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Leopard Man, The (1943) movie script

by Ardel Wray and Edward Dein.
From the Novel "Black Alibi" by Cornell Woolrich.

More info about this movie on IMDb.com
						FADE IN


On the fountain at El Pueblo. A jet of waiter rises into the
air at regular intervals, tossing an empty ball in rhythm.
Below the ball, the water cascades into the second tier of
the fountain. SUPERIMPOSED over this fountain are the main
and credit titles. Throughout the running of the titles we
hear castanet music growing louder and louder. When the last
credit title FADE OFF we begin to


						DISSOLVE


The corridor, backstage at El Pueblo. An empty corridor
stretches away before us. The CAMERA TRUCKS ALONG this
corridor. The sound of the castanets is so loud and ringing
now that it has a furious and stormlike quality. The camera
seems to search for the source of this sound. It approaches
two open doorways at the end of the corridor.


Through the doorway on the right we see a dancer in Spanish
costume. She pirouettes in a final whirl of the dance as the
CAMERA MOVES IN TO a CLOSE SHOT of her beautiful back and the
two castanets she holds up over her gleaming naked shoulders.
Over the diminishing trill of the castanets, as the dancer
finishes her dance we hear a dull and angry pounding. The
castanets click to an end.


The CAMERA MOVES LEFT to take in the adjoining door to show
us the source of this sound.


INT. KIKI WALKER'S DRESSING ROOM - NIGHT


Kiki Walker as she finishes pounding on the wall for silence
in the adjoining dressing room and turns back into her own
room. She is young, blonde and represents that peculiar
phenomenon of our time, the chorus girl and entertainer who
is more lady-like than the majority of Junior Leaguers. Road
shows, one night stands and even a short turn in burlesque
have left no battle scars. She may know many a hard word, but
she never uses it.

MED. SHOT - Kiki's room. Kiki slams shut the door of her
dressing room. Her dressing room is a small bare cubicle with
a sink, easy chair, dressing table and a long mirror on the
closet door. On the dressing table, among a clutter of jars
and ointments, is a small musical trinket box. The closet
door is partially ajar.

In the room with Kiki is Eloise, the cigarette girl at the El
Pueblo, a brightly blondined young lady. Her nether limbs are
well display in black stockings. A cigarette tray is slung
over her shoulder.

			KIKI
		(as she walks
		across the
		room)
	It may sound like music to her
	-- I can do better with my teeth in
	a cold Shower.
		(mockingly)
	Click — click — click.

			ELOISE
		(shrugging)
	She's a local. When the dudes come
	out to New Mexico, they went to
	wallow in Latin glamour. This is a
	bad town for blondes.

			KIKI
	Yes. So I've noticed. Jerry's
	noticed -— He'll come up with
	something.

			ELOISE
	You think be's pretty nice, don't
	you?

			KIKI
	Why not? He's a good press agent
	and a good friend. Besides, we've
	shared a lot of headaches ——

			ELOISE
	You're lucky. I wish he'd front
	page for me.

			KIKI
	Maybe. For three years I've sung in
	rats' nests, while Jerry pounded
	his feet off and his brains out --
	trying to get me a real chance.
	We're due for a little luck!

Kiki walks across to the make-up table and sits down in front
of it, lifting her hands to unwrap the towel which is wrapped
around her head to protect it from make-up. Eloise starts
toward the door, but pauses to admire herself in the mirror,.

			ELOISE
	I don't mean this personally, Miss
	Walker, but it's ironic —-

She pauses, striking a pose the better to look at her own
sleek legs in the minor.

			ELOISE
	I mean you being a star and me
	being just a cigarette girl.

			KIKI
		(turning from
		(the mirror to
		look at Eloise)
	I know. I know. You've got the
	talent. I got the breaks.

She turns back to the mirror.

NED. CLOSE REFLECTION SHOT of Eloise. We see Eloise admiring
herself in the long mirror and also the edge of the dressing
room door as it slowly begins to swing open.

			KIKI'S VOICE
	I hear it in night club.

Eloise can see what is opening the door. She lets loose with
a shriek of mortal terror.

MED. CLOSE SHOT of Kiki. She whirls quickly and rises, her
mouth open in a soundless ejaculation of fright.

REVERSE SHOT - the door. Through the doorway comes the black,
spade-shaped head of a panther, ears wickedly flat, muzzle to
the floor. He starts into the room with a terrifying zigzag
undulation. Eloise yips feebly. Kiki screams.

As the panther advances into the room, one can see that it is
held on a taut leash. Holding the leash is Jerry Manning,
with a wide, pleasant smile of reassurance on his lips.

CLOSE SHOT Kiki on top of the dressing table. She stands
there holding her dressing gown back across her knees in
terror. The little jewel box has fallen to the floor, and the
insipid tinkling tune fills the room as it rolls across the
floor toward the panther.

MED. SHOT - Kiki, Eloise, Jerry and the panther. Kiki stands
on top of the dressing table; Eloise has retreated behind a
chair, and Jerry stands between them, grinning, holding the
leash of the panther, which is nosing forward to examine the
music box

			KIKI
		(hitting high C)
	Get it out of here!

			JERRY
	Kiki -- he won't hurt you. There's
	nothing to be afraid of.

			KIKI
	Makes no difference. Get him out!

			JERRY
	Listen, Kicks, you'll never guess
	what I've cooked up this tine...

			KIKI
	That's easy. Me.

			JERRY
	I thought -- is Kiki just going to
	walk on that floor tonight ——walk
	out cold before a bunch of gawks
	who think a Spanish twirler is the
	greatest thing in life. No. Not my
	favorite client. She's going to
	make an entrance this town will
	never forget!

			KIKI
		(pointing to the leopard)
	On his back, I suppose.

			JERRY
		(kidding her)
	No. I thought that might be just a
	little corny. I want you to lead
	him in on a leash.

			KIKI
	You're too good to me.

			JERRY
	Look, Kicks, have I ever done
	anything to hurt you?

			KIKI
	No —- not yet.

			JERRY
		(quite sincerely and with
		 evident affection)
	And I never will- you know
	what's between us — we're a thing
	But this is serious competition.

ALTERNATE SCENE

			KIKI
		(hitting high C)
	Get it out of here!

			JERRY
	Kiki - he won't hurt you. There's
	nothing to be afraid of.

			KIKI
	Makes no difference.  Get him out.

			JERRY
	Listen, Kicks, you'll never guess
	what I've cooked up this time.

			KIKI
	That's easy. Me.

			JERRY
	I thought -— is Kiki just going to
	walk on that floor tonight walk out
	cold before a bunch of gawks who
	think a Spanish twirler is the
	greatest thing in life. No. Not my
	favorite client. She's going to
	make an entrance  this town will
	never forget.

			KIKI
		(pointing to the
		leopard)
	On his back, I suppose.

			JERRY
		(kidding her)
	No. I thought that might be just a
	little corny.  I want you to lead
	him in on a leash.

			KIKI
	You're too good to me.

			JERRY
		(sentimentally)
	Look, Kicks, how long have we known
	each other?

			KIKI
		(flatly)
	This is l939. Can't you subtract?

			JERRY
	Almost three years, isn't it? And
	have I ever done anything to hurt
	you?

			KIKI
	No —— not yet.

