Approved | 30min | Drama, Fantasy, Mystery, TV Series | Episode aired 10 February 1959
A female photojournalist on assignment in France takes an apartment and begins to work with a somewhat mysterious male model. Thngs come to a head when she has a brush with the supernatural that could well mean her death.
Director: John Newland
Writers: Francis M. Cockrell, Merwin Gerard, Lawrence B. Marcus
Stars: Marcel Dalio, Cloris Leachman, Paul Dubov
A female photojournalist on assignment in France takes an apartment and begins to work with a somewhat mysterious male model. Thngs come to a head when she has a brush with the supernatural that could well mean her death.
Director: John Newland
Writers: Francis M. Cockrell, Merwin Gerard, Lawrence B. Marcus
Stars: Marcel Dalio, Cloris Leachman, Paul Dubov
Category
🎥
Short filmTranscript
00:00The amazing drama you're about to see is a matter of human record.
00:07You may believe it or not, but the real people who lived this story, they believe it.
00:14They know.
00:16They took that one step beyond.
00:31This is the scene of the crime.
00:35This house, somewhere in France, a perfectly normal, attractive American girl lived a lifetime
00:42in 48 hours.
00:45If old houses could only talk, what stories they could tell.
00:50Well this ancient dwelling has a voice, a voice that Rita Wallace will soon hear, quite
00:56distinctly.
01:10This is not very modern.
01:11It's quite old, but very comfortable.
01:19And that, mademoiselle, is the dining room, the living room, the library, anything that
01:25you want.
01:26What's this?
01:27Oh, that's a storeroom now.
01:38Many years ago, that used to be the cool room.
01:40We used to keep the butter, eggs, milk, all sorts of things like that in there.
01:44I could use it for a darkroom.
01:46It's right near the sink.
01:53The plumbing is quite old, it still goes.
02:02And that is Madame Rocamier.
02:07Hmm, lovely.
02:11Oh, mademoiselle.
02:14I must have caught a flu bug or something.
02:24I'm awfully sorry to say, but I think you have fever.
02:31I'll be all right.
02:33I've got a very good physician, I'd better call him for you.
02:36Oh, I'll be fine.
02:42This is not very impressive, but it's the only house that I have.
02:53Oh, it's true.
02:54Oh, of course, I've got a chateau.
02:55It's quite grand, but expensive.
02:57No, this is fine.
02:59I'll take it.
03:00Oh, I feel too rotten to look any farther anyhow.
03:09Oh, I think you'd better see the doctor.
03:11My doctor is not very expensive.
03:12No, really, I'll be all right.
03:13I'll get some headache pills when I go out.
03:16Who's this?
03:18Oh, that is Aunt Clara.
03:22Mademoiselle, did I understand you to say that you are with an American magazine?
03:27Yes.
03:29I'm a staff photographer.
03:30Oh, then you are here on your vacation, no?
03:34No.
03:35It's an assignment I've wanted to do for a long time, to be called The Face of France.
03:41The collective face, you see, caught in various individuals who altogether will express the
03:47nature and spirit of the country, if I'm lucky.
03:51Oh, it must be very, very interesting.
03:58You know what?
03:59What?
04:00You could help make it interesting.
04:03How?
04:04Well, the pictures can be only as good as the models.
04:10If you know anyone whose face is interesting, expressing character, good or bad, I'd be
04:16very grateful if you could send him over.
04:17I'll pay, naturally.
04:20I think I'm going to look for somebody like that.
04:22Oh, good.
04:23Oh, that's wonderful.
04:25Oh, it is a very good bed, and I think you're going to sleep very good.
04:30If you need anything, call me.
04:32I'll be downstairs.
04:33Thank you, madame.
05:25Yes?
05:43What do you want?
05:51I asked what you wanted.
05:53I was sent for, mademoiselle.
05:55By whom?
05:57Oh, of course, madame Morel.
06:00Forgive me for being so rude.
06:04I'm not feeling any too well today.
06:09I must thank madame Morel.
06:11She's a very good judge.
06:14Won't you sit down?
06:22You have quite a wonderful face, you know.
06:26Have you ever had your picture taken before?
06:29Some time ago.
06:32Oh, this is going to be just swell.
06:36Oh, where is my head?
06:39I left my camera and all my equipment in the car.
06:43Would you be so kind as to help me?
06:48S'il vous plaît.
06:51I hate to miss any of this light.
06:53It's all in the car, a whole lot of stuff.
06:57Oh, such eyes.
06:59This is going to be marvelous.
07:01That's nice.
07:02Oh, good.
07:03Lovely.
07:05Ah, lovely.
07:06Now, you just do whatever you feel like doing.
07:09Make yourself comfortable.
07:11If you like moving around, that's fine.
07:13You don't have to hold still.
07:16What are you doing?
07:18I'm taking your picture.
07:21You're not familiar with this camera?
07:24No.
07:25No, I'm not.
07:29They've had good ones for, oh, 25 years, I suppose.
07:32Though the film and developers have improved a great deal recently.
07:36A good one.
