.

- So you stab me.
- Right.

- And then what do you do?

- Well then, let me see, what do I do

after I've stabbed you?

Uh.

I could caress you and
kiss you everywhere.

You like it?
- I do.

Go on, tell me more.
- What more could I do?

- You're doing fine.

- [Ann] I bring you right up to an orgasm

and stab you again.

(gentle music)

- Pour me a drink and
I'll keep you company.

- [Martha] Shit, I was gonna close up.

- Hello, can I still have a drink?

- [Martha] Yeah, what'll it be?

- Scotch.
- Alright.

Any special brand?
- No.

- Hey, you buy me a drink?

- Of course.

Order it.

- Make it a scotch.

You come awfully late.

- I don't like it when there's people.

- It's sad when it's empty.

- It's always sad.

There used to be a
church here on this spot.

- So, what's the difference?

- Nothing.

- Down the hatch.

- Come with me.

- Where to?

- My place.

- Will you be nice to me?

- I'll be generous.

- Where do you live?

- Not far.

Are you coming with me?

- I won't be a minute.

(suspenseful music)

Quite a lair you've got.

- [Mathis] Yeah, it's nice.

- [Woman] You live here alone?

- [Mathis] Most of the time.

I inherited it from my parents.

- [Woman] The only thing I inherited

was misery and troubles.

(suspenseful music)

- [Mathis] Make yourself comfortable.

- [Woman] Ah, oh yeah, that's comfortable.

(woman sighing)

(suspenseful music)

(woman sighing)

- Where were you?

- Praying.

I always pray before I do anything.

I went to my shrine.

- You got a shrine?

- Yeah, I've got a shrine.

I spend a great deal of my time there.

You think it's funny, don't you?

- No, but people who usually
invite me to their place

aren't exactly the praying kind.

- Of course, you're a whore.

- Oh, come on.

- Yes, I suppose your customers

aren't particularly
concerned with your religion.

- No, you're wrong about that.

Just last month a man I
know took me along to mass.

- It goes to prove not
everybody has forsaken God.

- Well, maybe.

Except it was a black mass.

- [Mathis] Did you say a black mass?

- Yes.

An honest to goodness black mass.

- [Mathis] So your friends
procure stray souls

for the fallen angel.

- I don't know nothing about him.

All I know is one day they invited me

to a real weird party.

- [Mathis] Where was it?

- Just outside Paris in a castle.

- What's it called?

- I don't remember anymore.

Oh, forget the castle and come on.

Don't you want to fuck?

- Are you in a hurry?

- No, but if you want me to
stay, let's see the money.

- Don't worry about it.

- Say the word, if you want
me, I'll stay the whole night.

- Alright.

My mother died in this bed.

- Now, what's wrong?

- Nothing's wrong.

Nothing's wrong!

Take off your pants.

Who did you go to the castle with?

- With friends.

- Who are they?

- I don't know.

He often comes to the club.

- [Mathis] Which club is that?

- The same club where you picked me up.

- [Mathis] What's his name?

- [Woman] I don't know.

- [Mathis] His name!

- [Woman] Pierre.

- [Mathis] Who are the others?

- One's Ann.
- Ann and who else?

- Rose.
- Where was it?

- Some count's house.
- His name?

- I don't know.
- I want his name.

I want all their names, you hear!

- Count Diggins.

- And what did you do?

I want to know.

(suspenseful music)

Kiss this cross.

Do it and atone for your sins.

Kiss it.

Again, kiss it to redeem your sins.

Now, repeat.

I'm a miserable sinner.

- No.

- You're damned forever
more and can only be saved

by the blade.

- You're right.

It's true, I'm a miserable sinner.

- Now, repeat, I repent
for all my obscene actions

and thoughts.

Say it.

- I repent for all my
obscene actions and thoughts.

- You don't mean it!

- Yes, I do!

- Now, I want you to say,
I accept the sentence

of the Holy Inquisition.

Say it.

- I accept the sentence
of the Holy Inquisition.

(suspenseful music)

- Ah!

(suspenseful music)

Ah!

Please don't, please.

- And the Lord said
only the purifying blade

could wash way Sodom's sin.

Now, ask God's mercy upon your soul.

- [Woman] Oh!

(suspenseful music)

(gentle music)

- Good evening.