			JERRY
		(quite sincerely and
		with evident affection)
	And I never will -- you know what's
	between us -— we're a thing -- But
	this is serious -- big competition.

			KIKI
	Clo-Clo?

			JERRY
		(indicating leopard)
	I thought you might strut this
	kitten in right in the middle of
	her act.

Kiki grins. Jerry reaches for Kiki's hand, and passes the end
of the leash over her fingers.

			JERRY
	Come down to earth— and see what a
	picture you'd make with this for a
	pet.

Keeping a wary eye on the leopard, Kiki lets Jerry help her
down. She stands as far away from the beast as the leash will
permit.

			ELOISE
		(warily, from behind the
		 chair)
	And if you've got cold feet honey,
	Ill take over for you. That red
	dress of yours fits just perfect on
	me.

			KIKI
		(exasperated, turning to
		 her)
	I bet you try on my coffin some day
	-- I hope it "fits just perfect."

			JERRY
		(hastily to Kiki)
	You look swell in that three—alarm
	number --

			KIKI
	The red dress?
		(thinks a moment)
	No. My black one. Then I'll be just
	like him.

						DISSOLVE TO:

INT. PATIO EL PUEBLO CAPE - NIGHT

CL0SE SHOT - the fountain. The CAMERA is FOCUSED on the
extreme height of the jet of water. We watch the ball on top
of this jet as it rises and falls for a few beats. Over this
shot we hear the music of a Mexican orchestra.

The CAMERA MOVES DOWN and BACK to reveal the upper tier of
the fountain with the water flowing over its edges.

The CAMERA MOVES BACK and we see the wide pool at the base of
the fountain. In this pool we see Clo-Clo reflected, as she
dances.

The CAMERA PANS to take in the actual dancer and we see Clo
Clo whirling and turning in a tight circle. She is
illuminated by several baby spots concealed at the base

of the fountain, and this light makes a nimbus of light
around her. It is a sort of superaura which washes out the
background haze, leaving the dancer clear-cut and sharp in
the midst of this superaura.

As Clo-Clo's dance widens in movement, taking her to the edge
of the light nimbus, we can see her, the tables and the
patrons of El Pueblo.

The El Pueblo cafe is the smartest night club in this small
New Mexican resort town. The main dining room is in the
patio. Here are tables mantled in snowy tablecloths,
glittering candlelight and sparkling glassware. On the porch
is an open space for the performers and the orchestra on one
side  On the other side is a bar.

Tonight, El Pueblo is crowded. Waiters, dressed in rather
formal costumes with black trousers and short, white coats,
scurry between the tables. A good portion of -the patrons are
in evening clothes.

Clo—Clo dances. The rhythmic rattle of her castanets beat out
above the orchestra.

Clo-Clo is New Mexican. Like the broncos of her native state,
she is all fine, proud, pure Spanish blood. It has suffered a
change in the high clear air of New Mexico. In her dance,
too, we see the more primeval strain of the Indian twisted
among the finer threads of Spanish rhythm.

She dances. In the pool we see the heavy flutter and turn of
her skirt. Her neck, her bosom, her arms, bend and sway and
turn and pulse with the bloodbeat of the castanets. She is
just entering a graceful turn of the dance, the castanets
beginning a glissade, when suddenly she stops dead, the click
of the castanets cutting off abruptly.

REVERSE SHOT - the doorway leading into the El Pueblo. Framed
in this doorway is Kiki, slim and tall in a black gown with
black gloves, and in her outstretched hand is a black leash
which links her to the leopard. Behind her the doorway is hot
with light so that we see her dramatic outline, a silhouette
against luminosity.

MED. LONG SHOT - the cafe. A buzz of amazement sounds from
the crowd. There is a flutter of astonishment and timidity.

CLOSEUP of Clo—Clo.

MED. CLOSE SHOT of Kiki. Behind her in the doorway Jerry
Manning's face appears. It is obvious that Kiki, despite her
dramatic pose, is surreptitiously nervous.

			JERRY
		(sotto voce)
	Don't stand here, Kiki. You're on
	stage. They're looking at you.

Kiki moves majestically forward.

MED. LONG SHOT — a table near the dance space. Kiki, the
leopard moving before her, threads her way between two
tables, the patrons drawing away from her black escort as she
passes. A waiter, carefully holding the chair between him and
the leopard, makes a place for her at an empty table.

Clo—Clo, feet wide apart, arms and hands still half raised
and holding the castanets, watches. The orchestra plays
feebly on.

Suddenly Clo—Clo smiles. She lifts her hands a little higher,
takes a step forward and lets the castanets loose with a roll
that sounds like machine—gun fire. The leopard startled,:
twists in a half turn of fright, strains suddenly at the
leash and lunges forward. The leash pulls out of Kiki's
frightened hand.

REFLECTION SHOT in the pool. The still water reflects the
quick bound and leap of the leopard in its panic flight for
freedom.

MED. CLOSE SHOT - Kiki. She stands leaning against the table,
trembling in fright. Behind her Clo—Clo can be seen can be
seen on the platform, smiling. Jerry comes into the scene,
puts his arm about Kiki's waist.

			JERRY
	Are you all right?

			KIKI
		(wildly, and
		in disgust)
	Now look what you've done.

The familiar tone of anger reassures Jerry.

			JERRY
		(briefly)
	You are all right.

MED. SHOT - the leopard bounding through the gate.

MED. SHOT at the gate. A waiter with a napkin over his arm
and a water carafe in his hand, stands aghast, pressing his
back to the wall in fear. The water carafe falls with a
crash. The waiter holds up his hand, dazed. His hand is
streaming with blood.

						DISSOLVE

EXT. PASAJE DE LAS SOMBRAS - NIGHT

SHOT of four policemen, their backs toward us, going through
the Alley of the Shadows. Two of them are beating on pots and
pans to make a noise. Two others are flashing their
flashlights from one side to the other.

We TRUCK WITH them down the alley. They bring us to the open
end of the passage, athwart which a fire truck is parked.
Near this fire truck stands the Chief of Police, Robles, a
dignified, well—spoken, Mexican police officer, serious and
conscientious, very much on duty at all times.

			ONE OF THE POLICEMEN
	No leopard, Chief -- no cat, no
	kittens, nothing. We're going to
	tackle the houses

Robles nods. He makes a gesture to one of the men on the fire
truck and two long lances of light pierce the darkness of the
alley.

LONG SHOT - Pasaje De Las Sombras. The shafts of light from
the searchlights cross and re-cross, moving, as they explore
the dark jags and corners of the alley. It is one of the
oldest streets in town, so narrow that even at noonday, the
sun has difficulty lightening its dark shadows. The adobe
houses, standing wall to wall, were never built on any
straight geometric line; the street makes a dog-leg,
meandering, as if loathe to reach its own blind end.

MED. LONG SHOT — the mouth of the alley at the other side of
the fire truck. This is a-scene of curiosity and confusion. A
police cordon has been erected, and several uniformed Mexican
policemen are busy shooing away the spectators, foiling the
attempts of small boys to get under the ropes, and generally
trying to reduce chaos to an ordered hunt for the leopard.

