All language subtitles for cat people 1942 Eng

Uh...

Thank you.

You won't believe this.
You've probably heard it a dozen times before.

- But I've never known any artists.
- I'm not an artist.

Oh. What's all this?

- I do sketches for fashion drawing.
- Oh.

- May I see it?
- Oh, no. It's not good.

If I let you see it, you might not
want to know any artists ever.

I'm afraid it'd have to be
pretty bad to do that.

Besides, look ‒ "Let no one say
and say it to your shame..."

Irena Dubrovna.
Is that a Russian name?

- No. I'm from Serbia.
- Oh, I see.

Would you mind spelling it?

Want to know how to spell my name?
Are you going to write me a letter?

- I'd like to write you a letter.
- What about?

I would say in this letter,
"Dear Miss Dubrovna ‒"

I would say, "Will you have tea with me?"

Oh. Well, in that case I'd just have to
write you another letter.

- I'd say ‒
- Here's my house.

Perhaps, Mr. Reed, you would like
to have tea in my apartment?

Oh, Miss Dubrovna.

You make life so simple.

You know,

I never cease to marvel
at what lies behind a brownstone front.

- Well, what's the matter?
- Nothing.

But you... you looked at me
in such a funny way.

I have never had anyone here.

You're the first friend I met in America.

Oh, I know lots of people in business.

Editors, secretaries,
other sketch artists, you know.

But you might be my first real friend.

Thank you.

- Nice.
- That's Lalage.

- Lalage?
- The perfume I use.

I like it. Perhaps too well.

Maybe I use too much of it,
living alone like this.

It's hard to describe.

Not like flowers, exactly. It's...
It's like something warm and living.

What's that?

It's the lions in the zoo.
One can hear them here often.

Many people in this building complain.

The roaring keeps them awake.

- And you don't mind it?
- No.

To me, it's the way the sound
of the sea is to others ‒

natural and soothing.

I like it.

Some nights there is
another sound ‒ the panther.

It screams like a woman.

I don't like that.

Oh, I hadn't realized
how dark it was getting.

I like the dark. It's friendly.

No, no, keep still, please.

- Are you admiring my statue?
- Not exactly.

- Who's it supposed to be?
- King John.

Oh, King John.
The Magna Carta and all that stuff?

No. King John of Serbia.

He was a fine king.

He drove the Mamelukes out of Serbia
and freed the people.

Well, why have this around?

Well, perhaps you have in your room

a picture of George Washington
or Abraham Lincoln.

Well, what does it mean?

Why is he ‒ Why is he spearing that cat?

Oh, it's not really a cat.

It's meant to represent the evil ways
into which my village had once fallen.

You see, the Mamelukes
came to Serbia long ago

and they made the people slaves.

Well, at first, the people were good

and worshipped God
in a true Christian way.

But, uh, little by little,
the people changed.

When King John drove out the Mamelukes

and came to our village,

he found dreadful things.

People bowed down to Satan

and said their masses to him.

They had become witches

and were evil.

Well, King John put some of them
to the sword.

But some,

the wisest and the most wicked,

escaped into the mountains.

Now do you understand?

Well, I still don't see
what it has to do with you.

Those who escaped, the wicked ones,

their legend haunts the village
where I was born.

Boys who come to tea
can't expect to stay to dinner.

Some other time perhaps.

- Tomorrow?
- Mm-hmm.

Well, what time tomorrow?

Dinner?

A little more to the left, Harry.

Easy. Just a hair.

I'm afraid she's gonna be
all right, Alice.

She's got what it takes, all right,
Commodore.

Oh, isn't it a darling?

- Where'd you get it?
- I bought it.

- You're not going in for cats, are you?
- No, Commodore, I just bought it for a friend.

We arrived at the inescapable conclusion
that our Oliver has a girl.

A brilliant deduction, Carver.
I want to show you something.

- A girlfriend?
- A girl.

- Anybody I know?
- Not yet, but I know you'll like her.

Well, if you like her, she's okay with me.

Shh.

Well, hello.

Look, Irena. I brought you a present.

Why, you little devil.

Oh, it's all right.