- Good evening, your Grace.

The actors have arrived.

They're waiting for you.

- Perfect.

(gentle music)

Oh, good evening, Andrew.

Come in, friends.

My dear, Angela, how are you?

- Just fine.
- And how are you?

- Come on.
- Oh, my dear old friend.

- Your wife's here, Don.
- Thank you.

- [Count] Oh, it's a
pleasure seeing you again.

- Good evening, Count.
- Oh, you look gorgeous.

- Thank you.
- How are you?

- Hello, Pamela, how are you?
- Fine, thank you.

- [Count] Oh come in, come in.

Oh Claude, nice to see you.

- Ah!

(suspenseful music)

- What's best to repress my
instincts or indulge them?

What's best to live or conform to morals?

Shall I give in to the desires of my body

and its longing for blood and pain?

Love and power?

And the excitement of
watching others suffer?

(suspenseful music)

Many of the great figures from the past,

both men and women,
experienced cruel pleasures

and drew exhilarating thrills from them.

They found supreme bliss
in debasing young virgins,

in torturing their victims
with sublime refinement.

Why should we deprive ourselves
from the same pleasures,

from the ultimate ecstasy
of inflicting subtle pain,

transcending tortures and death?

Let us revere our bestial instincts

which compel us on to
violence and torture.

(whip whacking)

(woman moaning)

Pagan spirit, spirit of life.

Decadent spirit of the
Caesars of ancient Rome,

you showed us the way
to the keenest pleasures

of this world.

We dedicate this ceremony to your memory.

Grant us the privilege
of enjoying the suffering

we are now going to inflict.

Oh, black spirit of darkness.

Oh, spirit of night beyond life,

we call upon your magical powers.

We call upon you to give us power

and the blessing of our pursuits,

in thanks for which we shall
sacrifice an innocent victim.

May my arm not flinch when
I raise it in your name.

Bah, life giver, I invoke
you and lift this blade

in proof of thee.

Spirit of evil, spirit of
night, now give us bliss

as my knife draws blood for you.

(suspenseful music)

Tonight, we pluck life
away from a young virgin,

beautiful and pure.

Her life will seep out from the womb

which is meant to give life.

(suspenseful music)

(woman screaming)

(dramatic music)

(sinister whispering)

(lively jazz music)

- [Count] Well, Monica, I
see you're enjoying yourself.

Hello, Jeanie, you seem to be having fun.

- [Jeanie] I am.

- [Woman] Come on, join us.

Why are you all dressed up?

Come on, off with your clothes.

- [Count] Oh no, I won't let you tempt me.

Not tonight.

- [Woman] No, I want you to get undressed.

Come on, join us.

- Oh no.
- Yes.

- [Count] You know I stopped
partaking in frolics.

Enjoy yourself without me.

- [Woman] I know what
it is, you're ashamed

to show yourself naked.

- [Count] No, that's not it at all.

- [Woman] Well then,
prove it and join the fun.

- [Count] Now, that's
enough, I'll see you later.

- [Woman] Alright.

(lively jazz music)

(somber music)

- Raymond, Raymond, I need you.

- I'm here to help you.

- I want to confess.

- I'm listening.

- [Mathis] I'm the worst of sinners.

- What did you do?

- I'm guilty of the most
abominable sin, several times over.

- Which sin?

- [Mathis] I took the lives
of several human beings

and I had no right to do it.

- Why did you do that?

- [Mathis] I wanted to
save their souls, Raymond.

I wanted to help them expiate on earth

the guilt of their ugly sins.

Women selling themselves for money.

Women enticing men into the worst sins.

I am deep in confusion, Raymond.

I remember the generous
injunction of our Lord.

But I cannot forget the devil's words,

not this countess and
her Sodomite friends.

I've been locked up for years,

prisoner in an insane asylum.

You must help me, Raymond.

I ask you for God's pardon

and your friendship in my hour of need

so that I may help men from falling prey

to their lowest instincts.

- I cannot help you.

- [Mathis] Why not?

- You're a murderer.

- [Mathis] Your clemency
is as narrow minded

as that of other men?

- No, this is different.

- [Mathis] You're a servant of God

and God himself found it in his heart

to forgive Magdalena.

Give me absolution.

- Do you repent for what you have done?

- No.
- You should!

