The Broken Melody. (1934 film)
Paul Verlaine is a struggling composer whose assistant Germaine is secretly in love with him.
John Garrick ... Paul Verlaine
Margot Grahame ... Simone St. Cloud
Merle Oberon Merle Oberon ... Germaine Brissard
Austin Trevor ... Pierre Falaise
Charles Carson ... Colonel Dubonnet
Conway Dixon ... His Friend
Harry Terry ... Henri
Andreas Malandrinos ... Brissard (as Andrea Malandrinos)
Toni Edgar-Bruce ... Vera (as Tonie Edgar Bruce)
Stella Rho ... Lisette
Kynaston Reeves ... Colonel Fitzroy (as P. Kynaston Reeves)
Directed by Bernard Vorhaus
John Garrick ... Paul Verlaine
Margot Grahame ... Simone St. Cloud
Merle Oberon Merle Oberon ... Germaine Brissard
Austin Trevor ... Pierre Falaise
Charles Carson ... Colonel Dubonnet
Conway Dixon ... His Friend
Harry Terry ... Henri
Andreas Malandrinos ... Brissard (as Andrea Malandrinos)
Toni Edgar-Bruce ... Vera (as Tonie Edgar Bruce)
Stella Rho ... Lisette
Kynaston Reeves ... Colonel Fitzroy (as P. Kynaston Reeves)
Directed by Bernard Vorhaus
Category
🎥
Short filmTranscript
00:00:00♪
00:00:09Courage, beloved,
00:00:13danger lurketh now.
00:00:17♪
00:00:19How could from peril I but seem you?
00:00:26♪
00:00:31♪
00:00:42All pain tells us apart,
00:00:49so farewell my dearest heart.
00:00:55But wherever I may be,
00:01:01I will but think of thee.
00:01:08All pain tells us apart,
00:01:14even sorrow in their hearts.
00:01:20But wherever I may be,
00:01:24I'll think but of thee.
00:01:28All pain tells us apart,
00:01:35even sorrow in their hearts.
00:01:40But wherever I may be,
00:01:45with all my heart and everything,
00:01:51never will be quiet
00:01:56on the day of my vict'ry
00:02:01at the end of the old highway.
00:02:07Never will be quiet.
00:02:21♪
00:02:25Quite a toad, of course.
00:02:26Yes, I can't remember a composer
00:02:28playing lead in his own piece before.
00:02:30He's made an effort to, isn't he?
00:02:32Yes, and it won't be his last,
00:02:35unless I'm very much mistaken.
00:02:42This composer chap is going to be a big noise.
00:02:44I must look up his biography.
00:02:46Ah, you lucky devils on the evening papers
00:02:47have time to mess about.
00:02:49I shall have to invent something and rush it in.
00:02:51Give me the dope.
00:02:52Never even heard of him before.
00:02:54Leon Grass seems to have sprung up from nowhere.
00:02:57The mystery composer singer, eh?
00:02:58Ha, ha, ha.
00:02:59Oh, waiter.
00:03:00Sir.
00:03:02Bring me a Benedictine.
00:03:03What will you have?
00:03:04Oh, the same.
00:03:05Two.
00:03:06Yes, sir.
00:03:07Well, tell me, what do you think of it?
00:03:09Excellent.
00:03:10The music is beautiful.
00:03:12The story, I think, is a little far-fetched.
00:03:15That's curious you should say that.
00:03:17Oh, why?
00:03:19Well, it's very like the story of one of my convicts.
00:03:24On Devil's Island?
00:03:25Yes.
00:03:27It was just after I'd been promoted to commandant.
00:03:29Really?
00:03:30Well, go on.
00:03:32I'll buy it.
00:03:34Paul Verlaine.
00:03:36Sentenced to life, poor devil.
00:03:39Not the ordinary type of convict, either.
00:03:41He started as a composer, living from hand to mouth in Paris.
00:04:03Death, death, death.
00:04:04The old trot.
00:04:06The bitter.
00:04:07Oh, good man.
00:04:09Death, death, death.
00:04:10Good.
00:04:11Don't be a dirty son of a bitch.
00:04:14You'll regret this now.
00:04:15Death, death, death.
00:04:16Death, death, death.
00:04:17Death, death, death.
00:04:20Death, death, death.
00:04:24I didn't hear you.
00:04:25I said, what have you got today?
00:04:27Nothing for you until I get paid for the last lot.
00:04:30All right, you needn't shout about it.
00:04:33If the whole street hears, how much the better.
00:04:35Oh, you're trying to blackmail me, you dirty son of a pig.
00:04:39What? You call me a dirty son of a pig?
00:04:41You overfed Jezebel.
00:04:43Put that up again, you'll get.
00:04:45You can take them. They're coming this way.
00:04:47They'll get them. You can take them.
00:04:50Dee, dee.
00:04:52They're coming to the back, my dear.
00:04:54They're too good for the knife, you know, aren't they?
00:04:56Dee, dee.
00:04:59Dee, dee.
00:05:15Dee, dee.
00:05:17Dee, dee.
00:05:28Hey! What's that infernal noise, will you?
00:05:32Don't get back in the house, I'll call the police!
00:05:34No, no, no! Do you want to disgrace me out?
00:05:36Oh, keep quiet!
00:05:38All right, I'll leave it to me.
00:05:40Ah, son, no! You shall not sit there good-for-nothing! I forbid it!
00:05:43Oh, after all, he's one of our lodgers. Now, please.
00:05:48What is the matter, Paul?
00:05:50Matter? How can anyone write music with all your crazy lodgers messing about making noises?
00:05:54Can't you speak to them?
00:05:56Really, Paul, why should you be considered more than them?
00:05:59Why? I should have thought it was obvious. They're different.
00:06:02They certainly are. In one respect, they pay their rent.
00:06:06Pay rent? That's all I ever hear from that father of yours.
00:06:09How can I do my best work when I'm expecting him to turn me out into the street any minute?
00:06:14The old skinflint.
00:06:16Oh, that isn't fair.
00:06:19Tell me, Paul, when did you last eat?
00:06:22Eat? What's that?
00:06:24No, seriously.
00:06:26I haven't the faintest idea. Never had a good memory.
00:06:30Anyway, what does it matter?
00:06:32Silly, you can't work properly on an empty stomach.
00:06:36Well, I can work on anything if I only have a little peace and quiet.
00:06:40Anyway, I'm not interested in food.
00:06:50There you see, you were starving.
00:06:53Paul, why don't you let me ask Papa to give you a job at the cafe?
00:06:57What do you mean?
00:06:59To sing there.
00:07:01Marcel has gone. His job is open.
00:07:04Why? Change from table to table? Me?