At the mouth of the alley, next to the fire truck is parked a
curious conveyance, a half-ton truck with a gaudy sign which
reads:

CHARLIE-HOW-COME
THE LEOPARD MAN
STRETCH LIKE A PANTHER FOR MUSCLES OF STEEL

Leaning against a fender of this vehicle is Jerry Manning,
hot, disheveled and excited. He is talking with a short
Indian, Charlie How—Come, dressed in Levis, a velvet Zuni
jacket, and with a battered felt hat on his coarse black
hair.

			CHARLIE HOW-COME
	Remember what you said: Ten bucks
	for the loan of my cat —-two
	hundred and twenty-five if anything
	happened to it.

Jerry tries to control his exasperation.

			JERRY
		(with strained patience)
	But nothing has happened to it. It
	got into this alley, and there's no
	way out of it. They'll find it.

			CHARLIE HOW-COME
	You don't get the idea, Mister.
	These cops banging those pans,
	flashing those lights -— they're
	going to scare that poor cat of
	mine, Cats are funny. They don't
	want to hurt you -- but if you
	scare them -— they go crazy. These
	cops don't know what they're doing.

A little Mexican boy who has seen listening to the
conversation between Jerry and Charlie, is suddenly attracted
by something off in the darkness. Grinning, he turns on the
hand flashlight he is holding and points it off into the
darkness of the alley.

MED. CLOSE SHOT - Clo-Clo's legs. The flashlight picks up a
pair of shapely legs and holds on them as they move forward,
The legs stop their walking motion and suddenly begin to
stamp with the heel taps that are part of her dance. The
light snaps off.

MED. SHOT - Jerry and Charlie. Clo—Clo comes in from the
left. She grins at the men.

			CLO-CLO
		(to Jerry)
	Maybe, Mr. Manning would like to
	help me? I do not need a leopard. I
	have talent.

Jerry is furious and about to make some retort. Clo—Clo
laughs and takes her hands from her pockets. She is holding
her castanets, and a ribald rattle drowns anything Jerry
might want to say.

			CLO—CLO
		(moving off)
	Goodnight, Mr. Publicity Man.

Jerry glares after her.

EXT.  FLOWER SHOP - NIGHT

This is a small flower shop. One or two vases hold wilted
flowers which have been left in the display window. Behind
them is a mirror. In this mirror we can see the mouth of the
alley and Clo-Clo as she walks away from the men and comes
toward the flower shop.

EXT. STREET - NIGHT

Clo—Clo passes the flower shop and continues on.

The CAMERA TRUCKS WITH her. She passes several dark doorways
and comes abreast of a dimly lit shop. Behind the grimy
window of this store is a large hand—lettered sign:

GENUINE GYPSY READINGS
HAND OR CARD

From the dark doorway of this store, a voice calls out.

			MARIA'S VOICE
	Why are you hurrying, Clo-Clo?

			CLO-CLO
		(with a derisive twitter
		 of her castanets)
	Oh, it's you. Faker!

Suddenly a white, thin hand and arm appears from the shadows
of the doorway. The hand holds a deck of cards, extending
them toward Clo-Clo temptingly.

			MARIA'S VOICE
	Take a card, Clo-Clo. See what the
	night holds for you.

Clo-Clo hesitates. Looks at the deck of cards.

			CLO-CLO
	Your cards are a joke. I wouldn't
	give you a centavo.

She starts to move away.

			MARIA'S VOICE
	One card Clo—Clo -- for nothing.

Clo-Clo stops. Pretending indifference, she casually reaches
out and takes a card.

INSERT	ACE OF SPADES in Clo-Clo's hand.

MED. CLOSE SHOT of Clo—Clo as she stares at the card. She
laughs and flips the card back into the darkness of the
doorway, letting the castanets in her other hand speak of her
disbelief.

			CLO-CLO
	Faker!

She starts off along the street.

CAMERA TRUCKS WITH her. She passes an open doorway. In the
shadow lounges a tall thin man, his figure merging with the
darkness. He is smoking. We can see the glow of his
cigarette.

			CLO—CLO
		(in passing)
	Hello, Shorty.

The man disregards a verbal reply, but blows a smoke ring
toward her. She pokes' her index finger through the ring
playfully and goes on.

The CAMERA MOVES WITH her. In the area way of the next
building are two lovers, pressed close to each other and
close to the wall..

			CLO-CLO
	Oo! Oo!

			THE GIRL
		(protestingly)
	Clo-Clo.

Clo-Clo goes on. From a window a young girl is peeping,
looking up and down the street with large frightened eye a.

			CLO—CLO
		(smiling)
	Hello, Chiquita.

			TERESA
		(smiling back, a little
		 hesitantly)
	Hello, Clo-Clo.

Clo-Clo goes on, but our CAMERA REMAINS. This is Teresa
Delgado, a wisp of a young girl, whose childish, smooth face
might go unnoticed if it were not for her enormous and
wistful dark eyes. She has on a skimpy cotton dress drawn in
at the waist with a five-and-ten cent store belt. Having
looked again up and down the street she pulls down the sash
and turns back into the room.

INT. DELGADO HOUSE - NIGHT

The Delgado house is typical of the poorer Mexican homes in
New Mexico. This main room, which is small, serves as living
room, bedroom and kitchen. An Indian blanket covers the
doorway into the only other room. The adobe walls are
plastered with pictures of religious subjects.
The wooden floor is bare. There is a charcoal-burning brasero
in one corner. Pots and pans on the hearth of the fireplace
show that it is a supplementary stove, The rest of the
furniture consists of an iron bedstead, a large and hideous
oak table and an open-faced china cabinet which contains the
Delgado treasures.

Pedro, Teresa's nine-year-old brother is seated at the oak
table, eating from a bowl of frijoles. He is, and looks like,
an imp. Teresa is backing away from her mother, who turns
away from the window to face her angrily.

			TERESA
		(evidently resuming
		a discussion)
	But, Mamacita -- why can't Pedro go
	this time? I'm so tired...

			PEDRO
		(complacently)
	I'm too young.

			SRA. DELGADO
	If your father comes home and there
	are no tortillas, he will shout ——
	and tomorrow it will be all over
	town: the family of Juan Delgado is
	too poor to buy corn meal! Do you
	wish we should be so disgraced?

Teresa shakes her head, but makes no move to go. Exasperated,
Sra. Delgado reaches for the nearest weapon -- the broom.

			SRA. DELGADO
	Then go!

Sra. Delgado brandishes the broom toward Teresa, who backs up
again.

			PEDRO
	I know what she's afraid of...

Pedro lifts his hand. It casts a sharp shadow on the wall
behind him. Watching the shadow, he manipulates his fingers
so as to create the shadow of a leopard's head in miniature.

			PEDRO (CONT'D)
	This!

			SRA. DELGADO
	And what, por todos los santos, is
	"this"?

Teresa braves the threatening broom and moves a step toward
her mother.

			TERESA
		(eager to be believed)
	The leopard, Mamacita. They say a
	lady at the El Pueblo had it on a
	string and it ran away. It hasn't
	been found yet...

			SRA. DELGADO
	A leopard?

			PEDRO
		(gleefully)
	They're big -- and they jump on
	you!

Pedro jumps the shadow on the wall, to simulate the leap of a
leopard.

			SRA. DELGADO
		(furiously)
	Did you ever meet one of those
	things yet when you went to the
	store for me?