It's just that cats don't seem to like me.

Yeah, but this is only a kitten.

It's very friendly.

When I had it in the office, Alice ‒
that's the girl who works in our department ‒

it played with her.

Cats just don't like me.

Oh, I know what we can do.

- You got it at a pet store, didn't you?
- Yes.

Good. Well, we could exchange it
for some other pet.

- Mm-hmm.
- I'll get my coat.

I'd like to exchange this kitten
for a canary.

You'll have to talk louder.

- What did you say?
- I can't understand a word you say.

I can't imagine what ‒

Oh, landie-dearie me.
I can't imagine what got into them.

All that caterwauling.

The last time they did that
was when an alley cat got in

and ate up one of my nice Rice finches.

- I wanted to exchange this kitten for a bird.
- Why, of course.

I have some lovely canaries.

One little lemon-colored fellow
with top notes like Caruso.

As peaceful as my dream of heaven.

Shall we go back now
and select just which little birdie?

You go, please, Oliver.

You pick the one you like.

I'd rather stay here.

Of course. I'll only be a minute.

Animals are ever so psychic.

There are some people
who just can't come in here.

My dear brother's wife, for instance.

She's a very nice girl.
I have nothing against her.

But you just should see what happens
when she puts her foot inside this place.

The cats particularly, they seem to know.

You can fool everybody,
but landie-dearie me, you can't fool a cat.

They seem to know who's not right,
if you know what I mean.

Here we are.
Isn't he a ducky little angel?

- This is it.
- Thank you.

- What do you think of it?
- Oh, he is sweet.

He will like me very much.
You will see. I like to be liked.

That ought to be easy. Really easy.

- Irena.
- Yes.

- I fell asleep.
- I know.

Couldn't have been
very entertaining for you.

I was watching you.

- And that was fun?
- Mm-hmm.

Do you love me, Irena?

Mm-hmm.

You know I love you, don't you?

I've never kissed you.

Do you know, that's funny.

Why?

Well...

when people in America are in love,
or even think they're in love,

they've usually kissed long ago.

Well?

Irena, what's wrong?

I've lived in dread of this moment.

I've never wanted to love you.

I've stayed away from people, I ‒

I lived alone.

I never wanted this to happen.

- But you just told me you love me.
- I do.

I do.

I've fled from the past,

from things you could
never know or understand.

Evil things.

Evil.

Irena, you've told me
something of the past ‒

about King John
and the witches in the village

and the cat people descended from them.

They're fairy tales, Irena.

Fairy tales heard in your childhood.
Nothing more than that.

They've nothing to do with you, really.

You're Irena. You're here in America.

You're so normal, you're even in love with me,
Oliver Reed, a good, plain Americano.

You're so normal,
you're gonna marry me.

And those fairy tales,
you can tell them to our children.

They'll love them.

It's all right. It's all right.
When do we get some more, eh?

- Oh, here it comes.
- Ah.

Aha! Komitadji!

Oh, Mr. Carver, you should not
call a good man that.

But it's Serbian.
I got it from my barber this afternoon.

But you might insult him.

Komitadji means "thief," "bandit."

I've been double-crossed.

Oliver's bride
seems to be a very nice girl.

And a very pretty one too.

Carver tells me she's a bit odd.
He's worried about the marriage.

Nonsense. Irena's a grand girl.

She and Oliver are going to be
very happy together.

I certainly hope so.

- To the bride.
- The bride!

The bride! The bride!

Look at that woman.
Isn't she something?

Looks like a cat.

Thank you so much
for this lovely party, Alice.

I didn't know
there was a Serbian restaurant.

Anything you want to know
about this city, ask me.

I know all the unimportant details.

Moja sestra.

Moja sestra?

Well, how do you like that?

What did that woman say to you, darling?

Well, what did she say?

Wait a minute. It can't be that serious,
just one single word.

She greeted me.

She called me "sister."

You saw her, Oliver.
You saw what she looked like.

Oh, the cat people.

She looks like a cat, so she must be one
of the cat people, one of King John's pets.

Oh, Irena, you crazy kid.

I know a joke about weddings.

