The German narrator describes a trip by his family to the fictional seaside town of Torre di Venere, Italy (a fictional town based on the touristic city of Forte dei Marmi) in the 1920s. The stay becomes unpleasant, partly because he finds the Italian people had become too nationalistic.

The family attends a performance by a magician and hypnotist who goes by the name "Cavaliere Cipolla", who uses his mental powers in an abusive or fascist way to control his audience. The magician, whose body is somehow disfigured but who has a strong mind, represents the mesmerizing power of authoritarian leaders in Europe at the time — he is autocratic, misuses power, and is able to subjugate the crowd, counterbalancing his inferiority complex by artificially boosting his self-confidence.

Cipolla's assassination by Mario, a native of Torre di Venere who was the last one abused by the magician on stage, is not seen as a tragedy but as liberation by the author and the audience.

The German narrator describes a trip by his family to the fictional seaside town of Torre di Venere, Italy (a fictional town based on the touristic city of Forte dei Marmi) in the 1920s. The stay becomes unpleasant, partly because he finds the Italian people had become too nationalistic.

The family attends a performance by a magician and hypnotist who goes by the name "Cavaliere Cipolla", who uses his mental powers in an abusive or fascist way to control his audience. The magician, whose body is somehow disfigured but who has a strong mind, represents the mesmerizing power of authoritarian leaders in Europe at the time — he is autocratic, misuses power, and is able to subjugate the crowd, counterbalancing his inferiority complex by artificially boosting his self-confidence.

Cipolla's assassination by Mario, a native of Torre di Venere who was the last one abused by the magician on stage, is not seen as a tragedy but as liberation by the author and the audience.

Place: A huge, dark hall in a castle, with seven locked doors.
Time: Not defined.

Judith and Bluebeard arrive at his castle, which is all dark. Bluebeard asks Judith if she wants to stay and even offers her an opportunity to leave, but she decides to stay. Judith insists that all the doors be opened, to allow light to enter into the forbidding interior, insisting further that her demands are based on her love for Bluebeard. Bluebeard refuses, saying that there are private places not to be explored by others, and asking Judith to love him but ask no questions. Judith persists, and eventually prevails over his resistance.

The first door opens to reveal a torture chamber, stained with blood. Repelled, but then intrigued, Judith pushes on. Behind the second door is a storehouse of weapons, and behind the third a storehouse of riches. Bluebeard urges her on. Behind the fourth door is a secret garden of great beauty; behind the fifth, a window onto Bluebeard's vast kingdom. All is now sunlit, but blood has stained the riches, watered the garden, and grim clouds throw blood-red shadows over Bluebeard's kingdom.

Bluebeard pleads with her to stop: the castle is as bright as it can get, and will not get any brighter, but Judith refuses to be stopped after coming this far, and opens the penultimate sixth door, as a shadow passes over the castle. This is the first room that has not been somehow stained with blood; a silent silvery lake is all that lies within, "a lake of tears". Bluebeard begs Judith to simply love him, and ask no more questions. The last door must be shut forever. But she persists, asking him about his former wives, and then accusing him of having murdered them, suggesting that their blood was the blood everywhere, that their tears were those that filled the lake, and that their bodies lie behind the last door. At this, Bluebeard hands over the last key.

Behind the door are Bluebeard's three former wives, but still alive, dressed in crowns and jewellery. They emerge silently, and Bluebeard, overcome with emotion, prostrates himself before them and praises each in turn (as his wives of dawn, midday and dusk), finally turning to Judith and beginning to praise her as his fourth wife (of the night). She is horrified and begs him to stop, but it is too late. He dresses her in the jewellery they wear, which she finds exceedingly heavy. Her head drooping under the weight, she follows the other wives along a beam of moonlight through the seventh door. It closes behind her, and Bluebeard is left alone as all fades to total darkness.