07:40They're very good for fast work and changing light.
07:48Oh, Mr. Good, is that good?
07:52Wonderful.
07:54Now then, look a little to your right,
07:59as close to the sun as you can without it hurting your eyes.
08:03It doesn't hurt.
08:06Oh, that's wonderful.
08:09Just one more.
08:14Oh, that's wonderful.
08:16Now, if you have time, I'd like to get some lights set up.
08:28I don't know if I'll be able to do it after all.
08:32I'm awfully sorry.
08:34I feel just awful.
08:39Everything goes in and out of focus.
08:42Almost like a bad camera.
08:44I mean, it isn't the camera, it's me.
08:47Oh, what a shame.
08:50Could you come back tomorrow night?
08:53Yes, I think I can do it again, since I have this time.
08:57Oh, good.
08:59I'd like to get some very careful shots.
09:09I'm really not up to it tonight.
09:26Monsieur?
09:29Monsieur?
09:39Strange, he didn't even say goodbye.
09:59Ah, bonjour.
10:02Oh, hello.
10:04I was quite concerned about you.
10:07How do you feel?
10:09Oh, a little better.
10:11Oh, you still look a little tickled.
10:13You still should see my doctor.
10:15I haven't the time.
10:17Well, you could come over to your place.
10:20Thank you, Mrs. Mariel, but I'm really much better.
10:24Good, good. Thank you, merci.
10:27Anyway, you've done enough for me already
10:29by sending me that delightful old gentleman last night.
10:32The one with the, you know, the black hair and the sweet face.
10:35Oh, I'm sorry, but I send no one, although I intend to.
10:41Well, that's odd.
10:43I was sure you had.
10:45He just sort of appeared.
10:48He must have thought I was crazy.
10:51Well, who was he, then?
10:53Maybe someone that worked for a previous tenant.
10:56He wanted to see if you needed anyone
10:58while he saw you moving in.
11:00Yes, that makes sense.
11:02Anyway, he's coming back tonight.
11:04He's a wonderful model.
11:06Merci, merci. Thank you.
11:56Oh!
12:06Would you mind knocking when you come in?
12:09Perhaps it isn't the custom in your country,
12:12but it makes me terribly nervous.
12:14Forgive me, mademoiselle. I'm sorry.
12:17No, you, you forgive me.
12:20I just don't feel very well,
12:23and I'm just not myself today.
12:26Has mademoiselle's ailment improved?
12:29A little, but I'm afraid my disposition hasn't.
12:32It was awfully nice of you to come back this evening.
12:35Would you like a cup of tea?
12:37No, thank you.
12:39Well, then shall we get started?
12:42Good.
12:45Uh, would you sit here?
12:48Um, by the way,
12:51how did you happen to come here last evening?
12:54I thought madame Morel had sent you,
12:57but she said no.
12:59Oh, I just came.
13:01I've been here before.
13:03Oh, that's what she thought.
13:05Oh, by the way, I pay for the posing.
13:08No, no, no pay is necessary.
13:11Well, of course, I wouldn't expect you to do it for nothing,
13:14do they?
13:17No, I don't mind.
13:19Good.
13:21Now, then, I'm using a slower shutter than yesterday,
13:24so I'll have to ask you to hold still when I make each shot.
13:30Now, could you lean back just a little?
13:33There, that's good.
13:38Good. Would you look a little to your right?
13:41Good.
13:43And just a little to your left.
13:46Just a little down.
13:48That's a good one, good.
13:51Now, um, straighten up just a bit, good.
13:55Good.
13:57Let's turn your whole body.
13:59That's good.
14:03Oh, that's wonderful.
14:05You're not a professional by any chance.
14:07A professional model?
14:09No.
14:12All right.
14:14Now, then, if you're quite comfortable,
14:17I'd like for you to think back,
14:21remember something a little sad,
14:25something that happened that made you unhappy, perhaps,
14:29something you did, perhaps, that you regret.
14:36Just continue to sit that way.
14:40That's good, fine.
14:43Just keep on that way thinking about it
14:46so we can get what we call a mood picture.
14:51Oh, good one.
14:53Oh, good one.
15:09Monsieur...
15:11Soften your face just...
15:13That's a little too much, monsieur.
15:20Monsieur...
15:23Just relax now.
15:25That's fine, just...
15:29Just relax, monsieur.
15:32That's good. You can move now.
15:38I expect that's all we'll have to take today.
15:43Where have you been, Cecile?
15:46Cecile?
15:48What do you mean?
15:50Do you know what I mean, you?
15:52Filthy, cheap, rotten scum!
15:56I think you'd better go now.
15:58So you can meet him.
16:01Who is he now, Cecile?
16:03Who?
16:05The same one, all you want, Cecile?
16:07Tell me, Cecile!
16:09Please, please! You're frightening me!
16:11Go away!
16:13I told you what would happen, Cecile!
16:15I want you, Cecile!
16:17I want you!
16:19I want you, Cecile!
16:21I want you, Cecile!
16:28No! No!
16:30No!
16:32No! No!