Why would my wedding be
a dollar-and-cents wedding, eh?

All right, why?

Because I haven't a dollar,
and me girl hasn't any sense.

That's a corny joke even for you, Doc.

Come on, Carver.

What is it, darling?

I'm... I'm going to beg.

Mrs. Reed?

It's nice to hear that. Nice.

- I want to be Mrs. Reed.
- Well, you are.

But I want to be Mrs. Reed really.

I want to be everything
that name means to me.

And I can't. I can't.

Oliver... be kind, be patient.

Let me have time.

Time to get over that feeling
there's something evil in me.

Darling, you can have all the time
there is in the world if you want it,

and all the patience
and kindness there is in me.

Only a little time, Oliver.

I don't want more than that.

Good night, Irena.

Good night, Oliver.

Good night, Irena.

♪ Nothing else to do ♪

♪ Nothing else to do ♪

♪ I strayed, went a-courtin' ♪

♪ For I'd nothing else to do ♪

♪ Nothing else to do ♪

♪ Nothing else to do ♪

♪ I strayed ‒ ♪

Well, ain't seen you here
in some time, ma'am.

Been married.
Been married for almost a month.

That's what I tell this critter.

Nobody comes to see him
when they're happy. No, sir.

The monkey house and the aviary
gets the happy customers.

But he's beautiful.

No, he ain't beautiful.

He's an evil critter, ma'am.

You read your Bible.

In Revelations, where the book's
talking about the worst beast of them all,

it says,

"And the beast which I saw
was like unto a leopard."

Like unto a leopard.

Yes, ma'am.

Like a leopard, but not a leopard.

- I guess that fits this feller.
- Yes, it fits him.

♪ Nothing else to do
Nothing else to do ♪

♪ I strayed, went a-courtin'
'cause I'd noth ‒ ♪

Uh, best wishes for your marriage, ma'am.

♪ Nothing else to do
Nothing else to do ♪

Would you like some sherry?

If you're determined to mourn that bird,
we'll have a regular wake.

It's not just because the bird died.

It's me.

I envy every woman I see on the street.

They can't match your little finger.

I envy them.

They are happy.
They make their husbands happy.

They lead normal, happy lives.

They're free.

- Do you know what happened to the bird?
- It died.

It died of fright
when I tried to take it in my hand.

All right, the bird was afraid of you.
That's nothing.

I had a rabbit once that hated me,
yet I grew up to be quite a nice fella.

Oliver.

When I went past the panther's cage,

I had to open the box.

I had to throw the bird to him.

Do you understand?

I had to. I had to do it.

That's what frightens me.

Irena, I've been trying to
kid you out of it.

Maybe that's wrong. I've tried to ‒

No one could have been
more gentle or more patient.

I've tried to make you realize all these stories
that worry you are so much nonsense.

But now I see it's not the stories.

It's the fact that you believe them.

We've got to have help, Irena.

Not that sort of help.

There's something wrong,
and we have to face it in an intelligent way.

We don't need a King John
with fire and sword.

We need someone who can find
the reason for your belief and cure it.

That's what we need.

A psychiatrist.

Oh, find one for me, Oliver.

The best one.

The very best one.

You were saying, the cats...

They torment me.

I wake in the night,

and the tread of their feet
whispers in my brain.

I have no peace,

for they are in me.

In me.

In me.

Hypnosis always tires me.

Some of my patients, too,
find it exhausting.

It's only that I ‒ I remember nothing.

It's my duty to remember.

I have it all here. Most interesting.

You told me of your village
and the people and their strange beliefs.

I'm so ashamed.

It must seem so childish.

And the cat women of your village too.
You told me of them.

Women who, in jealousy or anger
or out of their own corrupt passions,

can change into great cats, like panthers.

And if one of these women
were to fall in love,

and if her lover were to kiss her,
take her into his embrace,

she would be driven
by her own evil to kill him.

That's what you believe
and fear, isn't it?

These things are very simple
to psychiatrists.

You told me about your childhood.

Perhaps we will find this trouble stems
from some early experience.

You said you didn't know your father,

that he died in some mysterious accident
in the forest before your birth.