- Why should I repent, Raymond?

My hand only obeyed God's wishes.

- Don't expect me to give you absolution.

I'll pray for you.

- You must do it, Raymond.
- You must repent!

- For having helped those
miserable souls rise to God?

- [Raymond] Mathis, God
said whomsoever judges

shall be judged.

So you refuse?
- Yes!

Then I must pursue all alone
my holy, purifying mission

so that God's lost children
may be restored to his grace.

- [Raymond] Mathis, in God's
eyes you cannot set yourself up

as a judge and even
less as an exterminator.

As long as you refuse to
repent humbly and truly,

I cannot give you
absolution for your crimes.

- [Mathis] Very well.

- Mathis!

Come back.

Mathis!

(dramatic music)

(Mathis sobbing)

(gentle music)

- Good wine.

- [Rosie] I have the
impression the countess

was quite satisfied with our services.

- [Pierre] Fine, I'm glad.

She spent good money.

- Yes.

She told me if she was
happy, she'd call me soon

and do another.

- Same thing?
- Yes.

- That's nice.
- She's fabulously rich.

- I know.
- But don't propose anything.

Wait 'til she phones us.

And don't say I talked to you.

- Of course.

Now, there's something you don't know.

She already phoned and we've got a date.

- When?
- We're meeting for a drink.

She wants me to publish her book.

- Great.
- Of course,

it's quite a book.

Probably a winner, even a bestseller.

I want to publish it but it's a rough book

and it's got to clear
the board of censorship.

- Ah.
- It's like this fella

who brought in a story based on murders.

You know, those prostitute murders.

The details are so real, the
description is so accurate,

I'm beginning to wonder about him.

- You're afraid.

- [Pierre] It takes more than that.

- You know I thought you were the murderer

for a change.

- [Pierre] The Notre Dame killer?

Maybe I am but don't you talk so loud.

We're right across from
the criminal courts.

(gentle music)

- Oh, pardon me.

I thought Mr de Franval was in.

- [Ann] Come in, I'm expecting him.

- Thank you.

I came to show you the
remainder of the manuscript.

I hoped you both liked the beginning.

I'd like you to read this
and give me your opinion.

- Fine, I'll read it.

- Did you like the start?

- Of course, I did.

- That's kind of you.

I don't say that for myself
but for the protagonist.

I didn't make him up, you know.

He's alive.

I know him, he had a pretty rough life.

You promise you're going to read it?

- I will.

- Goodbye.

- Goodbye.

(door clicking closed)

- I'd like to thank
you for the nice things

you said about the play
in your last issue.

It's nice of you.

- [Pierre] I meant every word of it.

It's a fine play you wrote there.

- Thank you.

- I wonder if I may ask you a question.

Where do you get your
inspiration for the violence

you write about in your novels and plays?

- Death is a mask and its
ways seldom look alike.

Maybe all I write about is
one of my own frustrations,

inhibitions and fantasies?

- You have everything
a woman could wish for.

- You can never have everything, Pierre.

You know, some people are never satisfied

with their fate whatever their fate is.

Maybe that's the way I am, Pierre.

I'd liked to have lived long ago,

a couple of centuries back,

or even right in the Middle Ages.

- I see.

- You know what I would have liked?

To be the first count or the
first countess of D'agon,

a medieval prince.

- You'd have spent half your life

taking on some wild crusade.

And, countess, worse, chastity belts,

waiting atop a tower until
your husband came back home.

- You'd only see the bad side of it.

There were great princesses
and loving knights.

- That's true.

And virgins first slept with
a lord on their wedding night.

- Now, you're talking.

- And you would have had slaves.

- Which I would have whipped

and I would have had the
power of life and death.

Yes, I would have been happy then.

Maybe I would have been a queen

like Catherine the Great
or Lucrezia Borgia?

- But you are.

You are a queen today in your own right.

- You may be right.

See you soon, Pierre.

- See you soon.

- [Countess] 'Til next Friday.

- [Pierre] Mr Vogel.

You were listening.

- Yes, yes, yes, I was.

- [Pierre] Why?

- Mr Franval, you belong to the kind

which corrupt the earth and I hate you.

You corrupt young women without
considering the punishment

they'll have to suffer
when comes judgment day.

- You can't be serious.

- Of course, I am.

