Cat People Page #14

JUDD'S VOICE

(over EFFECT SHOT)

Go loose evil upon the world -- a

psychic necessity � a desire for

death-- to loose evil --a desire

for death -- to loose evil � a

desire for death ---

We LAP DISSOLVE BACK to Irena's face in such a manner that it

seems this enormous key were pressing down upon her in her

sleep. .

DISSOLVE:

EXT. PANTHER CAGE - PARK - DAY

A light rain is falling. Once more the keeper is singing to

himself in his nasal voice as he pushes chunks of meat in for

the beast. He looks up to see Irena standing at the guard

rail and smiles at her.

KEEPER:

Good afternoon, ma'am.

IRENA:

The animals must love you. You feed

them so promptly...the same time

every day. One could set one's

watch by you.

KEEPER:

Thank you, ma'am. It ain't that

the animals like me, though. I

tell you, they'd just as leave have

me for their dinner, even if they

was to get everlastin1 dyspepsia.

IRENA (LAUGHING)

I don't think they'd find you

indigestible.

This strikes the keeper as being very amusing. He chuckles

to himself and absent-mindedly moves on to the next cage.

Irena looks at the door Of the panther's cage.

THE KEY to the panther's cage has been left in the lock

again by the keeper.

BACK TO SCENE, Irena looks around her, making sure that no

one is near enough to see her. Very quietly she opens the

little gate, takes out the key and slips it in her purse. She

steps back onto the promenade, closing the gate behind her.

The keeper looks up; he is still chuckling. Irena smiles and

looks toward the black panther.

CLOSEUP of the black panther's face as the beast stares at

her.

DISSOLVE:

INT. FLECKER MUSEUM - MODEL SHIP EXHIBIT - NIGHT

CLOSEUP of a grinning cat's face which adorns the bowhead,

the end of the timber projecting at right angles from the bow

of a model ship.

CAMERA DRAWS BACK for CLOSE SHOT of Irena looking at the ship

model. It is the "Royal Harry,11 progenitor of the mighty

British fleet. But what obviously holds Irena's interest is

the cat's face. She is fascinated.

THREE SHOT - Alice and Oliver in the f.g.and Irena in the

b.g. Alice and Oliver are engrossed in their examination of a

frame model of the privateer, "Swallow". They move over to

the next, model, which brings them beside Irena. Alice stops

and looks at Oliver.

ALICE:

I'm afraid this is dull for Irena.

Irena, aroused from her absorption in the quaint cat face on

the "Royal Harry," comes to herself with a start. Oliver

takes her elbow.

OLIVER:

Look, darling, there are some

beautiful moderns upstairs. Why

don't you take a look at them?

IRENA:

I like these little boats. I

want to be with you.

(looking up at Oliver; pouting)

Don't send me away.

OLIVER:

(gently and lightly)

We're not sending you away. We

just don't want you to be bored.

Irena looks at him. Her mood changes, as she feels that

perhaps they do want to be rid of her. She walks off.

OLIVER (cont'd)

(calling after her)

We'll meet you in the main lobby

in an hour.

Alice's attention is attracted by a set of line drawings.

She turns to them.

ALICE:

Ollie, look! Line drawings of

the "America!"

They begin to examine the drawings,

INT. MUSEUM CORRIDOR - EGYPTIAN ROOM - NIGHT

Irena paces the museum corridors. She walks alone, the

CAMERA TRACKING with her. A sullen look is on her face and

her lips are heavy with sulkiness. She passes a showcase

filled with terra cotta figurines of the cat-headed

goddess, Bubastis. She only glances at them as she passes.

Her stride lengthens with her growing anger. At the end of

the aisle she stops still and looks up.

As SHOT from Irene's VIEWPOINT, looking up, we see a

towering effigy of the goddess Bubastis, carved into a

black basalt caryatid. The huge cat head is supported by a

lovely, slim, women's neck, rising from rounded, feminine

shoulders. The goddess gazes down at Irena from blind,

enigmatic, cat's eyes.

Irena, as she looks up at this dread goddess of the noonday

sun, seems to reach a resolve. Her expression grows grim,

resolute. She turns, and walks quickly away.

INT. MAIN LOBBY - MUSEUM - NIGHT

Irena walks through the main lobby toward the exit door.

She pauses for a moment beside a greet bronze statue of a

puma leaping on a frightened horse, and looks toward the

ship exhibit room.

INT. MODEL SHIP EXHIBIT ROOM'- MUSEUM - NIGHT

As SHOT from the lobby, from Irena's VIEWPOINT, with the

bronze statue of the puma and the horse in the f.g.

We can see Alice and Oliver within the exhibit room, with

their backs turned, closely Inspecting a ship model.

INT. MAIN LOBBY - MUSEUM - NIGHT

SHOOTING through the intricacies of the puma-and-horse

statue at Irena, who looks a moment at Alice and Oliver,

then turns, and walks out of the building.

DISSOLVE:

EXT. ALICE'S HOTEL - NIGHT

A cab drives up in front of the hotel and Alice gets out.

She waves good-bye to Oliver, and the cab drives off with

him. She turns and enters the hotel. The streets are still

wet. Just as Alice is passing through the door, another

cab drives up. Irena gets out. She pays the driver, and

the cab moves off. Irena stands for a moment irresolutely

under the marquee.

INT. ALICE'S HOTEL, - LOBBY - NIGHT

Alice, striding cheerfully across the lobby, stops at the

desk, where a young blonde desk attendant is stationed.

ALICE:

Could I have the key to the

swimming pool? .

BLONDE:

Of course, dearie.

The attendant gives Alice the key. A little black kitten

suddenly jumps up onto the desk top. Alice picks it up and

holds it against her cheek.

ALICE:

What a darling kitten!

BLONDE:

Yeah. It's one of four. Minou had

'em about a month ago.

Alice laughs and putting the kitten down on top of the desk,

starts toward a stairs where there is a placard marked "TO

THE SWIMMING POOL" the kitten jumps down from the desk top

and starts after Alice. The blonde leans over the desk.

BLONDE (cont'd)

(calling out)

Qh, dearie! When you get through,

don't forgot to turn off the light,

will ya?

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