And because of that, the children
teased you and called your mother

a witch, a cat woman.

These childhood tragedies
are inclined to corrode the soul,

to leave a canker in the mind.

But we'll try to repair the damage.

You're not to worry.

What shall I tell my husband?

Naturally, he's anxious to have some word.

What does one tell a husband?
One tells him nothing.

Alice, it's so nice to see you.

Hello, darling.
How'd you make out with Louis?

- Louis?
- Dr. Judd.

Alice knows, darling.

Of course. Didn't I suggest Dr. Judd?

I met him on the commodore's boat.

The way he goes around kissing hands
makes me want to spit cotton.

But I guess he knows
all there is to know about psychiatry.

- Uh-oh.
- I told Alice.

I knew she'd know some good doctor.

I don't see why that was necessary.

Sorry. I seem to have
put my big foot in it.

I'm sorry, Irena.

I'm sure neither Oliver nor I
had any notion of offending you.

I'm dreadfully sorry.

Good-bye, Alice.

Darling, really, there's no reason to ‒

But, Oliver, how can you
discuss such things?

Such intimate things about me?

- How much did you tell her?
- You can tell Alice anything.

She's such a good egg.
She can understand anything.

There are some things a woman
doesn't want other women to understand.

Irena.

I woke up. You were gone.

What's wrong, darling?

I couldn't sleep. I went out.

- Where'd you go?
- Just walked.

I'm sorry about this afternoon.

I... I just didn't think.

Oliver, we should never quarrel.

Never let me feel jealousy or anger.

Whatever is in me is held in,
is kept harmless

when I am happy.

I'd turn handsprings, darling.

I'd dance in the streets
to make you happy.

Toward the sheer line.

Sixty-two degrees.

Hey.

Oh, I'm sorry.

I must have given you the wrong figure.
Let me try again.

Wait. Let's have a cigarette first.

That's the third wrong figure
you've given me this morning.

Getting careless in my old age.

Something's on your mind.

Anything wrong?

Nope.

Must be marriage.

Well, in a way, it is.

I'm worried about Irena.

But I thought she was going to Dr. Judd.

Yeah, that's what I thought.
But I ran into Dr. Judd this morning.

She hasn't been back
since the first visit.

But you told me she seemed
so anxious to be cured.

Apparently not.

I'm sorry, Ollie.

Must make you very unhappy.

You know, it's a funny thing.

I've never been unhappy before.

Things have always gone swell for me.

I had a grand time as a kid.

Lots of fun at school
and here at the office

with you and the commodore and Doc.

That's why I don't know
what to do about all this.

I've just never been unhappy.

Hey.

Now, wait a minute.

I... can't help it.

I just can't help it.

I can't bear to see you unhappy.

I love you too darn much,
and I don't care if you do know it, Ollie.

I love you.

I'm sorry. Forget it.

There's Irena. You're in love with her.

I don't know.

All this trouble has made me think...

I don't know what love really is.

I don't know... even whether
I'm in love with Irena.

I know what love is.

It's understanding.

It's you and me,
and let the rest of the world go by.

It's just the two of us living our lives
together, happily and proudly.

No self-torture and no doubt.

It's enduring and it's everlasting.

Nothing can change it.

Nothing can change us, Ollie.

That's what I think love is.

Well...

that isn't the way I feel about Irena.

It's a different feeling.

I'm drawn to her.

There's a warmth from her that...

pulls at me.

I have to watch her
when she's in the room.

I have to touch her when she's near.

But I don't really know her.

In many ways, we're strangers.

You and I,

we'll never be strangers.

♪ I strayed, went a-courtin' ♪

♪ For I'd nothing else to do ♪

♪ Nothing else to do
Nothing else to do ♪

♪ I strayed, went a-courting ♪

♪ For I'd nothing else to do ♪

♪ For I'd nothing else to do ♪

♪ Nothing else to do
Nothing else to do ♪

You forgot your key.

Oh, I'm always forgetting it.
But ain't no worry in it.

Nobody would want
to steal one of them critters.

You resist temptation admirably.

- Temptation?
- The, uh, key.