You don't know what I'm talking about.

- No, I don't.

- But you'll soon know God's wrath.

Believe me.

- Oh man, that's far out.

- You'll find out what
I'm talking about soon.

I'll see to it, you'll find out.

God's wrath is upon you, man.

Come Archangel purify the earth of sinners

and chase away evil.

The flames gushing from your sword

will drive all sins back into
hell and so free the earth.

- My good man, you're mad.

- No, I know it's the truth
because the end of time's near.

- Name?

- Pierre de Franval.

- Profession?

- I am managing editor of Venus Press.

We publish the Dagger and the Garter.

- Huh, cultural magazine, I suppose?

- You never read it, inspector?

- No, I'm sorry but I
hardly have time to read

the daily paper, sports or social pages.

- Yeah, I understand.

I must admit our magazine
doesn't devote much space

to sports or the social affairs.

- Now, Mr Franval, I asked
you to come to see us

because we need some
information about a man you know

named Mathis Le Forg.

- Mathis Le Forg?

No, I never heard of him.

It's the first time I hear the name.

- You're lying, Franval.

We know you know him.

He came to see you a couple of days ago.

No point in denying it.

- Skip it, Malou.

The man we're interested in is also wanted

by the Swiss police.

Of course, you may consider
that your profession

prevents you from revealing sources.

Yet I must ask you to think it over.

Should you protect this
Le Forg you may be charged

with abetting a murder.

You wouldn't like that.

- Well, since you put it that
way I'll do the best I can.

I don't see any reason
to refuse any information

should it lead you to the murderer.

I'll help.

- We'll show you a few photos.

Perhaps, you'll identify him.

You never know.

- If it can't be avoided,
well, I'll do it.

- Call in Hagens.

- Hagens.

- Will you take Mr
Franval down to the lab?

- Follow me.

- Excuse me but would you mind telling me

what this man is supposed to have done?

- He could well be the Notre Dame killer.

I'm sure that's the kind of stuff

your magazine thrives on, right?

- It would be a big story.

That's exactly the way
I feel about it too.

Good night.

Alright now.

(gentle music)

- [Woman] Are you sure your
wife isn't coming back?

- [Count] Yes, I am.

Don't worry, my love.

We have the whole night.

You seem to be mad at me.

You're so cold and distant,
is anything the matter?

- Are you sure you really
wanna know what's wrong?

- Yes.
- Stop it, now!

- Why do you say that?

- You're nothing but an imbecile.

An old idiot.

- Oh yes, it's true.
- You're a degenerate.

- Yes, it's true.
- Leave me alone, you freak!

Come here and get down on your knees.

- [Count] Yes, yes!

- [Woman] Take my clothes off.

- [Count] Yes, anything you say.

You are right, I'm an
old maniac, an old fool.

- Stop, you creep!
- No, never, no!

- [Woman] Crawl, you worm!

- [Count] Come, my darling.

- [Woman] Get undressed!

- [Count] No, don't ask me to do that.

- [Woman] Get undressed, I said.

- [Count] Yes, alright.

- [Woman] Stay on the floor!

You nauseate me.

You're nothing but a filthy leech.

Get back down and take off your pants!

- [Count] Yes.

- [Woman] Get on your feet now.

- [Count] Oh, yes.

- [Woman] Get up, you miserable old slug!

Get into bed!

- [Count] Yes, my love.

(moaning)

- [Woman] Goddammit, I'm going.

You disgust me.

- [Count] No, please don't go.

Tell me again you hate me.

(suspenseful music)

- Don't be afraid.

Don't be afraid.

I've come to deliver you.

I came here to save your soul.

I'm going to free you from your sins.

Get up.

Kneel.

I want you to kneel before me.

(woman screaming)

(dramatic music)

(footsteps echoing)

- Martin!

What do you want?

- Think of your soul.

Your soul's all that matters.

I'm going to save it by
plucking out its evil.

- No!

- Only then can it return to paradise.

- You're mad!

- You're afraid of dying?

You're possessed by the devil.

- No!
- I'm going

to exorcize him away.

The Holy Inquisition comes--

- No!

(Countess screaming)

- [Mathis] Death is the
reward for your iniquities.

(somber music)

(suspenseful music)

- Hello Inspector, good morning.

Damn shame, if you ask me.

