Cat People Page #17

He rises, puts his arm about her shoulder, and starts leading

her toward the door. At the door Irena looks up at him.

IRENA:

(Softly)

For the first time you have been

kind to me.

JUDD:

It is because you interest me.

As Irena walks out, he stands at the door watching her.

DISSOLVE:

INT. IRENA'S LIVING ROOM - NIGHT

Oliver and Irena are sitting at a little table drawn up

before the fireplace. They have finished dinner. Only the

empty dessert plates and the empty demitasse cups remain. The

fire is burning bright, but low. Above the mantle is an empty

space. The Goya has been removed. Later, as the CAMERA

SHIFTS, we will notice that the Grandville drawings and the

panther screen have also been taken away. Oliver is looking

down at his empty coffee cup, lost in thought. Irena is

watching him.

IRENA:

Oliver?

Oliver does not look up.

IRENA (cont'd)

I've been to Dr. Judd.

Oliver looks up Irena looks first at him, then at the empty

space where the Goya had hung. He follows her gaze and

notices that it is no longer there. They look at each other.

IRENA (cont'd)

I am no longer afraid.

Oliver looks at her very thoughtfully; then he rises and

starts around the table toward her. She rises expectantly,

almost as if preparing herself for his kiss. She stands

smiling. A step away from her he stops.

OLIVER:

Listen, Irena -- I had hoped -

things have changed.

Irena still smiles at him, but there is more inquiry than

invitation in her smile. Oliver finds the words he wants to

say and says them with blunt simplicity.

OLIVER (cont'd)

I don't love you, Irena. I love

Alice. I've always loved her, but I

didn't know it. I had to learn

maybe through this marriage of ours

-- what love was. I didn't want to

tell you this. But now, you see, I

have to. It's too late.

CLOSEUP of Irena. Oliver's words.

She has tears in her eyes as she echoes

IRENA:

Too late ---

Irena and Oliver.

OLIVER:

It's no one's fault...neither

yours, nor mine. I'm sorry we've

caused each other unhappiness...

IRENA:

(looking tip at him)

You gave me happiness.

She sinks down on the edge of the sofa. Oliver faces her. It

is obvious that he is trying to be very practical and matter

of-fact. He takes this attitude from a sense of kindness.

OLIVER:

There seems only one decent thing

for me to do -- I'll give you a

divorce. Believe me, it is better

this way.

IRENA:

Better? Better for whom?

(she pauses, averts her

face and then says

brokenly)

I am being loft alone.

CLOSE SHOT of Oliver. Her words have affected him greatly.

He tries to say something but Is struck by the futility of

anything he can say and does not speak. (Note to director:

If necessary to get over this thought, you might lot him

start and swallow the word "Irena" as if he were going to say

more.)

Irena. She looks at him. As she looks, her mood changes;

anger comes to her face and it is almost as if with this

flood of anger, her grasp on reality and sanity relaxed.

Although her voice lowers, it gains in intensity. (Note to

director:
There are a great many "s" sounds in the following

speech and, if possible, they should be emphasized so that we

can almost hear the spitting of a cat in her voice. The words

between should be held in low key. The facial expression is

tense and presages the immobility of her face in the coming

scene with Judd.)

IRENA (cont'd)

Speak. You can't speak --

there's nothing you can say.

There's only silence. But I

love silence � I love loneliness

-

Irena and Oliver. He kneels down beside her alarmed by

her tone and very concerned. Irena turns away from him

hiding her face In the back of the sofa. Her two hands

rest on the back, stiffly, claw-like.

IRENA (cont'd)

(in the same low voice but

growing more incoherent

as she goes on)

I don't care. I am not a woman. I

can feel fierce pleasures a woman

never knows.

She grows completely incoherent, pouring forth torrentially

the meaningless words.

IRENA (CONT'D) (cont'd)

In me --- they are in me ---

their warmth --� their strength�

their softness -- lonely � dark �

silent � silent.

Oliver bends close to her and shakes her shoulder.

OLIVER:

Irena � you're talking, like an

insane woman.

Irena fights for self-control. We can see her fingers dig

deep into the upholstery. Then her voice comes, throaty and

vibrant with attempted control.

IRENA:

Please --- please go.

Oliver looks at her, concerned, reluctant.

IRENA (cont'd)

I want you to go � go � please,

go.

Oliver gets up hesitantly and goes toward the door. He looks

back, sees her tensely quiet on the sofa, picks up his hat

and coat, looks again, his face showing worry and concern.

Finally he leaves, closing the door softly behind him.

Irena's two hands rip downward, the nails slashing the thin

fabric of the sofa covering.

Oliver is dialing a number. There is a tense look of urgency

on his face. He gets a response.

OLIVER:

Dr. Louis Judd, please.

FADE OUT:

FADE IN:

INT. SALLY LUNN'S TEAROOM - DAY

We open the scene with a CLOSE SHOT of the kitchen door as it

opens outward into the restaurant. It is held open for a

moment as Minnie, the waitress, gets her tray through. On the

back of the door, a placard reads:

PUSH THE CHICKEN GUMBO TODAY

Sally Lunn, Manager

Through this door Minnie comes, bearing a tray on which is a

piece of apple pie, a dish of Bavarian cream, another of

Roquefort cheese, and three cups of coffee.

CAMERA PANS with her as she proceeds across the restaurant

with mincing steps. She is followed by a large, sinuous black

cat. Minnie comes up to a booth in which Alice, Oliver and

Dr. Judd are seated.

MINNIE:

Bavarian cream?

Oliver indicates Alice's place.

MINNIE (cont'd)

Roquefort?

Oliver indicates Dr. Judd.

MINNIE (cont'd)

And you get the apple.

She serves the three cups of coffee and retires with the cat,

tail aloft and proudly waving, pacing behind her. Judd

resumes a conversation that has obviously been interrupted by

the waitress.

JUDD:

I have pointed out two

alternatives, Mr. Reed. Either have

her put away for observation and

restraint or have your marriage

annulled.

ALICE:

It's tough for Oliver either way,

Doctor.

JUDD:

As a psychiatrist I should

recommend that you have her put

away.

He looks first into Oliver's face and then into Alice's.

JUDD (cont'd)

As your friend, however, I have

much more reasonable advice to

offer. I think you should have your

marriage annulled. In this way you

are free of responsibility. You two

could marry.

ALICE:

And if Irena is sent away?

JUDD:

The law is very explicit. One

cannot divorce an insane person.

OLIVER:

If she's not well, I am going to

take care of her.

ALICE:

(looking at Oliver)

It's the only right thing.

JUDD:

(shrugging)

As you will. I shall have the

commitment papers drawn up and

arrange an interview with Mrs. Reed

tonight at her apartment. Let's say

6 o'clock?

Oliver and Alice nod agreement.

DISSOLVE OUT:

INT. IRENA'S LIVING ROOM - NIGHT

Rate this script:0.0 / 0 votes