Teresa swallows, shakes her head mutely.

			SRA. DELGADO
		(bellowing)
	Then you won't meet one this time
	either! Now get out! Do as I told
	you!

Sra. Delgado gives the broom such a backward swing of final
purpose that Teresa hurriedly opens the door behind her and
slinks out backwards -- her big liquid dark eyes, still
futilely pleading, the last to disappear. Sra. Delgado moves
after her, pushing the door closed.

She puts the broom in the corner and goes to where Pedro is
seated. Here she stands a moment, fondly watching him as he
masticates his beans. Behind her the door stealthily opens.
Teresa tries to sneak back into the room. Mamacita sees the
movement and makes a tempestuous rush toward her, but Teresa
sidles out of the door before she can be caught. Mamacita,
muttering, slams the door shut and with difficulty pushes the
heavy, rust-covered iron bolt into place.

EXT. DOORWAY DELGADO HOUSE - NIGHT

Teresa stands outside the door. We hear the heavy bolt inside
driven home forcibly.

			SRA. DELGADO'S VOICE
	Now —— you will not come in again,
	not until you bring the corn meal
	with you!

EXT. STREET OUTSIDE DELGADO HOUSE - NIGHT

Teresa steps down from the single doorstep outside her house.
She crosses her arms and pulls her shoulders together in a
gesture of fear. She looks once, despairingly, at the closed
door behind her —— and then reluctantly steps out into the
dirt road and starts walking.

EXT. CALDERON GROCERY - NIGHT

Only a large corner window, with the word. "Provisiones"
printed on it shows that this ordinary house is a grocery
store. In the moonlight, one can see a few boxes of groceries
stacked on shelves inside. Teresa comes up to the window and
peers in. She knocks on the window.

			TERESA
	Senora Calderon It is Teresa,
	Senor. Teresa Delgado.

Over Teresa's shoulder, we see the interior of the little
store light up dimly as a curtain is pulled at the back of
the room. Beyond the curtain is revealed another room,
brightly lit by a bare electric globe hanging from the
ceiling on a cord. Under the light, a man sits at a table,
heartily eating from a plate heaped with food. The curtain
has been pulled back by Senora Calderon. We see her only in
silhouette and the details of her face and figure are
indistinguishable. We do see, however, that her long black
hair is down her back and she is braiding it. She walks a
little ways into the darkened store.

			SRA. CALDERON
		(speaking loudly to be
		 heard through the window)
	The store is closed.

			TERESA
	I just want a sack of corn meal for
	my father's supper!

			SRA. CALDERON
	Tomorrow.

			TERESA
		(imploringly)
	It'll just take a second. ..Please
	——or I must go clear across the
	Arroyo to the big grocery --

Teresa taps against the window hopefully. But Sra. Calderon
turns back toward the doorway into the inner room, where the
solitary feaster hasn't even bothered to look up during this
exchange.

			SRA. CALDERON
		(as she goes)
	It means taking off the lock again,
	putting on the light, measuring the
	meal. It's too much trouble. Once I
	close, I close!

Sm. Calderon steps into the inner room and draws the curtain
closed behind her, as she speaks the last words. Again the
store is in darkness -- only a rim of light showing around
the edges of the curtained doorway.

			TERESA
		(quietly — hopelessly)
	Senora...

There is no reply. Teresa turns away.

						DISSOLVE TO:

EXT. EDGE OF ARROYO - NIGHT

The Arroyo is a deep narrow cut in the mesa, bone—dry in this
season. Its floor of bleached sand and weeds stretches
desolately wider a vast moonlit sky. Here and there,
children's feet have scuffed steep little trails down the
banks.

Teresa appears at the top of one of these trails. She looks
down into the Arroyo -- and then off to the right.

A distance down the Arroyo is a bridge which carries a train
track across the dry river bed. To divert the rush of rain
water in winter and spring, the bridge is underpropped by two
slanting stone piers. They stand out like ribs against the
blackness of the underpass, which they divide into three
tunnels.

Teresa's face shows her dread of the Arroyo. She turns back
the way she came, takes a step away, hesitates and then
returns to the edge of the bank.
She starts down the little trail, her feet sliding in the
loose sand and a shower of pebbles bouncing down ahead of
her.

EXT.	ARROYO FLOOR — NIGHT

Teresa stands at the bottom of the bank. She looks off to the
bridge again. Then she starts walking forward slowly, a very
little figure in the large loneliness of the night.

EXT. EAST SIDE OF BRIDGE - NIGHT

Teresa comes up to the face of the underpass with its three
openings. She stares from one black tunnel mouth to another.
She glances behind her, then looks at the underpass again.
Teresa goes forward again, toward the middle tunnel.

EXT. EAST ENTRANCE OF MIDDLE TUNNEL - NIGHT

The roof of the underpass is only a little higher than
Teresa's head and the passage is not more than ten feet wide.
The opening is dimly lit by the moonlight, but beyond it is
dense blackness. Teresa enters slowly. She takes a few steps
toward the blackness —- and stops. She listens. Teresa moves
forward again, walking as lightly as possible. The light dims
rapidly, so that after Teresa has taken a half dozen steps,
she is swallowed up in complete blackness.

The CAMERA HOLDS for a moment on the dark underpass before
Teresa emerges from the blackness on the West side. A light
scratching sound is heard. Teresa's eyes widen in panic as
she hears it and she hurries out of the tunnel, watching
fearfully ever her left shoulder. She must cut across in
front of this other tunnel in order to get to the south bank.
She starts across, never taking her eyes off the black tunnel
mouth. Suddenly she gives a convulsive start and a little cry
escapes before she can control it. A shadowy shape, low to
the ground, detaches itself from the dimness of the tunnel
opening and moves toward her. Almost at once, we see that it
is a large tumbleweed, blowing clown the Arroyo in the wind.
Teresa sighs soundlessly and goes on to the foot of the bank.
She starts scrambling up another steep little path.

						DISSOLVE

INT. BIG GROCERY STOPE - NIGHT

This is a fairly good—sized room, lined with shelves and
counters. A tall, Indian-type Mexican with iron-grey hair
puts a paper sack of cornmeal on the counter in front of
Teresa.

She starts toward the door, but noticing a bronze cage with
two toy birds in it, a mechanical device which has stood
there for years, she goes toward it, puts down her sack of
corn meal and goes up close.

			TERESA
	Oh, the toy birds!

			MANUEL
	You've seen them before. I couldn't
	chase you away from the counter
	when you were a little girl.

She winds up the bird cage.

			TERESA
	I'd forgotten them.

			MANUEL
		(smiling, goodhumoredly,
		 skeptical)
	Every day you see them --and you
	have forgotten them? Oh, I remember
	my little Teresita -- I remember
	the little girl who was afraid of
	the dark. They shouldn't send you.

The birds have begun to sing,a highly mechanical rendering of
a bird song.

			TERESA
	I'm not afraid. What could happen
	to me?

The birds sing and she pretends to listen. Manuel leans
against the inner door of the grocery watching her, smiling
and amused. Finally his smiling irks her into action. She
picks up her sack of corn meal.

			TERESA (CONT'D)
		(as she
		starts off)
	I'll pay you tomorrow.

			MANUEL
	Never fear - - next time you come.
	The poor don't cheat one another.
	We're all poor together.