16:35Ah! Ah!
16:37Ah!
16:39Ah!
16:41Ah!
16:43Ah!
16:45Ah!
16:47Ah!
16:49Ah!
16:51Ah!
16:53Mademoiselle!
16:55Mademoiselle!
16:57Mademoiselle, open the door!
17:05What is it? What's the matter?
17:07Where is he?
17:09Who?
17:11Where is he?
17:13Who do you mean?
17:15He's hiding!
17:17There is nobody in the house!
17:19I'm worried about you!
17:21He was here! He tried to kill me!
17:23He tried to kill me!
17:25He tried to kill me!
17:27He tried to kill me!
17:31Mademoiselle Wallace,
17:33he searched the entire house with you.
17:35True?
17:37And he found no one.
17:39He also searched the entire neighborhood.
17:41Is that not so?
17:45You have found no one who resembles him?
17:49No one?
17:51It is a very odd story.
17:53I cannot imagine who it might have been.
17:59You don't believe me?
18:02Very odd.
18:04Very odd.
18:06Don't you agree?
18:12Mademoiselle, here is some hot coffee for you.
18:14Oh, thank you.
18:16Oh, how thoughtful you are.
18:20Tell me, Mademoiselle,
18:22what was the address of that house again?
18:26344 Avenue Bonaparte.
18:28We have covered everyone
18:30in this district, Mademoiselle.
18:32Of course, he could be from somewhere else.
18:34Eh, Mazak?
18:36It could be almost anybody.
18:40Detective Mazak knows everyone around here.
18:42He has a photographic memory.
18:44Now, if you could be a little more explicit...
18:46Oh, how stupid I am!
18:50I have dozens of photographs of him.
18:52You still have them?
18:54Of course!
18:56I could develop them in a few minutes
18:58Excuse me, I can't go back there alone.
19:00I would be very happy to take Mademoiselle home.
19:02No, Mazak, you're going off duty.
19:04No, no, no, it's on my way.
19:06Mademoiselle, if you please.
19:14It's over there.
19:16I know.
19:18Do you mind if I smoke my pipe?
19:20Oh, at all.
19:24It was nice of you to come with me.
19:27If you're off duty, though, you should have gone home.
19:29That's all right.
19:31I wanted to see the pictures.
19:35Tell me,
19:37how did the man first get in touch with you?
19:41Well, he didn't get in touch with me.
19:43He...
19:45He just...
19:47was there.
19:49He didn't knock.
19:51Did it not seem peculiar?
19:53Did it not disturb you?
19:55Well, yes.
19:57But, you see,
19:59he had such a wonderful face.
20:23They're ready now.
20:33Now, perhaps
20:35the inspector won't think
20:37I'm just a...
20:39a hysterical woman.
20:41No, no, no, no, no.
20:43No, no, no, no, no.
20:45No, no, no, no, no.
20:47No, no, no, no, no, no.
20:49No, no, no, no, no, no.
20:52An hysterical woman.
20:54Ah, he does not.
20:56Oh, yes, he does.
21:14It can't be.
21:18It can't be.
21:20How could it be?
21:32But he was here.
21:34He was. He was right here.
21:36Mademoiselle.
21:38He tried to kill me.
21:40I'm not imagining it.
21:42He tried to kill me.
21:44You have to believe me. You have to.
21:46Mademoiselle.
21:48I... I do believe you.
21:50You believe he was here?
21:52I believe
21:54you're telling me the truth.
21:56Mademoiselle.
21:58I want you to come with me on a short trip.
22:00Where? For what?
22:04I want to show you something.
22:06Oh, I promise no harm will come to you.
22:08For what? Where?
22:10What's it about?
22:12I must ask you to come with me
22:14without telling you what I expect
22:17because I don't expect it.
22:19But we must find out.
22:25Mademoiselle, please.
22:27Please, Mademoiselle.
22:47Mademoiselle.
23:03Mademoiselle.
23:05Jean Gabaud.
23:07Died 1926.
23:11Executed for killing his young wife.
23:16The very same house.
23:18The very same room.
23:24What was her name?
23:26Jean Gabaud.
23:28Mademoiselle.
23:30Mademoiselle.
23:32Mademoiselle.
23:35Cecile.
23:53So you see,
23:55dead men do tell tales.
24:02Sometimes
24:04the restless ones even revisit the scene of the crime
24:06causing much havoc among the living
24:08thereby.
24:10What do you suppose that Rita Wallace
24:12will tell her grandchildren one day
24:14about
24:16Monsieur Jean Gabaud?
24:18Will she try to explain it?
24:20At all?
24:22That I would like to hear
24:24because I can't explain it.
24:26But it happened just the same.
24:28So did next week's
24:30adventure into the world of the unknown.
24:32More about that in a moment.
24:38Oh.
24:40About next week.
24:42Well it begins with a silly argument about this hat.
24:44And it ends when
24:46two people in peril, miles apart
24:48discover an amazing kind of communication.
24:50An incredible way
24:52of finding each other.
24:54As together they take that
24:56one step beyond.
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