00:07:07Well, I do it.
00:07:09Oh, you.
00:07:11It's a living.
00:07:13Well, it's not going to be my living.
00:07:23That wretched tune again.
00:07:25Why can't I ever get away from it?
00:07:27Because it's the rage of Paris.
00:07:31Paul, why don't you write some popular tunes?
00:07:36Well, think of how much money you'd make and how much fun we...
00:07:40you could have.
00:07:41My dear child, I take music seriously.
00:07:44It's not about the money.
00:07:46It's about the music.
00:07:48You could have.
00:07:49My dear child, I take music seriously.
00:07:52I don't write for the men in the street.
00:07:54Well, what's wrong with...
00:07:56the sort of music that everybody can enjoy and understand?
00:08:04There's a melody born
00:08:07When two lovers
00:08:13Awake to the joy in their hearts
00:08:22Why not?
00:08:25A song that can never be broken
00:08:34Although
00:08:37No.
00:08:38Though fate tears two lovers apart
00:08:47A song that can never be broken
00:08:55Though fate tears the lovers apart
00:09:03Lovers apart
00:09:14There's a melody born
00:09:18When two lovers
00:09:24Awake to the joy in their hearts
00:09:34A song that can never be broken
00:09:44Though fate tears the lovers apart
00:09:54Through all the long years
00:09:59Of sorrow and tears
00:10:04An echo will come for their pain
00:10:16For the melody sings
00:10:21Thank you!
00:10:23The darkness to end
00:10:53What a fuss.
00:10:54Has no one ever seen a live opera singer before?
00:10:57I've seen her on the stage,
00:10:58but never amongst us like this.
00:11:02Mesdames et messieurs,
00:11:04in honor of our so distinguished guest,
00:11:07we shall now present to you
00:11:09one of our most popular encores.
00:11:19Go on, Paul.
00:11:20Think of singing in front of a great star like her.
00:11:22Are you very nervous?
00:11:24Nervous? Why, of course not.
00:11:26Only mad to think that I, a serious composer,
00:11:28have to make a fool of myself
00:11:30singing from table to table.
00:11:36Life only meant pleasure
00:11:41And laughter and leisure
00:11:47Till I found a treasure
00:11:52More precious than gold
00:11:56Marvellous, isn't he?
00:11:57What?
00:11:59That singing, sir?
00:12:01You shouldn't have called him that, Michelle.
00:12:03Come, Colonel, you mustn't concentrate
00:12:05too much on points of masculine beauty.
00:12:08She's a connoisseur.
00:12:12Ralph reminds me of that Spanish tenor
00:12:15we met at Monty.
00:12:17His voice?
00:12:19I used to love Maytime
00:12:23The flowers and the sun
00:12:28I wanted a gay time
00:12:33With laughter and fun
00:12:39All this I would give for
00:12:44A love that is true
00:12:49There's nothing to live for
00:12:55Unless I've got you
00:13:09Here, my pet.
00:13:11Do you find out who he is?
00:13:14I suppose I may as well ask him to join us.
00:13:16That's what you want, isn't it?
00:13:18Do as you please.
00:13:20Well, we shan't need to talk about him so much
00:13:22if he's sitting with us.
00:13:24I say, he's surely not asking
00:13:27that singing fellow to join us.
00:13:29Why not?
00:13:30Well, I hang it.
00:13:32But, Colonel, you asked him to join us.
00:13:35Well, I hang it.
00:13:37But, Colonel, you asked me to show you Parisian nightlife
00:13:40and it's taken me hours to find this funny little place.
00:13:42When I said nightlife, I meant, you know,
00:13:47the other sort of place.
00:13:49She'll never forgive me if I go back without you.
00:13:51Madame is very kind, but...
00:13:57Very well.
00:13:59This is Monsieur Paul Verlaine, Madame Saxon,
00:14:01Colonel Fitzroy.
00:14:03Madame has expressed great admiration for your voice.
00:14:08Oh, please sit down.
00:14:12I enjoyed your song so much.
00:14:14Well, thank you.
00:14:15I felt I must meet the singer.
00:14:18I want you to tell me all about yourself.
00:14:34Attractive, eh?
00:14:36Devilishly attractive.
00:14:41Don't be shy.
00:14:43You and I...
00:14:52An opera, you say?
00:14:54How interesting.
00:14:55Tell me about it.
00:14:56Well, the first act begins with an abstract dance.
00:14:59There's a setting...
00:15:00We can't discuss music in here.
00:15:02We can't discuss music in such a place, can we?
00:15:05One needs a piano, an atmosphere.
00:15:09Why not come up to my flat?
00:15:21Well, Germaine?
00:15:26Germaine?
00:15:27All right, just a moment.
00:15:29I had to wait for the iron to get hot.
00:15:32Well, you do look chic.
00:15:34Well, they swore it was genuine Scotch tweed.
00:15:37It's a pity you didn't have enough money for the trimmings.
00:15:41I couldn't get all the stains out.
00:15:43Oh, blast the clothes.
00:15:44I haven't even decided which music to take her yet.
00:15:47Oh, wait a minute.
00:15:48There's a worn place.
00:15:49Never mind.
00:15:50It's all worn places.
00:15:54Well, remember to keep your chin well down.
00:15:56Then it won't be so noticeable.
00:15:59Where the deuce is that symphony in F?
00:16:03Would you look for it instead of messing me about?
00:16:09Here you are, stupid.
00:16:11Oh, thanks.
00:16:14Not that way.
00:16:15Hop on.
00:16:21Oh, I'm so excited.
00:16:22I simply can't wait till you come home to hear what's happened.
00:16:26I tell you what.
00:16:27We'll meet outside the church across the street from Madame Sainte-Cluz's flat.
00:16:30All right.
00:16:32What time do you think you'll get away?
00:16:33Oh, quite early.
00:16:34One doesn't stay long on a first visit.
00:16:36I'll be to it, say, 4.30.
00:16:38I'll be on the safe side.
00:16:39We'll have an English seat to celebrate.
00:16:41All right.
00:16:44Why, hello, Monsieur Brissac.
00:16:46I was just going.
00:16:48You are not leaving this house until you pay your rent.
00:16:53Monsieur, be reasonable.
00:16:54I'm not taking my luggage.
00:16:55Your luggage?
00:16:56Your luggage, my foot.
00:16:58Your luggage would all go into the pockets of that so charming new suit.
00:17:02But out of the money, you owe me for it.
00:17:04Listen, you stingy old skank.
00:17:10Paul had to buy that suit for a very important appointment.
00:17:13It means everything to him.
00:17:14It may mean getting his offer produced.
00:17:16Monsieur, that's a good answer.