- Why would I want it?
- For many reasons.

There is, in some cases, a psychic need
to loose evil upon the world.

And we all of us carry within us
a desire for death.

You fear the panther, yet you're
drawn to him again and again.

Couldn't you turn to him
as an instrument of death?

You didn't come back to see me Friday.

I've had to come to you.

- Well, how did you know where to find me?
- You told me many things.

Why didn't you come back?

I don't feel you can help me.

You're very wise. You know a great deal.

Yet when you speak of the soul,
you mean the mind.

And it is not my mind that is troubled.

What a clever girl.

All the psychologists have tried for years
to find that subtle difference

between mind and soul.

And you found it.

It does seem presumptuous of me,
doesn't it?

Good-bye, Doctor.

Irena.

I'm worried. What's happening to us?

I love you, Oliver.

I know, but people can love
and people can still drift apart.

And that's what I feel is happening to us.

We don't talk together openly.
You're not frank with me.

I've never lied to you.

I ran into Dr. Judd today.

You haven't been back to see him.

- He cannot help me.
- Well, you won't let him help you.

You won't let me help you.
You won't even help yourself.

It's what I said to Alice this afternoon.

- You're content to go on as we are...
- Alice.

Oh, I...
I promised you we'd never quarrel.

Let's calm down a bit.

I'll go back to the office.

I've got some work to do.

Oh, do you wanna go up
to the office, Mr. Reed?

I think I'll go round the corner
to Sally Lunn's,

get a cup of coffee before I get to work.

I'll be back.

- Hello, Mr. Reed.
- Minnie.

Maybe you'd like
some nice chicken gumbo today?

No, thanks, Minnie.

How about some apple pie
and a cup of coffee?

Yes, sir.

My goodness,
don't nobody like chicken gumbo?

Hello.

Hello?

Hello?

Hello.

John Paul Jones,
don't you hate people who do that?

Good night, John Paul.

Here, Mrs. Agnew, a couple
new matchbooks for your collection.

Oh, thank you, Miss Moore.

Ooh. Chartreuse. Ain't that elegant?

Too bad you wasn't here just a minute ago.

- Mr. Reed looked in.
- Oh, where'd he go?

Said he was going around the corner
to Sally Lunn's.

- I'll see if I can catch him. Good night.
- Good night, Miss Moore.

Could you squeeze the coffee pot
for me, Minnie?

- Hello.
- I sure could.

Only this coffee's been working so long,
it's got muscles.

What are you doing in this part of town
at this hour of night?

Hmm. Stormy weather.

Ollie, you're going to have to
solve your problems your own way.

I'm going to drink up and go home.

I think you'd better go home, too,
and make it up with Irena.

Alice, you're very swell.

That's what makes me dangerous.
I'm the new type of other woman.

- Good night, Minnie.
- Good night.

- Good night, Minnie.
- Good night.

- You cold?
- A cat just walked over my grave.

Don't you want me to walk you home?

No, thanks. I'm a big girl now
and I'm not afraid.

Well, good night.

Good night.

Climb on, sister.
Are you riding with me, or ain't you?

You look as if you'd seen a ghost.

Did you see it?

Taxi, lady?

No, please don't. Don't touch me.

Irena.

I'm sorry.

I've been worried to death.
I didn't know where you were.

I thought...

What happened tonight
happens in every family.

I was all on edge.

You've got to understand
and you've got to forgive me.

I forgive you.

Irena.

What?

Are you all right?

I'm all right.

To loose evil upon the world.

There is, in some cases, a psychic need
to loose evil upon the world.

There is, in some cases,
a psychic need, a desire for death.

To loose evil.

A desire for death.

A psychic need.

The, uh, key.

The, uh, key.

The, uh, key.

The, uh, key.

I'm afraid this is dull for Irena.

Darling, there are some
beautiful moderns upstairs.

- Why don't you take a look at them?
- But I like these little boats.

I want to be with you.
Don't send me away.

We're not sending you away.
We just don't want you to be bored.

We'll meet you in the main lobby
in an hour.

Oh, Ollie, look, a drawing of the Victory.