In the bronze cage the two birds continue to sing their
mechanical song. Their heads turn from side to side.
We hear the door close behind Teresa. The birds are still
singing as we

						DISSOLVE

EXT. CORNER WEST SIDE OF BRIDGE - NIGHT

There is a sound of slow, measured dripping. It comes from
water seeping out between two rocks and dropping onto another
rock below. These rocks are piled up at the juncture of the
bridge and the left bank and the water is evidently leaking
from some water main or sews go pipe running under the
highway overhead.

EXT. WEST SIDE OF BRIDGE - NIGHT

Teresa is approaching the entrance of the middle tunnel, She
is evidently scared —- her footsteps are lagging and she
holds the sack of corn meal in both hands, as if feeling its
weight. She looks fearfully at the black tunnel before her
and comes to a standstill, trying to peer into the blackness.
In the silence, the dripping of the water can be heard.
Teresa looks up and to the left to locate the sound. She sees
the shining dampness on the rocks. She turns back to the
middle tunnel before her -- and, drawing a deep breath of
resolution, starts to enter it. But she hesitates and then,
suddenly, veers over to the left. She peers into the opening
of that tunnel.

INT. OPENING OF NORTH TUNNEL - NIGHT

The wall of the tunnel is also damp with the seepage from
above. It reflects the outer moonlight in glistening streaks,
so that the blackness here is not so complete as in the other
tunnel..

EXT. WEST SIDE OF BRIDGE - NIGHT

Teresa gets a fresh grip on the bag of corn meal by shifting
her hands under it -- and walks into the entrance of the
north tunnel.

INT. NORTH TUNNEL - NIGHT

Again, the crunching sound of Teresa's footsteps are
magnified in the enclosure of the tunnel walls. It is very
dim, but the luminosity of the damp wall casts a faint light
on Teresa, reflecting in her wide, frightened eyes. She walks
slowly and lightly, her eyes going from side to side in the
darkness, her neck and head held rigidly. Suddenly she stops
with a sharp intake of breath, Ahead of her and to her left
are two tiny gleams of light. Teresa backs away from them. As
she does so, they seem to fall and vanish.
Slowly Teresa moves forward again, staring at the place where
the lights had been. As she moves parallel to the spot, they
appear again. A half-cry dies away in her throat --she sees
that the gleams are two drops of seepage, trickling down the
side of the tunnel wall. Teresa half closes her eyes and
sways a little, faint with fear. Then she forces herself to
move forward again. She takes one -- two fearful steps -- and
then the underpass reverberates with a sudden tremendous
shock of sound -— more a giant vibration than actual noise.
It is a train passing overhead.

INT. NORTH TUNNEL - NIGHT

As Teresa stands transfixed, the terrific roar continues.
Second after second, flashes of light as brilliant as
lightning illuminate the interior of the tunnel — the
reflections thrown into the Arroyo by the train windows. And
then, as abruptly as it began, the noise ceases. It is
cavernously dark in the tunnel again. In this thick
stillness, Teresa walks forward once more.

EXT. EAST SIDE OF BRIDGE - NIGHT

In the frame of the tunnel opening, Teresa stands for a
moment. Behind her, there is a new sound -- a mere whisper of
sound carried forward on the light wind. A little shower of
rubble falls from the top of the concrete pier. Teresa turns
to look behind her.

Crouched on one of the piers of the trestle -— and seen only
very dimly in the darkness -- is the leopard, looking down
into the Arroyo.

An enormous big HEAD CLOSEUP of Teresa.

An enormous big HEAD CLOSEUP of the leopard, its clear golden
eyes fixed and staring.

EXT. ARROYO FLOOR - NIGHT

Teresa's nails dig into the paper sack of corn meal and
little trickles of the meal start spilling from the slits.
Her eyes widen and her face falls slack from the horrible
shock of what she sees. She turns and runs.

EXT  EDGE OF ARROYO - NIGHT

Teresa scrambles frantically up over the edge of the bank.
She stumbles ana falls and the sack of corn meal drops from
her hands and spills onto the ground. In a single move,
Teresa is on her feet and running again. A shadow flashes
over the spilled meal and we hear a heavy, ripping snarl.

INT. DELGADO HOUSE - NIGHT

It is quiet and peaceful in the Delgado home. Senora Delgado
is puttering about the brasero. Pedro, on all fours, is
reading a comic book, his rump high in the air, his chin two
inches from the book. Suddenly, a wild rain of knocks on the
door fill the little room. Sonora Delgado, at the brasero,
drops a spoon with a clatter and Pedro springs up.

			TERESA'S VOICE
		(screaming)
	Mamacita, let me in! Let me in, let
	me in!

			SENORA DELGADO
	Hah!

Sonora Delgado smirks knowingly and puts her hands on her
hips.

			TERESA'S VOICE
	If you love me, let me in -- !

			SENORA DELGADO
		(mimicking Teresa)
	Mamacita -- let me in. Let me in,
	now that I've spent half the night
	getting the corn meal!

			TERESA'S VOICE
	It's coming -— it's coming closer.
	I can see it...

			PEDRO
	She is afraid of the leopard.

			SENORA DELGADO
	Just what she needs -- something to
	nip at her heels and hurry her up -

She is interrupted by a scream so high, of such agonized
finality,that it makes the others before it seem like nothing
at all. Mingled with the scream and blurring the end of it
comes an impact of such violence that the whole door
structure shakes with it from top to bottom. A puff of dust
wells up around the door from the impact of the blow.

			REPRO
		(his voice high with fear)
	Madre do Dolores, she isn't
	fooling!

Pedro jumps to his feet. An instant change has come over the
face of Senora Delgado. She hurls herself forward.

			SENORA DELGADO
		(beseechingly)
	Wait, Teresa! I come! I will let
	you in...

Senora Delgado tugs at the rusty bolt.

			SEN0RA DELGADO
	Only a moment, querida, hija do mi
	alma -- your mother is here --

As Senora Delgado tugs vainly at the bolt, Pedro darts over
to the fireplace and grabs up a stone from the hearth.

			SENORA DELGADO
	Your mother will let you in - -

Pedro rushes to the door and pushes his mother's hands aside.
He hammers the unruly bar back with the stone.

Then, he draws back and looks down at his feet. Senora

Delgado's horrified eyes follow his glance.

Under the crack of the door seeps a dark tongue of blood,
widening and lengthening on the rough wooden floor.

						DISSOLVE

CLOSE SHOT of display window. The flowing blood dissolves
into a film of water flowing across the window.

The CAMERA PULLS BACK and we see a long handled squeegee come
down the left hand side of the window, clearing a strip of
clear glass. Through this clear glass we look into C. T.
Johnson's Undertaking Parlor.

INT. UNDERTAKING PARLOR - DAY (AS SEEN THROUGH THE WINDOW)

This shop occupies an ordinary store building. The display
window contains a solitary wreath of gilded leaves. Behind
this wreath is a green baize curtain. The shop itself has a
sad air of unctuous gentility. On the left side of the room
are coffins on polished brass tressels. These coffins are
half open to reveal the luxurious satin linings. In the back
is a roll-top desk and swivel chair. In the rear of the shop
is a door leading to the embalming room. This is curtained
with the sane green baize. Over this whole interior is the
eerie moire light that comes through the water-flowing
window.