00:17:18When it comes to Monsieur Verlaine,
00:17:20you think you can tell me any lie that comes into your head.
00:17:23Oh, Papa, give him a little more time.
00:17:25Success doesn't come in a moment.
00:17:27Sometimes the cleverest men spend a long time knocking at the door.
00:17:30Ah, my dear Monsieur Olivier.
00:17:54Madame.
00:17:56Madame.
00:17:59Please, come and sit down. Make yourself comfortable.
00:18:03I see you brought your music.
00:18:05Oh, yes, my opera, as far as it's gone, and one or two symphonies.
00:18:10Of course, I don't play very well, but if you like...
00:18:13Oh, but there's no hurry.
00:18:18Any charity?
00:18:21Come and sit down here, where you can reach everything more easily.
00:18:45And that, my friend, is the one thing I've never been able to find in a man yet.
00:18:54Six o'clock.
00:18:56What of it?
00:18:57I had an appointment at 4.30.
00:18:59Oh, why not telephone and cancel?
00:19:02Oh, but I can't. I'd arranged to meet someone outside.
00:19:05In that case, the unlucky person will have gone.
00:19:08Besides, there's still your music.
00:19:12My music?
00:19:14Madame, do you know that for six hours, I haven't even thought of my music?
00:19:20Sweet.
00:19:22Oh, I know you must be used to people adoring you,
00:19:25but I wish I could express how I feel about you.
00:19:32Try.
00:19:52Uh-huh.
00:20:23Oh, Germaine! Germaine!
00:20:26Just a minute. I've been clearing up downstairs.
00:20:29Why...
00:20:30Is the washing back yet?
00:20:31No, but why are you packing?
00:20:33I'm leaving.
00:20:34But there's no need, Paul. I fixed it with Father.
00:20:38He has graciously consented to give you another fortnight in which to pay your rent.
00:20:43And by that time, your opera...
00:20:45Oh, but that isn't it, Germaine. I'm going to be married.
00:20:52Yours?
00:20:53Yes, to Simon.
00:20:56Paul!
00:20:58Well, you don't seem very pleased about it.
00:21:02Why, yes, of course I'm pleased.
00:21:07It's such a surprise. I can hardly believe it.
00:21:09Yes, it is hard to believe, isn't it?
00:21:11Think of me. Me, a poor, struggling composer,
00:21:14and Simon, the greatest soprano in the world,
00:21:17besides being the loveliest and most exciting woman.
00:21:20But that's just the trouble, dear.
00:21:22She is, well, so exciting.
00:21:24She has so many men who admire her.
00:21:27Do you think she'll always feel the same about you?
00:21:30Oh, my dear Germaine, there are some things one knows by instinct.
00:21:34You can't argue about them.
00:21:36Knows by instinct.
00:21:39Well, Paul, I hope you'll always be very happy.
00:21:43Thanks, Germaine.
00:21:45Goodbye, my dear.
00:21:48Goodbye, Paul. Good luck.
00:21:51Oh, and send on the laundry, will you?
00:21:53And don't forget to kiss Papa for me.
00:21:56I'd love to hear his snort when he learns
00:21:58that Simon is going to appear in my opera.
00:22:18PIAYING PIANO
00:22:21PIAYING PIANO
00:22:24PIAYING PIANO
00:22:27PIAYING PIANO
00:22:46A song that can never be broken
00:22:58It never occurred to Paul that Germaine loved him.
00:23:02Simon's glamour blinded him to everything else,
00:23:05except occasionally his work.
00:23:08Occasionally.
00:23:09And Simon?
00:23:13I think she loved him
00:23:15as far as she was capable of loving anyone.
00:23:19She must have.
00:23:21They had a child.
00:23:23But after a year or so of gadding about Europe,
00:23:26she grew restless for Paris and a larger audience.
00:23:38Put it down here, sir?
00:23:40Yes, anywhere there.
00:23:45Remember the porter, sir?
00:23:47Yes, I remember you.
00:23:49Remember the porter, sir.
00:23:51Oh, yes, I'm sorry.
00:23:53Here you are.
00:24:09Ah, the trunks have arrived.
00:24:12Yes, dear.
00:24:13Oh, isn't it lovely to be home, darling?
00:24:15Yes, dear.
00:24:19Oh, doesn't Paris look lovely?
00:24:22Yes, dear.
00:24:23Oh, darling, do come and look.
00:24:25But, darling, I must get on to my work.
00:24:28Of course, dear, of course.
00:24:30And when I do get a little leisure,
00:24:32I want to spend it with you.
00:24:34Sweet.
00:24:35Now you get on with your playing,
00:24:37and I'll do the unpacking.
00:24:41Oh, Simon, I hope you don't mind,
00:24:43but it's dreadfully difficult to concentrate
00:24:46while you're singing, you know.
00:24:48My singing is just as important as your playing.
00:24:51But...
00:24:52In fact, more so.
00:24:53But I didn't mean that...
00:24:59Oh, there.
00:25:06Oh, how lovely.
00:25:10Who are they from?
00:25:13Just Pierre.
00:25:23Listen, Simon,
00:25:24I don't want you to get back into that set again.
00:25:26They're all right in their way, but...
00:25:28My dear, I don't know what you're talking about.
00:25:30I shall choose my friends in the future
00:25:32as I've done in the past.
00:25:33Oh, yes, but things aren't quite the same now, are they?
00:25:35Why not?
00:25:36Well, for one thing, you happen to have married me.
00:25:38Yes.
00:25:39Yes, well, I hope you don't make me regret it
00:25:41by being idiotic about my friends.
00:25:43I'm not being idiotic at all.
00:25:45You know perfectly well
00:25:46that this crowd is no use to you or anyone else.
00:25:48They're nothing but a lot of sensation seekers and spongers.
00:25:50My dear, you're the last person to talk.
00:25:52What are you yourself?
00:25:53You haven't paid a penny since I've married you.
00:25:55Whose money is it that pays for everything?
00:25:57Stop.
00:25:58No, I won't stop.
00:25:59You've asked for it and now you're going to get it.
00:26:01I don't know why on earth I ever married you.
00:26:03Oh, my wild impulsiveness again.
00:26:06I've always been a slave to my...
00:26:08My...
00:26:09Your passionate nature.
00:26:11I found the door open, so I just walked in.
00:26:14I hope I'm not intruding on the...
00:26:17lovebirds.
00:26:19Pierre.
00:26:20Darling.
00:26:22Oh, how wonderful to see you.
00:26:25Thank you for those lovely flowers.
00:26:27Oh, but it's nothing, I...
00:26:29My dear.
00:26:30Haven't any of the others arrived here yet?
00:26:32The others?
