Charlie Chaplin (1951)

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cc 300 super-bank clerk, moistens his fingers and counts sixty thousand francs, very fast. Pocketing the money, he calls long distance; then rubs his hands and sits down to the piano to render the last part of the ''Second Hungarian Rhapsody." Knocks, which Verdoux first thinks come from the piano, turn out to be the tapping on the window pane of a new cook bringing references. After giving her some orders, he telephones a broker and buys some stock. At the "Police Judiciaire," Lena Couvais explains that no sooner had their sister married than she disappeared. The police inspector explains that twelve other women have similarly disappeared recently, each a middle-aged woman with property. The man is "a Bluebeard — a mass killer." The snobbish Marie Grosnay calls at Verdoux's house with a real estate agent. Verdoux, his arms full of roses, meets her. When she admires the flowers, he calls the maid to wrap them up for her. Like a slick floorwalker, Verdoux shows Mme. Grosnay around the house. Upstairs she drops the remark that her husband has been dead several years. "Indeed!" and at once his wheels start turning. As he explains that this was his late wife's bedroom, he pushes an ample dressmaker's dummy behind a screen. Mme. Grosnay's eyes, he declares, are "deep pools of desire." It is destiny that they have come together. But Mme. Grosnay protests it is too late now. "Nonsense, what difference does age make? You have ripeness, luxuriousness, more experience, more character now — more everything!" He grabs her hand, "This is inevitable." As he pursues the middle-aged woman around the room, the real estate agent enters. Verdoux pretends to have been chasing a bee, claps his hands by the window, loses his balance, and somersaults out on the roof. "I