Uncomfortable and stiff in their grief, we see the Delgados.
The fat Senora, the little boy and the father in his stiff
blue serge Sunday suit, stand near the wall. With them is a
nun in the sweet, sad costume of the Carmelite order. At the
other side of the room stands Kiki, somewhat abased, and very
ill at ease in the presence of the Delgados' grief.

The window cleaner steps closer to the glass, lifts up his
long handled squeegee and opens up another strip beside the
first.

INT. UNDERTAKING PARLOR - DAY

MED. CLOSE SHOT of the doorway taking in the Delgado family.
Senora Delgado is weeping, with tears running unchecked down
her big flat cheeks. Her husband, unable to express his
grief, stands twisting a cheap velour hat in work-gnarled
hands. The little Delgado boy, unable to comprehend the
finality of death is interested and quick-eyed, letting his
glance rove from one object of interest to another, then
suddenly bored, as is the manner of children, distracts
himself by making the leopard shadow on the wall.

From the other room we can hear, the sound of men's voices,
not clearly distinguishable, but growing in clarity. Kiki
opens her purse, fumbles out a little soiled sheaf of bills
and crosses the room. She hands the money to the nun.

			KIKI
		(in a half whisper)
	Sister, I'd like the family to have
	this -- might help with the funeral
	expenses.

The nun smiles, nods her head and tucks the money up under
her sleeves. Kiki crosses back to the other side of the room.

Midway through this action, the voice in the other room has
risen in volume and clarity so that we hear the coroner
speaking. From behind the green baize curtain the words come
in that solemn, yet routine fashion, which is the specialty
of county clerks and other minions of the law.

			CORONER'S VOICE
	...this evidence having been
	presented before me on this, the
	tenth day of April, I hereby
	declare that Teresa Guadalupe Maria
	Delgado was brought to her death by
	violence, resulting from the
	release of a wild animal, a
	leopard, purportedly on theatrical
	exhibition in this city -- Death by
	accident.

As the last word is spoken, Jerry makes his appearance
through the doorway. His face is drawn and earnest,
reflecting the ordeal of looking at the mutilated remains of
the young girl. He crosses the room toward Kiki.

MED. SHOT of Jerry as he takes his place beside Kiki. He
looks at her as if seeking some comforting sign of
friendliness. She keeps her eyes purposely averted from him.

MED. SHOT. Through the curtained doorway come the coroner and
Robles. The coroner carries a sheaf of papers in his hand.
Coming through the doorway quickly, he turns and seats
himself at the desk in order to sign and seal these
documents.

Chief Robles, with his uniform cap in his hand, goes over to
the Delgado family. In his face we can see the sympathy and
feeling he has for his fellow townsmen. Fe puts his arm about
Delgado's shoulder and embraces him with that peculiar
Mexican embrace in which the hand and arm thump the
embraces's shoulders.

			ROBLES
	It's all right, my friend. It is
	the will of God.

The genuineness of his sympathy and the sincerity of his
voice take the banal touch from these simple words. Jerry
looks on with interest. He turns to Kiki.

			JERRY
		(sotto voce)
	Suppose I slip them a few bucks —
	for the funeral expenses.

			KIKI
	Don't be soft.

She pulls sharply at his arm to emphasize the point. He
shrugs, abashed.

From the inner room a fourth man comes out, a medium sized
gentleman in a light gray business suit with a felt hat in
his hand. His face seems stiff and he walks a little bit
unsteadily. Passing Jerry, he extends his hand and pats
Jerry's arm.

			GALBRAITH
	An unfortunate accident. Nobody
	blames you, Mr. Manning. You
	mustn't feel badly.

Jerry nods; not at all anxious for further condolences.
Galbraith goes on to stand in the doorway. Robles leaves the
Delgado family and comes over to where Jerry and Kiki are
standing.

			ROBLES
	You can go now, Manning. There is
	no way we can hold you legally
	responsible.

			JERRY
	Thanks, Sheriff.

Robles passes on a step or two, and then with a glance at
Jerry.

			ROBLES
	That leopard's got to be found. I'm
	forming a posse. I can use help. -

From the doorway, Galbraith answers quickly.

			GALBRAITH
	Count me in.

Jerry makes an impulsive move forward -- then stops himself.

			JERRY
		(shaking his head)
	I haven't done any posse work since
	last time I rode with Toni Mix at
	the old Bijou Theatre -- aged six,
	If you're interested,

			ROBLES
	Go on foot.

			JERRY
	It's not for me.
		(grinning)
	I'm literally and figuratively a
	tenderfoot.

He lifts one foot and pats the ankle to illustrate his point.
Robles passes on and out of the doorway, Galbraith joining
him. With a backward look at the Delgado family, and a little
hesitantly and slowly, Jerry and Kiki also leave the funeral
parlor.

EXT. UNDERTAKER'S PARLOR - DAY

MED. CLOSE SHOT - Jerry and Kiki as they stand in the center
of the sidewalk.

			JERRY
	I suppose he was trying to make me
	feel bad.

			KIKI
	And I suppose you don't feel bad!

Before Jerry can protest.

			KIKI
	Who was the other man?

			JERRY
	I don't know —— a witness. He
	seemed to know something about
	animals -- you know -- expert
	testimony.

			KIKI
	What did he have to do -— look at
	the body?

			JERRY
	We all, had to look at the body. It
	was awful, Kiki -- awful!

Kiki makes a movement as if to put her hand comfortingly on
his sleeve, then changes her mind, dropping her hand.

MED. SHOT - Undertaking Parlor - as the Delgado family
emerges and starts down the street. The mother and father
walk ahead, the father's arm about the mother's shoulder.
They are followed by Pedro, his hand in the Nun's hand as
they walk together. Kiki and Jerry fail to see them, and it
is necessary for Senor Delgado to ask for room.

			SENOR DELGADO
	Excuse, please.

Jerry and Kiki move hurriedly out of the way to let the
little group of mourners go past. Jerry and Kiki stand
watching them for a moment.

CLOSEUP of Jerry, his expression betraying anxiety and
indecision.

						DISSOLVE

INT  CLO-CLO'S DRESSING ROOM - LATE AFTERNOON

LARGE HEAD CLOSEUP of Maria. The beautiful face of the
fortune teller, coifed and framed in the folds of a shawl,
looks pure and Madonna—like. Her downcast eyes add to the
holy feeling. Then, suddenly, her hand comes up and puts a
lighted cigarette droopingly between her lips. The Madonna
pose is shattered as though a stone had been thrown into
still water.

The CAMERA MOVES BACK to show Maria seated at Clo-Clo's
dressing table, dealing out the cards. The last card to leave
her hand is the Ace of Spades. She gazes at it for a moment,
then hastily rakes up the deck and shuffles the cards.

Behind her during this entire scene we have heard the tinkle
of Moorish finger cymbals in metronome-like rhythm, the
sounds spaced far apart.

			CLO-CLO'S VOICE
	That card again?

MED. SHOT - Clo-Clo and Maria. Clo-Clo is behind Maria. She
has on a practice suit; black jersey leotards to the waist
and a black silk bandeau about her breasts. She is using the
chair rail of the dressing room as a bar to practice a ballet
step while she beats out the slow rhythm of her exercise with
the Moorish finger cymbals. Maria again deals the cards and
Clo-Clo continues to play and practice. There is a
contrapuntal rhythm between the dealing of Maria's cards and
the slow tinkle of the cymbals.