00:26:33Yes, I seem to be the advance guard.
00:26:35Why, all the choice spirits of Paris
00:26:37are on their way here to welcome you back.
00:26:39Oh, how lovely, Paul.
00:26:41Oh, yes, of course.
00:26:42Charming.
00:26:43And how is the great opera? Finished?
00:26:45Oh, no, not yet.
00:26:46As a matter of fact, I'm stuck on...
00:26:47Oh, not completely stuck, I hope.
00:26:49Oh, no, no.
00:26:50I'm getting Paul to make one or two improvements.
00:26:53Oh, indeed.
00:26:55You see, in the first act,
00:26:56there's much too much chorus.
00:26:58So Paul's rewriting the melody
00:27:00for a soprano solo.
00:27:02I think it's much more effective that way.
00:27:04I'm sure you do.
00:27:05Hands up.
00:27:06Your money or your life.
00:27:08Oh, please spare an unpredicted dance.
00:27:11On one condition.
00:27:12And that is?
00:27:13A kiss.
00:27:14Oh, how sweet.
00:27:15Oh, darling.
00:27:17Oh, and me.
00:27:18And me.
00:27:19Hey, listen now, boy, you're too old.
00:27:21And me.
00:27:22Sweet.
00:27:23Hey, listen now, boy, you're too old.
00:27:24Oh, darling.
00:27:25How are you?
00:27:26You mustn't overlook me.
00:27:28Oh, dear.
00:27:43Oh, I...
00:27:44I don't think I'd do that if I were you.
00:27:46It might spoil her makeup.
00:27:47It took her half an hour to put on.
00:27:49Of course.
00:27:51Come on.
00:27:52What about the champagne?
00:27:59Beer.
00:28:01My friends,
00:28:03let us drink to health of the most charming woman in Paris
00:28:06and of her very forceful husband,
00:28:10Monsieur and Madame Paul Verlet.
00:28:12Here, here.
00:28:14Here, here.
00:28:25Hello, young man.
00:28:27Pretty late for you to be awake, isn't it?
00:28:29Huh?
00:28:30Isn't it?
00:28:31Eh?
00:28:33Come on now.
00:28:34Time you went to sleep.
00:28:35Come on.
00:28:36Lie down.
00:28:37Put your hands underneath.
00:28:38That's right.
00:28:40Come on now.
00:28:41I see her being caught out like that of all people.
00:28:44Don't mind me.
00:28:45I haven't heard any scandal for years.
00:28:47By the way, how's the marvelous baby?
00:28:49Oh, wonderful.
00:28:50Would you like to come and see it?
00:28:52Oh, yes.
00:28:53Well, then, come on.
00:28:54Let's all go.
00:29:00Please, not so much noise.
00:29:02Simone, you shouldn't do this.
00:29:04Oh, don't be so childish.
00:29:06What a delightful domestic scene.
00:29:08But I wonder if you could be dragged away from it for an hour or so,
00:29:11just to comfort your forsaken admirers.
00:29:13What do you mean?
00:29:14Well, to put it in plainer language, my dear,
00:29:17how about coming to the gringo for a little American whoopee?
00:29:20Thank you so much, monsieur, but my wife and I have been traveling all day,
00:29:24and I'm sure we're both much too tired to want to go out this evening.
00:29:27But please don't let me detain you.
00:29:30And I hope you have a very enjoyable evening.
00:29:34So sorry, darling.
00:29:36But I quite understand.
00:29:38Good night.
00:29:42Poor Paul.
00:29:44Good night.
00:29:45Good night.
00:29:48What in the name of?
00:29:49Shh!
00:29:54Have you taken leave of your senses?
00:29:56How dare you behave like that?
00:29:58I'm behaving perfectly reasonably.
00:30:00You're behaving like a fool.
00:30:01Do you think it's any fun for me to stay in all the evening listening to you?
00:30:04I should have thought I was just as amusing as those brainless idiots.
00:30:07You leave my friends alone just because they're not smug, brigish and conceited.
00:30:10Don't make so much din.
00:30:11I'll make as much din as I like.
00:30:12You're not on the stage now.
00:30:13I hate you.
00:30:14You stay and keep yourself company.
00:30:16I'm going out.
00:30:18Simone!
00:30:27Oh, well, Lizette.
00:30:29Oh, well, Lizette.
00:30:30Monsieur.
00:30:31Lizette, send up supper for two.
00:30:35A really nice supper.
00:30:36Yes, monsieur.
00:30:39Oh, and a bottle of champagne.
00:30:41Yes, monsieur.
00:30:43I don't know what time madame will be back, but I want everything ready when she returns.
00:30:59Oh.
00:31:10Oh, I'm so sorry.
00:31:13Well, I thought we might have had a nice little supper together.
00:31:16Tater-tater.
00:31:17Oh, my dear.
00:31:19I'm terribly sorry I made such a scene,
00:31:22but I just can't help being jealous when I see other men pawing you around.
00:31:26Sometimes I...
00:31:27I almost feel I want to kill them.
00:31:30I do wish you wouldn't be jealous, Paul.
00:31:33It's all so harmless, really.
00:31:35I know.
00:31:37It's only because I love you so terribly.
00:31:39That's my excuse.
00:31:41I know.
00:31:43I'm so sorry I missed this evening out.
00:31:46So sweet of you to get that supper for me.
00:31:48And we won't quarrel anymore?
00:31:50No.
00:31:51No more.
00:31:52Oh, Simone.
00:31:53You mean everything to me.
00:31:55Nothing else matters, really.
00:31:57Not even my music.
00:32:00Paul.
00:32:01Oh, you're adorable.
00:32:08Hello?
00:32:09I hated your having to leave.
00:32:12Did you get home safely, my sweet?
00:32:15Yes, of course.
00:32:17It was wonderful, wasn't it?
00:32:19Quite like old times.
00:32:21Yes, of course.
00:32:22Of course.
00:32:23You're very monosyllabic.
00:32:24What's the matter?
00:32:28Yes, I'll be glad to give you a free concert.
00:32:32Oh, is he there?
00:32:34Yes.
00:32:38Oh, I understand.
00:32:43Tomorrow?
00:32:44Yes, I'd be glad to sign the contract tomorrow.
00:32:48Who was that, dear?
00:32:49Oh, just an agent.
00:32:51Wants me to give a free concert for the waifs and strays.
00:32:54Oh, darling, you're so generous.
00:33:14Well?
00:33:16Well?
00:33:18What's this?
00:33:20The temperament of a celebrated composer at work.
00:33:24But where's the devoted wife?
00:33:26Oh, hello, Vera.
00:33:27Simone had to go out this evening.
00:33:30On business.