- Well, what else did you
find out beside the fact

that it's a damn shame?

- Well, she's pretty.

- Tell me now, doctor.

You wouldn't be the
murderer by any chance?

- Huh!

No, first I'd kill my wife.

- [Inspector] Was she sexually aggressed?

- [Doctor] No, he's a real gentleman.

Stabbed her through and through.

Didn't rape her.

- [Inspector] At least we
know he's not a sexual maniac.

That's a big help.

And no weapon?

- Looks like he used a switchblade.

He stabbed her like a maniac.

The man's mad.

A real butcher.

- That maybe a clue.

- He's out of his mind.

He went at her with a vengeance.

- Well--

- Just a moment, Inspector.

The man who did it is obviously mad.

I am sure it's the same man

who killed the girl at Notre Dame.

It seems the same knife
was used, the same fury

and the same apparent lack of
motive links the two cases.

I'd bet that they're both
signed Mathis Le Forg.

- You seem slightly obsessed by Le Forg.

I think you're wrong.

- I've been after Vogel for
months and he's our man.

Same way of stalking his victims,

same senseless violence, same style.

And same style means the same man.

- Now, listen to me, Malou.

You keep your ideas to
yourself or I'll send you

right back to Switzerland, do you read me?

- Inspector, that tramp
you pulled in last week

says he wants to talk to you.

- Inspector Malou as you
can see every other man

has got his own theory.

But, in your case, you should know better.

(gentle music)

- Inspector, they went and
killed my Napoleon this morning.

- I thought he was dead.

- No, it's my dog.

- Oh, it's your dog.

Well, you see this gentleman over here,

tell him your story.

- [Woman] Well, somebody killed my dog.

- [Man] Did you read this?

- [Officer] Did he have any enemies?

- [Woman] Only this dog upstairs.

- The killer of Notre Dame
flaunts the police once more.

The bastards are putting on the pressure

just to drive up circulation.

- [Man] Well, they're
not altogether wrong.

- They're what?

- [Man] Well, you're not getting anywhere.

That's a fact.

- You're right.

But I'm sure not going
to take this kind of shit

they're writing lying down.

Goddamn press!

Oh, Bartholo, I forgot all about you.

- Between you and me, if
they weren't such jerks,

I'd come around here to keep warm.

- You like police headquarters?

- No, no.

It's warm and peaceful here, that's all.

I know who the killer is.

I appreciate the fact that you let me out.

- Oh, the police need
a reason to hold a man.

We had no proof.

- No, another cop might
have kept me here for months

out of spite but you're
fair and that's why

I'm gonna help you.

I'm gonna do you a favor
and put you onto your man.

Even bums have their use, Inspector.

- Right, why do you wanna help?

It's not like you to do that.

- Just this once.

- So you'd turn in a sidekick?

- Never, he's no bum.

He's some kind of a church freak.

The man's a weirdo, some
kind of a religious nut.

I saw him come out of a church.

- Come on!

- [Bartholo] Ciao!

- Marina's room was softly lit

by a small bedside lamp.

In the building across the street,

a man stood at the window.

Le Forg couldn't help seeing the girl.

She was wearing the
flimsiest of nightgowns

and took it off provocatively
as if she were trying

to excite some imaginary onlooker.

The dim light enhanced the
sensuality of her gestures.

There was something too
deliberate about them.

And, suddenly, Le Forg understood she knew

he was watching her.

That was why she was putting on an act,

consciously trying to arouse him.

For a moment, his desire for her

vanquished the spiritual
yearnings of his soul

and the truth appeared
to him beyond a doubt.

The adorable body which was
driving him mad with desire

was an incarnation of the devil.

Without even realizing
it, he took the knife

he always carried with him,
walked out of his apartment.

He'd been ordered by an
unfathomable power to kill her.

In a trance, he slowly
walked up the stairs

leading to her room.

He stayed there a moment before her door

and then knocked softly.

The time for purifying vengeance had come.

Huh!

It's you!

- [Mathis] Good evening.

- Good evening.

Is anything wrong?

- I have to speak with you.

- Come in then.

- Don't be afraid.

I don't want to have to kill you.

But the devil uses you to
lead God's creatures astray.

You don't know what you're doing to me.

You're the incarnation
of the world's vices.

- No!

