Bewitched 1945

Dr. Bergson narrates the story in a late-night, clinical voice, tapping into a case that unsettles even him. He tells a secretary to keep writing, and she remains hooked by the mystery his notes reveal, a tale that blurs science with something almost supernatural.

At a party celebrating Joan Ellis’s engagement to Bob Arnold, the young woman is pressed by an inner voice—Karen—that swells into a compulsion she cannot control. Under this overwhelming pull, Joan flees her Midwestern roots for New York, leaving behind her loving family and a circle of friends who are shocked, bewildered, and frightened. She writes a note for her worried parents—John Ellis and Mrs. Ellis—begging them not to hunt her down, a request that only deepens the mystery around her.

In the city, she assumes a new life as Joan Smith and becomes involved with Eric Russell, a mature attorney who finds himself drawn to her secrecy and vulnerability. The voice Karen approves of this relationship, and during a river cruise, Karen briefly resurfaces, stealing a kiss with a fierce, possessive intensity that chills both Joan and Eric. When Joan regains control, she is shaken and asks, “What did I do?” but she cannot voice what the other self has done to her.

Back home, a devoted fiancé—Bob Arnold—rejoins Joan’s life, and the couple attempts to rebuild. Yet tragedy strikes when Karen forces Joan’s hand to stab Bob in the back, a moment that propels Joan into a high-profile murder trial. Dr. Bergson arrives as an expert witness and declares that Joan is not insane. The defense leans on the idea that there is more to the truth than a single conscience can bear, and Eric argues that Joan’s silence may hide a hidden guilt or innocence that the jury must weigh.

The jury finally finds Joan not guilty, a verdict that fills Karen with a cruel, gleeful confidence that she can claim Eric for herself. In the courtroom, Joan reacts with a throat-tight scream: > I’m guilty!

Sentenced to die, Joan withdraws into herself and refuses to explain the contradictions roiling inside her. In prison, she murmurs to Eric, “I want to die. When I die, she dies.” Dr. Bergson begins to entertain a radical theory—that two women share one body: a guilty entity and an innocent one, locked in a struggle for control.

To test the idea, the governor—Governor—and the governor’s wife—Governor’s Wife—are drawn into the experiment of mind and fate. Bergson retrieves a book on double consciousness from the governor’s library, adds a paper knife to the pages, and, with Eric present, prepares to press the experiment to a dramatic close.

Saying, “There will be an execution tonight,” Bergson hypnotizes Joan. On the stage of the mind, [Karen] and Joan become visible as transparent, spectral figures, standing on either side of Joan’s seated form. Karen’s makeup-heavy face wears a feral smile, while Joan remains silent. The ritual ends with Bergson narrating a grim balance of power: Karen grows weaker as Joan seems to gain strength, and the image of Karen fades away. In the end, Joan leans into Eric’s arms, the struggle resolved in a way that leaves her with a final, unsettling calm: a smile that suggests she has found the light—or the illusion of it—within a divided self.