00:33:31Oh, business?
00:33:34Yes, a singing lesson.
00:33:36You know, Paul, I'm rather sorry for you.
00:33:39Must be so trying, having such a famous wife.
00:33:43You must find her business engagements so intrusive.
00:33:49Was there anything in particular you wanted to say to Simone?
00:33:51Oh, no, nothing.
00:33:52Just a friendly chat.
00:33:54I wanted to tell her all the news of Paris.
00:33:56I thought she might be interested.
00:33:58It was rather exciting just now.
00:34:00Perhaps I should be interested.
00:34:04What is the news of Paris?
00:34:07Oh, six wives have run away in the last week
00:34:10and seven suspicious children have arrived
00:34:14and two murders
00:34:16and the most entrancing new singer.
00:34:19Well, you must come along and hear her.
00:34:21We're all going round there tonight.
00:34:23Oh, no, I can't, thanks.
00:34:24Oh, nonsense.
00:34:25You know, she's just your type.
00:34:27Young, innocent and never been kissed.
00:34:31No, really.
00:34:32Besides, I promised Simone I'd wait here for her.
00:34:34Rubbish. It'll do you good.
00:34:36There's nothing like the Café Brissac for taking your mind off work.
00:34:40What did you say?
00:34:41Café Brissac.
00:34:42Why, do you know it?
00:34:43Do I know it?
00:34:44Come along.
00:34:45I wonder what's happened to Germaine.
00:35:11Ah, Mr. Germaine, you remember me, Brissac.
00:35:15Oh, I'm not likely to forget you, monsieur.
00:35:17I heard of your wedding, monsieur.
00:35:19You are the envy of every man in Paris.
00:35:23Did I not tell you that you would be successful?
00:35:26Paul, Paul, look.
00:35:28Look at me.
00:35:29Look at me.
00:35:30Look at me.
00:35:31Look at me.
00:35:32Look at me.
00:35:33Look at me.
00:35:34Look at me.
00:35:35Look at me.
00:35:36Look at me.
00:35:37Look at me.
00:35:38Look at me.
00:35:39Paul, look.
00:35:40Look who's here.
00:35:41My dear.
00:35:44Shall we go and see who he's with?
00:35:47Yes, let's.
00:35:54Ah.
00:35:56What a delightful surprise.
00:36:00Allow me.
00:36:04Mademoiselle Brissac, monsieur Verne.
00:36:07Why, Germaine.
00:36:10A touching reunion, eh?
00:36:12Germaine, it seems years since I've seen you.
00:36:14I'm so glad Vera made me come along.
00:36:16Oh.
00:36:19Is Madame home?
00:36:21Yes, monsieur.
00:36:22She's been in a long time.
00:36:27Darling, where have you been?
00:36:30Sorry, darling.
00:36:31We wouldn't...
00:36:32Mademoiselle, how very nice to see you.
00:36:35Such a pleasant surprise.
00:36:37Darling, I'm ashamed of you.
00:36:39I shall never be able to tell my friends what a devoted husband I have.
00:36:43Leaving your poor little wife alone for all those hours.
00:36:48I hope you've got a good excuse.
00:36:51Has he?
00:36:52Oh, excellent.
00:36:53Vera persuaded him to visit the Cate Brissac.
00:36:56Oh, Vera persuaded him.
00:36:58Oh, forgive me, darling.
00:36:59It was terribly thoughtless of me, I know.
00:37:01Well, it rests on us to console Simon.
00:37:03Come on, let's have a little party of our own.
00:37:05Who'll come with me to get some drinks?
00:37:06Oh, I will.
00:37:07Why not ring for the porter to get it?
00:37:08Oh, darling, the stuff the porter brings is terrible.
00:37:11I shan't be long.
00:37:13Excuse me.
00:37:20Well, we may as well make ourselves comfortable.
00:37:23We'll have to wait until they get back before we can have a drink.
00:37:26Paul, you have a son now, haven't you?
00:37:28Oh, what a baby.
00:37:30Do you know he's got a voice louder than his mother already?
00:37:33Is it too late, or could I see him?
00:37:35Would you like to?
00:37:36Come on, then.
00:37:46Hello, young fellow.
00:37:48It's time you were asleep hours ago.
00:37:53Would you like to hold him?
00:37:54May I?
00:37:56Be careful.
00:37:57He's precious.
00:37:58I know.
00:37:59Let's take him in the other room for a minute.
00:38:00It won't hurt.
00:38:03Come on.
00:38:24What is that thing?
00:38:27I call it the broken melody.
00:38:29Don't you remember?
00:38:30Oh, yes, of course.
00:38:32You said you liked simple music, so I wrote it for you.
00:38:35Wait a minute.
00:38:39I've got it.
00:39:02Though fate tell the lovers apart
00:39:10Through all the long years
00:39:14Of sorrow and tears
00:39:18An echo will comfort their pain
00:39:29For their melody sings through
00:39:33The darkness to...
00:39:41Hi, what's the matter, Germaine?
00:39:43Nothing.
00:39:46Germaine!
00:39:52Hey, Germaine.
00:39:55What's the matter, dear?
00:39:58Nothing.
00:40:04Tell me, what is it?
00:40:06Oh, Paul.
00:40:12Sorry.
00:40:13Silly of me.
00:40:14Forgive me.
00:40:17Goodbye to them now.
00:40:18Bless you.
00:40:28I'm sorry I cried all over you.
00:40:31I'm not used to these late nights.
00:40:34Goodbye and thank you.
00:40:35Yes, but you can't go like this.
00:40:37Surely you'll let me see you home.
00:40:38Please, I'd rather go alone.
00:40:41Well, when are you coming to see us again?
00:40:46I'll never see you again, Paul.
00:40:50Never.
00:40:58Never.
00:41:29Never.
00:41:31Never.
00:41:33Never.
00:41:35Never.
00:41:37Never.
00:41:39Never.
00:41:41Never.
00:41:50Uninspired, my dear sir, you're too mild.
00:41:53Between ourselves, my notice will consist of one word.
00:41:56Dribble.
00:41:57Or perhaps I might add pretentious.
00:42:00Dribble.
00:42:01Two words won't compensate me for the most boring evening I've ever spent.
00:42:06I'd like to claim damages from this composer.
00:42:09Whoever he is.
00:42:10What's his name?
00:42:11Paul Verlaine.
00:42:12Oh.
00:42:13You'd be unlucky.
00:42:15Our lovely Simone is footing the bill for this little disaster.
00:42:19Don't.
00:42:20You'll make me sorry for him.
00:42:21He's our husband, isn't he?
00:42:23At present.
00:42:24You mean...
00:42:28Humiliated.