- I want you, I want you!

(Ann sobbing)

Please, shut up, shut up, shut up!

- Let me go!

- Shut up!

Bitch!

Ever since I saw you I wanted you!

Don't move or you're dead.

Don't move!

- Inspector, I got a
telex from Switzerland

concerning Le Forg.

- So what?
- It's pretty important.

He says Le Forg was a theology student

and intended to become a priest.

He went to seminary and
then something happened.

His ideas became extremely radical

and he grew impossibly
intolerant of others.

Whatever ailed him grew worse

and became an insane yearning for purity.

Then one day he nearly killed
a nun and was thrown out.

Take a good look at this.

- Mr Malou, now please, don't think

I don't appreciate your fine theories

but it's too late.

We've already identified Le
Forg, if you want to know.

- Then what are you waiting
for to go and arrest him?

He lives right across the
street from what's his name?

This phony publisher's girlfriend.

You know who I mean.

- Yes, I know who you mean.

But Le Forg's jumped the coop.

- Ah, that means somebody
else is going to be dead soon.

I'd like to tackle this
my own way, Inspector.

- Suit yourself.

If anybody asks for me,
I'll be back tonight.

Hey, Malou, wait up!

(doorbell ringing)

Open up, police.

(doorbell ringing)

Good evening.

- [Rosie] Come in.

- Ah, good evening, Inspector.

- [Rosie] What can I do for you gentlemen?

- Inspector Rochet, Inspector Malou.

- How do you do?

- There's a man called
either Le Forg or Vogel

who rented an apartment right
across the street from you.

- So?

What's it to us?

- Well, he's disappeared.

No one's seen him around for
the last couple of days or so.

You didn't see him by any chance?

- No.
- I don't know him.

Hey, Ann, this girlfriend
who lives with me,

she's also disappeared.

- You mind some advice?

You better forget about
your little erotic games

and just stay put for a short while.

You see, four girls are
dead and four's enough.

- [Mathis] Ann, my love,
confess your sins to me.

You must sincerely repent.

You are going to be
judged by God's own court.

I must, it's my duty.

- Ah!

Ah!

Ah!

- [Mathis] Don't scream!

- Ah!

(dramatic music)

- Rose, take a look!

- [Rosie] Did you call me?

- Look at this.

This is the new story that nut wrote.

- [Rosie] Where did you find it?

- Right here.

- What's this about tortures
and inquisitions and murders?

- Will you publish me?

- [Pierre] I was hoping you'd come round.

- Well, I'm here.

- It's about your story.

- Are you going to print it?

- We'll see about that.

I am sure that you write about things

that have happened to you, Mr Vogel.

- [Mathis] What are you insinuating?

That's preposterous!

- We know you're responsible
for these murders.

You seem to know every detail.

- It's not me.

- Please excuse her, Ann's disappeared

and we're terribly upset about it.

- Your friend?

She's disappeared?

- Don't act so surprised!

- You let her talk this way to me?

You're both mad!

Me, a murderer?

You may have things you
want to keep secret, not me.

- You're talking about
our parties, I presume?

- Your parties, what parties?

- Wild parties.

You wanna join us.

There'll be another
mass at the usual place.

Why don't you come and celebrate
with us tonight, Mr Vogel?

(dramatic music)

(door rattling)

- Ah!

(suspenseful music)

- Rochet!

Rochet!

You let him get away.

I'm sure he's at the castle.

- I couldn't do anything.

He hit me from the back.

Let's get him before it's too late.

Oh, my head's in a mess.

Oh!

(suspenseful music)

- [Pierre] Rose, careful!

- [Rosie] Ah!

(woman screaming)

(siren blaring)

- [Pierre] Inspector, it's
Vogel, he killed Rose!

He went that way towards the church.

(dramatic music)

(siren blaring)

(dramatic organ music)

- [Mathis] Raymond.

- Mathis.

What are you going to do?

- [Mathis] They're after me, father.

Protect me.

- It's too late, Mathis.

It's much too late.

I've kept your dark secret,
but I cannot help you.

You have sinned

against your fellow man and against God.

And, by killing in his
name, when God is love

and charity and gave his life for you.

Although I am yours now, my son,

and face him in his wrath.

- [Mathis] Goodbye, Raymond.

(dramatic organ music)

(somber music)