Dylan projects Bluebeard onto a sheet in the backyard. He’s dragged a couch out from inside, which Cass and Lulu claim for themselves, a couple of sleeping bags wrapped around them to ward off the night’s sharp chill.

It’s very weird watching a silent movie: For one thing, Lulu can’t look at her phone if she wants to keep up with the dialogue. And then the city becomes the film’s soundtrack: helicopters buzzing by overhead and the distant wail of sirens, the rumble of traffic, music from a neighbor’s party drifting by.

The plot of the film is fairly straightforward. Connie Wilmott plays Katherine, a small-town girl whose small town is bankrolled by a man with a presumably blue beard—in this version, everyone calls him Barbaro. He’s been married three times, always to girls from outside the town; all three of those wives have disappeared under mysterious circumstances. The people in the town are suspicious, but they know better than to ask questions.

Barbaro owns the local factory, and the bank. When Katherine’s father falls into debt, he invites Barbaro over for dinner in order to slyly introduce him to his beautiful daughters, Katherine and her sister, Anna. Barbaro takes the bait; he forgives the debts in exchange for permission to marry Katherine.

Who is, understandably, not pleased.

She’s taken to his house on a hill; she’s given the run of the place, and keys to every room. There’s one she can’t enter, he tells her. There’s a door she has the key to, but which she must never open.

For months, Katherine does as she’s told. She comes to love the house, which is beautiful. She comes to a grudging respect for her husband, who does what he can to care for her. He seems like he might not be such an evil man.

Maybe that’s why she looks, Lulu thinks. She can feel herself starting to trust him, and the animal part of her brain knows that she’s wrong to do it. He’s tame, maybe, but he is not safe.

Katherine opens the door she’s never supposed to open. She sees the bodies of all the women he’s loved before, bloodied, lifeless, hung on display.

She opens her mouth. There’s silence where her scream should be.

She drops the key. Its gets stained with blood that won’t scrub off. Barbaro comes home and sees it. He has his hands at her throat.

Katherine’s sister is knocking on the door.

Barbaro lets her go. He’s a patient man; he’ll kill her after her sister visits. He’ll let her dangle, helpless, and enjoy watching her squirm.