			MARIA
	I made a mistake. It was a
	misdeal. I'll try once more.

The cards "slap—slap' as she deals. As they fall, Maria
speaks.

			MARIA (CONT'D)
	It's a blackcard and bad card, but
	not the card of the cat -— not the
	card of four—footed things.

			CLO-CLO
	I saw Teresa. Maybe I was the last
	to see her except perhaps her
	Mamacita and her little brother. I
	was going past --

			MARIA
		(still dealing) )
	They buried Teresa today and they
	were hunting the leopard again --
	out in the country this time. But
	they didn't get him.

			CLO-CLO
	They're fools. Why don't they let
	Charlie How-Come hunt it alone.
	He's an Indian.

			MARIA
	All men are fools. They like to
	make a big show -— shout and hunt --

She is about to deal the last card, when she stops and looks
at it, then sweeps up the deck without dealing the remaining
card.

			CLO-CLO
	The bad card again?

Maria nods.

			CLO-CLO
	What did they say before the bad
	card came up?

			MARIA
	You'll meet a rich man and he will
	give, you money.

			CLO-CLO
		(disdainfully)
	You and your cards. Meet a rich
	man! I look for them with money.
	What rich man hasn't money. And for
	what was I born if it wasn't for
	money? You're not telling me
	anything.

			MARIA
		(with a shrug)
	Watch and see, A day or a week -
	but certainly this month -- you
	will have money from a man and then-

			CLO—CLO
		(sharply)
	And then what?

			MARIA
	I will have to read the cards
	again. There was a mistake.

			CLO-CLO
		(shooing her out)
	You and your mistakes. Get out!
	I've got to dress for the supper,
	show and I don't want you to put
	the evil eye on me. Vamoose!

Maria unhurriedly snuffs out her cigarette, pockets her cards
and starts for the door. As she opens the door, we see Jerry
Manning going past, dressed in slacks and sports shirt,
carrying his coat over his arm. He is dusty and tired. Clo
Clo looks after him with a malicious grin.

INT. DRESSING ROOM DOORS - NIGHT

SHOT of Jerry as he knocks at Kiki's door.

			JERRY
	Are you decent?

From inside we hear Kiki's voice.

			KIKI'S VOICE
	Yes. Come in.

He opens the door. We can see she is seated in the armchair
and has a magazine in her hand which she has been reading.
She is dressed in street clothes.

			KIKI
	Well, does everybody love us now?
	You've been gone long enough to
	soft—soap twenty editors!

			JERRY
		(without particular
		 conviction)
	Yeah.

			KIKI
		(drawling)
	And did you find the leopard?

Jerry realizes that Kiki is onto him. He gives her a look as
if to say, "So you knew." He bends down and starts brushing
at his trousers.

			KIKI
	It must be the altitude —— you,
	bucking around the countryside with
	a lot of boot—and—saddle boys --

			JERRY
		(trying to explain)
	The whole town's in a state, Kiki
	——doors locked, people huddling
	together like scared sheep ——nobody
	on the streets at night ——

			KIKI
		(bitterly)
	Our first real break -- and we
	throw wild animals at the audience

			JERRY
	Forget it. I'm buying a drink for a
	fellow who was on the posse with
	me, a nice guy. Come along he'll
	get a great kick out of meeting
	you.

Kiki picks up her hat from the dressing table and goes toward
the door slowly. Jerry finishes brushing his clothes.

			KIKI
	Who is he?

			JERRY
	You remember the fellow this
	morning -- Galbraith. You've got
	time before the supper show.

Kiki joins him in the doorway and they start down the
corridor.

INT. EL PUEBLO CAFE - NIGHT

MED. CLOSE SHOT of Eloise coming toward camera. She is in
professional costume, and passes slowly along the front of
the bar. She is smiling and opening a package of cigarettes.

			JERRY'S VOICE
		(evidently at end of long
		 recital)
	..And it was sand, sand every foot
	of the way --

Eloise turns and the CAMERA TURNS WITH her. She stops at a
small table where Jerry, Kiki and Galbraith are seated. She
hands the package of cigarettes to Jerry. (Note: Kiki is
wearing her hat in this scene)

			JERRY
		(finishing and paying for
		 cigarettes)
	——	As long as my feet held out.

			KIKI
	And not a sign of the leopard?

Galbraith shakes his head, Jerry smiles his thanks to Eloise.
She goes on out of scene.

			KIKI
	Jerry told me you were an expert
	with animals, Mr. Galbraith.
	Couldn't you tell where it went?

			GALBRAITH
	To know where that leopard went - —
	I'm afraid you'd have to be a
	leopard and think like a leopard. I
	was a naturalist. That hardly
	qualifies me as an expert in
	hunting down lost leopards. I used
	to teach zoology in a little
	fresh—water college back East. I
	gave that up.

Kiki is just normally curious, not conscious that she is
prying.

			KIKI
	What do you do now?

			GALBRAITH
	There's a little museum here in
	town. They've hired me to run it,
	We've some interesting exhibits of
	Indian arts and crafts. It's fun --
	and I like living here in New
	Mexico.



			KIKI
	Why did you give up teaching?

			GALBRAITH
		(after a little pause)
	Various reasons.
		(switching the
		 conversation)
	But I can't see why you'd be
	interested in the rather dusty
	career of William Galbraith —
	teacher, naturalist, curator --
	when you lead such a gay and
	exciting life yourself.

			JERRY
		(wryly)
	Show business?

			GALBRAITH
	Yes. It's always fascinated me.
		(confidentially)
	You know, once, when I was a
	youngster, I went to see Mrs.
	Leslie Carter in "Zaza." After the
	play I stood in the alley just to
	watch her come out.

Both the younger people laugh at his unabashed simplicity.

			GALBRAITH
		(to Kiki)
	So you see meeting you is a real
	thrill for me.

			KIKI
	Well, I'm hardly Mrs. Leslie Carter
	—whoever she was. In fact, I'm not
	even much of a success around here
	particularly after the backfire on
	Jerry's little publicity stunt with
	the leopard.

			GALBRAITH
	That was unfortunate.

			KIKI
		(with a hard look at
		 Jerry)
	That was a calamity!

She nods her head toward the main door.

			KIKI
	Look!

MED. LONG SHOT including the table and the door beyond.
Through this doorway Clo-Clo emerges in her costume. She
enters with the proud step of a reigning favorite. There is a
light spatter of applause from the bar and the tables on the
porch. Clo—Clo, taking the castanets from her bosom, begins
walking toward the dancing space. Passing the table where
Kiki, Jerry and Galbraith sit, she grins broadly end
maliciously. Leaning slightly toward them she makes a
derisive sound on her castanets, then stalks on. They follow
her with their eyes as she starts down the steps. From the
audience in the main portion of El Pueblo cafe comes the
sound of brisk applause and Clo—Clo's answering hail on the
castanets. Her dance music begins. Kiki starts getting up.
The two men rise with her.

			KIKI
		(she rises)
	Well, I'm next. You won't hear
	anything like that, Mr. Galbraith.
		(gesturing toward
		 applause)
	I'm not a popular favorite since I
	let the leopard loose.

