:07:02
Chris? Christine!
:07:05
- I'm coming, Jenny.
- If you've another engagement, break it.
:07:12
You've had your fling at this for two years.
:07:14
But I don't want to give up the opera,
not until I've had a chance to really sing.
:07:19
Anatole says he has great faith in
my voice, and he's going to help me.
:07:22
Naturally. That's what baritones are for(!)
:07:27
- You were in wonderful voice tonight.
- Thank you, Marcel.
:07:31
Christine! Why weren't you on
the stage for the end of the act?
:07:35
- You're all right?
- Oh, yes.
:07:36
Mademoiselle DuBois, come here please.
:07:42
Don't worry.
:07:45
Why weren't you onstage
for the curtain calls?
:07:48
- Well, erm, I was ill...
- No, you were not.
:07:50
You were entertaining a friend.
A friend, mind you!
:07:53
For a singer to absent herself
from the stage during a performance
:07:57
is a gross breach of...
:07:59
- Oh. You wish to talk to me, monsieur?
- With your permission,
:08:02
I'd like a few words with MIle DuBois
in my office after the performance.
:08:06
- Yes, she will be there.
- Thank you.
:08:09
- Now, you bear in mind what I told you.
- Yes, monsieur.
:08:24
Terrifying fellow, that Vercheres,
when he wants to be.
:08:27
I'm very grateful, monsieur. I promise you
I'll never miss a curtain call again.
:08:31
It's a promise. Now, uh,
:08:34
this young man who is more important
to you than your career... Who is he?
:08:38
But he isn't, monsieur. That is,
I am very fond of him. I mean...
:08:43
Oh.
:08:44
Well, he's Inspector
Raoul Daubert of the Sûreté.
:08:47
Inspector? You mean a policeman?
:08:50
Oh, but he's not an ordinary policeman.
:08:52
Even an extraordinary policeman seems
a strange sweetheart for a soprano.
:08:56
Does he sing?
:08:59
I'm afraid you don't
understand, monsieur.