00:42:29I, Simone Saint-Cloud.
00:42:32Oh, have I ever thought anything of the fool?
00:42:34I don't know.
00:42:39Why did you let me do it?
00:42:41You know me.
00:42:42I've always been a slave to my passion, haven't I?
00:42:46Fool.
00:42:47Not content with ruining yourself, you ruin me.
00:42:49Musician.
00:42:50Composer.
00:42:53Come on.
00:42:54Forgive me.
00:42:55Forgive you?
00:42:56Forgive you for what?
00:42:57For making a fool of me?
00:42:58For ruining me?
00:42:59For making me marry you?
00:43:00Get out.
00:43:02Simone.
00:43:03You hear?
00:43:04Get out.
00:43:06I am a woman.
00:43:07I am a woman.
00:43:08I am a woman.
00:43:09I am a woman.
00:43:10I am a woman.
00:43:11I am a woman.
00:43:12I am a woman.
00:43:13I am a woman.
00:43:14I never want to see your face again.
00:43:41Fool.
00:43:42Not content with making a fool of yourself, you ruin me.
00:43:45Musician.
00:43:46Composer.
00:43:49Simone.
00:43:50Forgive you?
00:43:51Forgive you for what?
00:43:52For making a fool of me?
00:43:53For ruining me?
00:43:54For making me marry you?
00:43:56Get out.
00:43:57Simone.
00:43:58You hear?
00:43:59Get out of here.
00:44:00I never want to see your face again.
00:44:09Idiot.
00:44:13In the name of a thousand devils.
00:44:15What do you think you're doing?
00:44:18Get up on your legs.
00:44:21Trying to do yourself in, eh?
00:44:32Thanks.
00:44:36I suppose you're going to tell me you're up against it.
00:44:39Anyway.
00:44:40Anyway.
00:44:41There are better ways out than mucking up the same.
00:44:45Sorry.
00:44:46I hadn't thought.
00:44:48No.
00:44:49We'd probably be stuck in the mud for a couple of days.
00:44:52And then some poor beggar would have to come and fish you out.
00:44:55And go without his dinner for the best part of a week.
00:44:58Oh.
00:44:59You're a philosopher, eh?
00:45:01Philosopher.
00:45:02You make me sick.
00:45:04The way some of you young fellas think it's clever to jump into the river.
00:45:08A girl, eh?
00:45:09Had a quarrel?
00:45:10Get off, dear kennel.
00:45:12But be kiss and be friends.
00:45:16You're right.
00:45:19Oh, get off.
00:45:20Oh, my boy.
00:45:21Go to sleep.
00:45:39Oh, what do you think you're doing?
00:46:08What do you think you're doing?
00:46:09Fools will be fools.
00:46:10All of you muttons.
00:46:11Go.
00:46:21Hello.
00:46:22Get me the police.
00:46:23Quickly.
00:46:26Police.
00:46:27Police.
00:46:31Soldiers.
00:46:38Some books have to be returned.
00:46:41Let's not put them out.
00:46:42No.
00:46:43No, no, please, don't.
00:46:45I'll have a man in mind now.
00:46:47You'll have a man in mind.
00:46:48I want my brother.
00:46:50I want my brother.
00:46:51If he's a good man, I want my brother.
00:46:53Yeah, sure.
00:46:54Can I really trust you?
00:46:56Yes, yes, of course.
00:46:57Sure?
00:46:58I'm all for it.
00:47:00I'll be darned!
00:47:01I'll be darned!
00:47:02It's not that I'm going to take him,
00:47:04I'm going to take you.
00:47:05You can't.
00:47:06You can't, honey.
00:47:07It's.
00:47:07A.
00:47:10It's.
00:47:20It's.
00:47:21It's.
00:47:38Why you have no time to explain take care of him.
00:47:44I can go that way.
00:47:45What if you don't. I've killed him.
00:47:50I had to bring him to you to me I don't know what's going to happen to me but
00:47:54whatever happens he mustn't suffer. Will you do this for me.
00:48:01You know I will. God bless you.
00:48:07Take care of him. Come back.
00:48:16For.
00:48:39There's the warning we've got to get back to our seats.
00:48:41Oh there's no hurry the beginning of an act always a slow affair tell me what
00:48:45happened the poor villain was found guilty and sentenced to Devil's Island.
00:48:51And soon he found himself starting on the voyage from which there is no return.
00:48:57Twice a year the convict ship leaves France with her living cargo of despair.
00:49:05The condemned men see their native land for perhaps the last time while aboard
00:49:10ship await them huge steel cages.
00:49:15Their only furniture crude hammocks.
00:49:18And against mutiny the forces of law hold a weapon that has never failed
00:49:24scalding steam.
00:49:41The.
00:50:03Number three.
00:50:10The.
00:50:17Idiot.
00:50:19Didn't I tell you no girl was worth it. Now what have you done.
00:50:24I never thought you had it in you.
00:50:27Come into the tree tops.
00:50:32Was it.
00:50:33Shake.
00:50:36That's a tidy thing.
00:50:38You're in for murder too.
00:50:40Yes but that's all history.
00:50:43I escaped from the island once but they picked me up again in Paris.
00:50:47And here I am back once more.
00:50:50It's a terrible seven weeks before you.
00:50:53And then the island.
00:50:55You'll find the first 50 years of the worst.
00:50:58So began Paul's initiation.
00:51:01Every mile the ship took him further from France was to bring him more acute
00:51:07knowledge of the despair.
00:51:09The brutality.
00:51:11The iron discipline of this motley legion of the lost.
00:51:28The.
00:51:48Son of a.
00:51:50Get your snout out of the.
00:51:58Can we ever get anything different.
00:52:00I can't eat this.
00:52:02It's.
00:52:04Your linkage.
00:52:09That's all you're going to get for the next half century.
00:52:13I.
00:52:24Well.
00:52:25Well.
00:52:27That's goodbye to grab the next row.
00:52:32There's no food left.
00:52:34For heaven's sake give me something.
00:52:36Sure.
00:52:38I'll give you something.
00:52:42Don't be a fool.
00:52:48Help.
00:52:50Help.
00:52:55To 70.
00:53:25You.
00:53:55I.
00:54:26You.
00:54:31Skype.
00:54:32I can talk about it.
00:54:34Everybody talks about it.
00:54:36But there's no escape from Devil's Island.
00:54:38Look at me.
00:54:39I got to Paris once.
00:54:41But here I am.
00:54:42Back once more.
00:54:44Don't you get those silly ideas into your head.
00:54:47Take the tip from the uncle Henry.
00:54:49Not all that's coming to you.
00:54:51There's no escape.
00:54:52What's that?
00:54:53That's the gun.
