While a robber is suspected (owing to a confession from a crazed man), attention soon turns to Jeong-suk, particularly when discrepancies come to light such as a letter apparently from the dead woman.

Throughout the film, the story of the two dead people come to light, which involves Myeong-ja having come to work for free at the farm of the family (as run by the wife) while recovering from trauma involving an attacker that had seen her leave her rural roots; unlike the wife, she is comfortable dealing with pests such as rats, with her at one point squashing a rat with her shoe.

[4] Dong-sik is a songwriter under the constant pressure of female would-be suitors such as Hye-suk, and when Jeong-suk has to go on business, she tasks Myeong-ja to guard him.

[1] In the end, the last sequence of the film shows the wife out of the police station collapsing before losing a shoe as it washes away in a gutter.

His later films in Insect Woman (1972) and Beasts of Prey (1985) have been thought to have touched upon similar dynamics within their portrayal of weak-willed men engaging in affairs that result in trouble.