You know, that's the last man-of-war
with a lateen sail aft.

Could I have the key
for the swimming pool?

- Of course, dearie.
- Oh, what a darling kitten.

Yeah. It's one of four.
A tabby had 'em about a month ago.

Don't forget to turn the lights out
when you're through, will ya?

I won't forget.

Hello?

Yeah. Mm-hmm.

- Just a moment, dearie. Yes?
- Is Miss Moore in?

She just went downstairs
to the swimming pool.

Would it be all right
if I went down to see her?

Of course, dearie.
Right down them steps there.

Ah, gee, I can't tonight.

Help!

Help!

Gee whiz, Mrs. Hanson.

Help!

What is the matter, Alice?

What bothers Miss Moore?

- Gee whiz, dearie. Are you all right?
- It's nothing.

It was dark down here, and Mrs. Reed
coming in unexpectedly frightened me.

I'm terribly sorry.

No, don't go. I'm coming right out.

Sorry to have disturbed you, Alice.

I missed you and Oliver, and I thought
you might know where he is.

We waited for you at the museum.

You'll probably find him at home.

If you don't mind then, I'll run on.

- Could I have my robe, please?
- Sure.

Gee whiz, honey. It's torn to ribbons.

Thank you for coming
at so late an hour, Dr. Judd.

I phoned you because I'm troubled.
I think you can help me.

How much do you believe
about the cat people?

The cat people?
The story Mrs. Reed told me?

Yes.

I believe, my dear Miss Moore,
exactly as I told Mrs. Reed ‒

The story is a product of her own fear,
her own overworked imagination.

What would you say, Dr. Judd,

if I were to tell you
that I believe Irena's story?

Yes?

Twice I've been followed
by something that was not human,

something that attempted to take my life.

I believe that was the cat form of Irena.

But why should she wish to harm you?

Because I'm in love with her husband.

Oh, my dear Miss Moore.

This story grows more and more charming.

Simpler, too, all the time.

You're both victims of fear.

Mrs. Reed fears the past,
and you fear the present.

Mrs. Reed has a very strong imagination,

and you have an equally strong conscience.

Dr. Judd, the danger
that threatened me was very real.

You disappoint me, Miss Moore.

Here's my robe.

To understand this,
I should first have to hear

Mrs. Reed's version of the story myself.

That should be
a most interesting interview.

I shouldn't advise you to see her alone.

Do you think I'm afraid
of so charming a lady?

Dr. Judd, I know you don't believe me,
but you must be careful.

Oh, you want me to carry
some means of protection.

A gun, perhaps, with a silver bullet.
Is that what you mean?

If you are lucky enough to have one.

Hmm.

Of course...

this isn't silver.

Good night, Miss Moore.

You say you have lapses of memory
for which you cannot account.

They're becoming more frequent,
and you're afraid.

Help me.

I can't help you.
You're not truthful with me.

But I am. I've told you everything.
I have not lied to you.

Do you sincerely believe
that if your husband were to kiss you,

you would change into a cat
and rend him to bits?

I don't know. I am only afraid.

And if I were to kiss you?

I only know that I should not like
to be kissed by you.

My dear Mrs. Reed,
sometimes in my profession,

there comes a contest of wills
between the doctor and his patient.

Patients are clever. Very clever.

And they can fool the doctor sometimes.

You're very clever.

And perhaps you enjoy this little game
you are having with me.

But I shall discover your secret.

Dr. Judd, believe me.
I beg you to believe me.

I have no secret. I told you everything.

I have not lied to you.

I need your help.

I can't help you.

But I can warn you.

These hallucinations approach insanity.

This nonsense about Miss Moore
at the park and in the swimming pool ‒

it's a deterioration of the mind,
an escape into fantasy.

And it's dangerous.

At this moment,

I could go before a board
and have you put away for observation.

You're that close to real insanity.

I can't help you.

You can only help yourself.

You keep going back
to the mad legends of your birthplace.

Forget them.

You surround yourself
with cat objects, pictures.

Get rid of them. Lead a normal life.

You know, for the first time,
you've really helped me.

Maybe it's because you interest me.

Oliver.

