Even if Robert Taylor's role as Alan Garraway in "Undercurrent" could be explained somehow by an extreme inferiority complex, compounded with dementia praecox, schizophrenia, and an old murder and robbery hanging over his head, it is hard to explain the interminably delayed mental processes and reactions of Katharine Hepburn as his wife, Ann, who fails to understand what's wrong in the face of every possible warning and danger.

The confused plot focuses on Alan Garraway's hatred for his brother Michael, played by Robert Mitchum, supposed to be the unknown quantity till the end of the play. He is either 1) a Bunthorne-like playboy who absconded with the firm's funds before disappearing in the Army 4-5 years before, and is being grudgingly protected by his magnanimous and eminently successful brother Alan; or 2) he is a wronged and heroic character who really does like poetry, women, and the finer things of life, and has been murdered by his jealous brother Alan.

What the producers of "Undercurrent" apparently don't know is that it takes an audience roughly the first five minutes of the show to deduce what it takes Katharine Hepburn the gamut to figure out. At one hopeful point she does seem to sense her danger, and decides to give the whole thing up, but she stops to pack a bag, giving Alan just enough time to frustrate the attempt. This sort of thing goes on till Alan is about to drop a tremendous boulder on her head. At this point, it is fairly clear she understands that it's true what she's been hearing and thinking about Alan, but it's too late. However, a nearby horse comes to her rescue and tramples Alan to death, leaving the way clear for Michael to take over. (Oops, there goes the "supersecret" ending).