00:54:54Calling the search party back.
00:54:56Some poor fools made a break for it.
00:54:58But they've got him again.
00:55:01He'll be sorry he ever attempted it.
00:55:03A year solitary confinement.
00:55:05What?
00:55:06Yes.
00:55:07And that goes for you and me too.
00:55:09Me for escaping.
00:55:11And you for slugging the guard.
00:55:13A year on bread and water.
00:55:15Alone in the dark.
00:55:17Those words prove true.
00:55:19After a year on bread and water.
00:55:20Those words prove true.
00:55:22After a year in a solitary cell.
00:55:24Paul emerged.
00:55:26A broken man.
00:55:34Don't imagine, Paul Valen,
00:55:36that you're over the worst of Devil's Island.
00:55:39You'll learn to curse the sun
00:55:41that is so welcome to you now.
00:55:43Endless days of toil
00:55:45under a blistering tropical sun.
00:55:48That's your lot
00:55:50for the next nine years.
00:55:52Toil.
00:55:54Toil.
00:55:57Toil or die.
00:55:59That's your only chance on Devil's Island.
00:56:03Always watched by vigilant-eyed taskmasters
00:56:07standing sentient to punish any attempt at mutiny.
00:56:18Grub.
00:56:21Grub.
00:56:39Adam.
00:56:48Come on.
00:57:05Come on.
00:57:18Set a thief to catch a thief, eh?
00:57:23Well, you're welcome, fellow animal,
00:57:25but don't be too greedy.
00:57:30So instead of killing the monkey,
00:57:32he shared his food with it.
00:57:34Ah.
00:57:36So human pity can survive
00:57:38even under those conditions.
00:57:41So human pity can survive
00:57:43even under those conditions.
00:57:44Paul Verlaine and that monkey
00:57:46soon became inseparable.
00:58:02What's that tune?
00:58:04Oh, I don't know.
00:58:06Just something that came into my head.
00:58:08Play it again.
00:58:10Here, boys, listen to this.
00:58:11Here, boys, listen to this.
00:58:41We are the men who never smile.
00:58:47So we've got to keep it fun
00:58:50till our anger is gone
00:58:53as we sweat and toil and work.
00:59:05Come on, Paul.
00:59:09Well, Jermaine,
00:59:11any news?
00:59:13No, Father.
00:59:15I've written again to the minister,
00:59:17but I've heard nothing.
00:59:19As you are aware, number 217,
00:59:21it is against the normal rules
00:59:23for prisoners to receive news of any kind.
00:59:25Your conduct, however, has been good.
00:59:27Therefore, I propose to tell you
00:59:29the contents of this letter.
00:59:31It is signed,
00:59:33Jermaine Brissard.
00:59:36Your news, number 217,
00:59:38is both good and bad.
00:59:41It's in Paris.
00:59:46Your son, however,
00:59:48is evidently in good hands.
00:59:50He's being cared for
00:59:52by the writer of the letter.
00:59:54Finally,
00:59:56Jermaine Brissard has presented
00:59:58a petition on your behalf.
01:00:00She has also written to me.
01:00:02I have considered your case carefully
01:00:04and I'm writing to the minister
01:00:06recommending you for a pardon.
01:00:08You should receive his reply
01:00:09on the next ship.
01:00:11Here we go.
01:00:31Henri.
01:00:34The ship's in.
01:00:36Do you realize what that means?
01:00:37It means that you'll be going
01:00:39and I'll be stopping.
01:00:41Yes, I know that.
01:00:43Goodbye, Paul.
01:00:45I'll be seeing you in Paris.
01:00:47What?
01:00:49Perhaps.
01:00:51Why, what do you mean?
01:00:53Do you think I'm going to stop here,
01:00:55behind these,
01:00:57when you've gone?
01:00:59When you go,
01:01:01I'm going to make a bid for it.
01:01:03But, man alive, you're crazy.
01:01:05They'll half kill you
01:01:07if they catch me.
01:01:21Number 270.
01:01:24Come on in through.
01:01:26Good luck.
01:01:38Listen, boys.
01:01:40I'm going to make a bolt of it tonight.
01:01:42You're mad, Henri.
01:01:44You haven't an earthly.
01:01:46They'll get you for sure.
01:01:48Half the guard will be away at the ship.
01:01:50It's the best chance I'll have for six months.
01:01:52Say, you'll never make it.
01:01:54They'll give you hell when they get you.
01:01:56Listen, we'll be felling trees today.
01:01:58Now, if any of you swines
01:02:00draw attention to me in any way
01:02:02or stop me from getting any food,
01:02:04I'll knock your block off.
01:02:07Come on.
01:02:23Are you still going to make a break for it?
01:02:25Yes, in the afternoon.
01:02:29All right, then.
01:02:31I'm coming with you.
01:02:33What?
01:02:35They've turned down my petition.
01:02:38Come on.
01:02:52Now.
01:02:54No, wait a minute.
01:03:01Now.
01:03:08Help.
01:03:10Help.
01:03:12Let me escape.
01:03:16Come on.
01:03:18We can only keep going until dark.
01:03:20We've got a chance.
01:03:28Come on.
01:03:31We must separate.
01:03:33It's our only chance.
01:03:35You make to the native village.
01:03:37I make to the river.
01:03:39Good luck. Goodbye.
01:03:44Quickly, which way did he go?
01:03:46Go on, pick him up. Pick him up.
01:03:48Come on, he's bluffing.
01:03:50Where's that man? Come on.
01:04:08Andrew.
01:04:13Anything to report, Sergeant?
01:04:15No, sir.
01:04:17Very good. Keep a sharp lookout.
01:04:19Yes, sir.
01:04:21Good night, Sergeant.
01:04:23Good night, sir.
01:04:38Come on.
01:05:03Look at that. There's something moving.
01:05:05What's that?
01:05:07It's a lover in the water, sir.
01:05:09Get some light on it.
01:05:11Very good, sir.
01:05:18There he is, sir.
01:05:23Shall we fire, sir?
01:05:27Fire.
01:05:35Your men have an excellent aim, Sergeant.
01:05:37Thank you, sir.
01:05:40Terrible.
01:05:42I was the servant of France.
01:05:44I wonder, in your shoes,
01:05:47if I would have given that order to fire,
01:05:50there was no choice.
01:05:52I would do it again.
01:05:54Oh, come on.
01:05:56Let's see the end of the scene.
01:06:07Impossible.
01:06:09What is it?
01:06:12Wolverine's song.
01:06:17What's the matter here?
01:06:19He's taking down the hall.
01:06:21Well, we'll leave him until he turns his head.
01:06:24Let's go.
01:06:26Come on.
01:06:31Come on.