I went back to Dr. Judd's office.

I'm no longer afraid.

Believe me, Irena, I'd have been
the happiest man in the world

if you told me that a little while ago.

But things have changed.

I had to learn,
maybe through this marriage of ours.

I didn't want to tell you this,

but now, you see, I have to.

I love Alice.

Irena, it's too late.

Too late.

Well, there seems
only one decent thing for me to do.

I'll give you a divorce.

- Believe me, it's better this way.
- Better?

Better for whom?

Irena, I...

Speak.

You can't speak.

There's nothing you can say.

There's only silence.

But I love silence.

I love loneliness.

And they ‒ they are in me.

Their strength, warmth.

Their softness. Their softness.

Irena, you're talking
like an insane woman.

Please go.

I want you to go. Please.

Go.

Go!

Bavarian cream?

Roquefort?

And you get the apple pie.

I have pointed out
two alternatives, Mr. Reed ‒

Either have her put away
for observation and restraint

or have your marriage annulled.

It's tough for Oliver either way, Doctor.

As a psychiatrist, I should recommend
that you have her put away.

As your friend, however, I have
much more reasonable advice to offer.

I think you should have
your marriage annulled.

In that way,
you are free of responsibility.

- You two could marry.
- And if Irena's sent away?

The law is quite explicit.
One cannot divorce an insane person.

If she's not well,
I've got to take care of her.

It's the only right thing, Ollie.

As you will. I'll have
the commitment papers drawn up

and arrange an interview with Mrs. Reed
at her apartment tonight.

Shall we say 6:00?

Let's not play that.

I don't think Irena's coming.
We've waited an hour and a half.

Perhaps it's useless to wait.

I don't think she intends coming.

She's probably walking in the park.

Ollie, let's get back to the office.
We've had a terribly broken-up day.

- There's lots of work to be done.
- Suits me.

Oh, how stupid of me.
I left my walking stick in the apartment.

- Oh, I'll get it for you.
- Oh, no, it's my fault.

Give me the key.
I shall only be a moment.

Five and a half.

Five and a half.

And... one and three-eighths.

And one and three-eighths.

There.

I'll get it.

Hello?

Hello?

Hello!

They hung up on me.

- That's funny.
- What?

It happened once before like that.

The telephone rang, and I answered.

There was someone
on the other end of the line.

I could almost hear them listening.

And then there was a little click
as they hung up the receiver.

That was the night
I was followed on the transverse.

Ollie... let's get out of here.
I'm afraid.

That was Irena.
I know it was Irena who called.

She could call from downstairs.
She may be on her way up now.

Get your things.

The door's open.
We can see to get out into the hall.

I'll turn out the table lights.

It's shut now.
Just a minute ago, it was open.

It's locked.

Irena.

Irena.

Leave us, Irena!

In the name of God, leave us in peace.

Come on.

Let's go down the stairs.

Don't, Alice. It's gone.
Everything's all right. Don't be afraid.

I'm not afraid.

Look.

Irena's perfume.

Strong, sweet.

I need a drink.

- Yes?
- Dr. Judd?

Miss Moore.

Yes. We've been trying to get you
on the phone, Dr. Judd.

I called your hotel.

Yes, I know.
That's what I want to talk about.

Are you alone?

You'd better leave then.
She may be on her way back now.

But she is dangerous, Dr. Judd.
I warn you.

Hello? Hello, Dr. Judd?

Dr. Judd?

I think Irena just came in.
He hung up on me.

Come on.

We'll get a taxi.

You're late, aren't you?

I kept my appointment.

You see, I've never believed your story.

I am not afraid of you.

I take you in my arms.

So little, so soft.

The warm perfume in your hair.

Your body.

Don't be afraid of me, Irena.

He's dead.

Mr. Reed. Oh, Mr. Reed.

Oh, don't worry, Mr. Reed.

Sue Ellen and I phoned the police
just as soon as we heard the racket.

Thank you.

Sue Ellen, you know better than that.

You're not supposed to touch anything
until the police get here.

- The sword cane.
- Broken. Half of it's gone.

We've got to find her. Come on.

She never lied to us.