01:06:33Come on.
01:06:35Let's go.
01:06:37Stand by!
01:07:04Fire!
01:07:07He's hit!
01:07:08Fire!
01:07:23Let's see if we can take that loose.
01:07:38Fire!
01:07:51Man adrift.
01:07:54Throw him a line.
01:08:02I wonder...
01:08:08Who is he?
01:08:09What does he say?
01:08:11Shipwrecked.
01:08:12The only survivor.
01:08:13He asks to be taken to the mainland.
01:08:15Take him with me, ship.
01:08:16Care for him.
01:08:26You will excuse me just a moment.
01:08:28You will excuse me just a moment.
01:08:37Yes, this is going to be a memorable night for Monsieur Grasse.
01:08:53Monsieur Grasse?
01:08:54Yes?
01:08:55Permit me to introduce myself.
01:08:59Perhaps you have already heard of me.
01:09:03Colonel Dubonnet.
01:09:09No, I...
01:09:12I'm afraid I don't recollect.
01:09:14Forgive this intrusion.
01:09:16May I have a few moments of your time?
01:09:20Yes, of course.
01:09:24Won't you sit down?
01:09:28Permit me to introduce you to my wife, Madame.
01:09:33Monsieur Grasse,
01:09:35I am most anxious to make your acquaintance
01:09:37and to inflict myself upon a perfect stranger
01:09:40at a moment which I know must be a very anxious one for you
01:09:43in order to set my mind at rest upon a point
01:09:47which interests me very deeply.
01:09:50I...
01:09:51I hope I should be able to set your mind at rest, Colonel.
01:09:54Indeed, I hope so.
01:09:56Monsieur Grasse,
01:09:57have you ever heard of Paul Verlaine?
01:10:03I don't think I have.
01:10:07No.
01:10:08The name means nothing to me.
01:10:12Colonel,
01:10:13will you excuse my back?
01:10:14I have to change my make-up for the next scene.
01:10:16Why,
01:10:17do you think the name should have any significance for me?
01:10:19That is what interests me.
01:10:22A year or two ago,
01:10:24a year or two ago,
01:10:25I was commandant of Devil's Island.
01:10:28Most unpleasant place, I believe.
01:10:30Paul Verlaine was a convict under my charge.
01:10:34He attempted to escape.
01:10:35He was fired upon
01:10:37and was reported killed.
01:10:42Monsieur Grasse,
01:10:43the story of your play
01:10:45is the story of Paul Verlaine.
01:10:51Why, of course.
01:10:53I remember reading about it in the papers at the time.
01:10:56Colonel, I'm afraid I must apologize to you.
01:10:58I seem to have lured you into the theater under false pretenses.
01:11:01I thought I was writing an original work
01:11:03when all the time I was...
01:11:04I was just plagiarizing some forgotten newspaper story.
01:11:09This should be a lesson to me, shouldn't it?
01:11:12I was not aware that the story had been printed in the Paris papers.
01:11:19Monsieur Grasse,
01:11:21I am most anxious to see the end of your story of Paul Verlaine.
01:11:29Colonel,
01:11:30mine is not the story of Paul Verlaine.
01:11:32Their beginnings may have been the same,
01:11:34that I admit.
01:11:35But your story ends on Devil's Island.
01:11:38Paul Verlaine was killed.
01:11:41That is only the beginning of my story.
01:11:43It concerns another,
01:11:45a new man,
01:11:46a man who has been purged through his sufferings,
01:11:49who returned to build up a new life,
01:11:51who in humility and danger
01:11:54struggled to carve something noble out of the tragedy of the past,
01:11:58who at the point when you saw the curtain come down ten minutes ago
01:12:03thought he had achieved some small success.
01:12:07Colonel Dubonnet, I appeal to you.
01:12:09Are these two men the same?
01:12:12Your question is premature.
01:12:15I do not know the end of your story, yet.
01:12:42Where have you been?
01:12:44Trying to make up my mind about the end of the story.
01:12:47Which story? That one?
01:12:49Yes.
01:12:53Both stories.
01:13:41All my hopes are on the dear Alaskan moon
01:13:55My heart's song is still but still
01:14:03What could ever help us to part us now
01:14:11Nothing, nothing ever will
01:14:22What is it?
01:14:23What is it?
01:14:25They've discovered.
01:14:26The guards are after me.
01:14:29Quick, through the courtyard.
01:14:32Hurry, hurry.
01:14:33Oh, but it's useless.
01:14:35What do you mean?
01:14:37The house is surrounded.
01:14:43All our love, all our promise of happiness to end like this.
01:14:50They'll take you and bind you and put chains around you
01:14:56and carry you off to galleys again
01:14:59and make you toil until you drop dead.
01:15:03I'll sit here alone till I die too.
01:15:08Why should they make us suffer so?
01:15:11Why should they be so cruel to us?
01:15:15It's the law.
01:15:16But is there no escape?
01:15:20Yes, there is one escape.
01:15:25Are you resolute enough to take it with me?
01:15:33With you?
01:15:35Yes.
01:16:03No, don't stop.
01:16:06We've all eternity before us now.
01:16:19When two lovers are bound together
01:16:31Awake to the joy in their heart
01:16:39A song that can never be broken
01:16:48Though fate tear the lovers apart
01:16:56Through all the long years of sorrow and tears
01:17:05An echo will comfort their pain
01:17:14For their memory sings through the darkness
01:17:23To end in harmony again
01:17:40Open the door!
01:17:44Open the door!
01:17:45Open the door!
01:17:56Francesca!
01:18:16Open the door!
01:18:28Not a very original ending.
01:18:30I suppose it's the inevitable.
01:18:42Excuse my rudeness.
01:18:43Oh, did you wish to see me again, Colonel?
01:18:46Upon the end of your opera, it quite overwhelmed me.
01:18:50How did you come to think of it?
01:18:52It is the only possible ending to your story of Paul Verlaine.
01:18:57Paul Verlaine is dead.
01:19:02May I respectfully suggest that your story permits of a happy ending?
01:19:08But your public is calling you.
01:19:10I must not detain you.
01:19:12I wish you a very good evening, Madame, Monsieur Grasse.
01:19:17Madame, Monsieur Grasse.
01:19:41Quick, quick, Monsieur Grasse!
01:19:42They are yelling the house down for you.
01:19:43You must take a curtain.
01:19:44Quickly, quickly!
01:19:47A lovely night, Monsieur.
01:19:48A lovely night.
01:19:49An interesting play, Monsieur.
01:19:52A very interesting play.
01:19:54Lucky man, Monsieur Grasse.
01:19:57A very worthy man.
01:20:17For never did we know our love had to end with the falling of day.