			GALBRAITH
		(with heavy gallantry)
	I'm sure if you are as talented as
	you are charming, Miss Walker, you
	have nothing to worry about.

			KIKI
		(moving off)
	Thanks.

Galbraith starts to knock out his pipe on the heel of his
hand.

			GALBRAITH
	Well, I'd best be off.

			JERRY
		(putting a restraining
		 hand on his forearm)
	I want to ask you something.

Galbraith looks at him questioningly.

			JERRY
	It's about the leopard.

			GALBRAITH
	You're worrying about its killing
	someone else?

			JERRY
	Yes. I want to go out and patrol
	the town - be everywhere at once -
	be sure nothing happens to anybody.

			GALBRAITH
	Of course. It's the way any decent
	man would feel in your position.

			JERRY
	You know about animals -- their
	habits -- will it come back?

			GALBRAITH
	No. I'm quite sure.

Jerry gives a little sigh of relief.

			GALBRAITH
	There is no danger at all. It's a
	wild animal. Do you think a wild
	animal prefers walls, streets and
	people when it can get into open
	country?

			JERRY
		(terribly anxious to be
		 convinced)
	That's right, of course.

			GALBRAITH
		(starting toward the
		 steps)
	Don't feel so concerned, Jerry.

As they descend the stops together, the CAMERA HAVING PANNED
LEFT to stay with them, now DOLLIES BEFORE them as they go
down the path, toward the fountain. They come abreast of the
fountain and Galbraith pauses a moment.

			GALBRAITH
	I've seen a bit of life, and I have
	learned one thing. We are like that
	ball dancing on the fountain. We
	know as little about the forces
	that move us and move the world
	around us as that empty ball, which
	lives only because the water pushes
	it into the air, lets it fall and
	catches it again. You shouldn't
	feel too badly about Teresa
	Delgado.

CLOSE SHOT - the fountain. We see the ball rising and falling
— oscillating in its movement.

Clo-Clo is dancing, and although we can not see her, we can
hear the click of her castanets, the quick, hard tread of her
feet. We catch an occasional glimpse of her shadow, as she
passes in dancing on the other side of the fountain.

						DISSOLVE

INT  EL PUEBLO CAFE - EARLY MORNING

CLOSE SHOT of the fountain. The jet of water has been turned
off and the ball floats quietly on the surface of the
innermost basin.

MED. LONG SHOT of Clo-Clo, as she makes her way to the gate.
She is dressed in street clothes. Bus boys are busy piling
chairs onto the tables while two young maids are hosing down
the tiles. Cigarette butts, bits of paper and ether odds and
ends of the night's trade litter the cafe and go swishing
ahead of the streams of water.

Clo-Clo smiles to one of the young maids as she passes.

			CLO-CLO
	A long night, Chiquita.

			MAID
		(straightening up and
		 shutting down the hose
		 with her thumb)
	How long can a night be, Clo-Clo,
	when you spend it dancing?

			CLO-CLO
		(passing by)
	Twice as long as a day with your
	mop and pail.

The girl laughs and lets the water of the hose spray out
again. Clo-Clo goes on, out of the gate.

						DISSOLVE

EXT. THE STREET - EARLY MORNING

TRUCKING SHOT of Clo-Clo as she walks wearily down the
deserted street. She is smoking a cigarette.
Swinging from one hand is the little ornamented chamois bag
in which she keeps her castanets. She comes to the flower
store, sees that it is open and, throwing her cigarette away,
starts in.

INT  FLOWER STORE - EARLY MORNING

MED. SHOT - Rosita, Senora Contreras' maid, has selected a
bouquet of long stemmed roses from a large tin bucket. As she
holds them aloft the flower vender, a chubby good-natured
little Mexican in his late fifties, gently wraps a piece of
newspaper around the wet stems.

			FLOWER VENDOR
		(indicating the stems)
	Roses are like children -— some
	have short legs and some long.

The flower vendor laughs loudly, his body vibrating. Rosita
sees no humor in this remark and taking a coin from her
pocket, hands it to him. Still chuckling, the vendor moves to
his cash drawer, to make change. In the b.g., Clo-Clo can be
seen entering the store. She tiptoes forward directly behind
the flower vendor and ignoring Rosita completely, snatches a
wilted gardenia from a tin. The flower vendor has caught this
action in the mirror and whirling, pulls the gardenia out of
her hand,and at the same time turns back to the cash drawer.
Clo—Clo isn't at all abashed by the vendor's action.

			CLO-CLO
	You can't sell it - it's a day old.

			VENDOR
	But my stomach isn't a day old. If
	I don't sell flowers -- I don't eat
	-— and I love to eat.

Clo-Clo tries a new approach. Coyly she winks at him.

			CLO-CLO
	I'll tell everybody you gave it to
	me, -- that will be good for your
	business.

			VENDOR
	Yes, -- but bad for my wife.

The vendor drops the change into Rosita's hand, then turning
on Clo-Clo, shoes her off with a motion.

ANOTHER ANGLE — taking in Rosita at edge of stall. She looks
off at Clo-Clo and with a grand gesture, pulls a long stemmed
rose from the bouquet.

			ROSITA
	My mistress, Consuelo Contreras,
	does not have to beg for flowers.
	She won't miss one.

Rosita flings a rose to Clo-Clo. Clo-Clo catches it. With a
snap she breaks the stem and thrusts the rose into her hair.

			CLO-CLO
		(impudently)
	Thank the Senorita for me.

EXT  STREET - EARLY MORNING

MED. LONG SHOT. The CAMERA PANS WITH Rosita as she hurriedly
crosses the street and mounting the opposite sidewalk, enters
the Contreras' home.

INT. ENTRANCE HALL CONTRERAS' HOME - EARLY MORNING

It is a cool, shadowy square room. At the back is a stairway.
The floor is tiled. Through an arched grilled doorway, we can
see the living room beyond. The front door opens and Rosita
steps in hurriedly, her heels clicking on the tile floor.
Three people are standing waiting. They are Senora Contreras,
Cousin Felipe and Marta, an old servant who is more companion
than maid in the household by this time. Marta is dressed all
in black -— dress, shoes and apron. Her grey hair is dragged
back to a knot. She wears tiny gold loops in her pierced ears
and a gold cross at the fastening of her high collar. Senora
Contreras, a dignified, imposing woman with the remnants of
great beauty still apparent in her expressive eyes and lovely
hair, is dressed in a flowing lacy negligee. In her arms she
carries a little Chihuahua dog. Cousin Felipe is a dapper
little cat of a man, meticulously dressed in the proper
apparel of thirty years ago. The Senora and Cousin Felipe are
waiting on the stairs. Marta is in the hail.

			MARTA
		(crossly)
	Shhh!

			SENORA CONTRERAS
		(softening the rebuke,
		 whispering)
	It will spoil the birthday song,
	Rosita, if we wake her too soon.

Rosita nods contritely. Walking with exaggerated care, she
joins them and they all start up the stairs.

The CAMERA FOLLOWS them as they go upstairs.

INT. UPPER HALLWAY - EARLY MORNING

SHOT of Senora Contreras, Marta and Rosita as they come up to
the landing and start on tiptoe toward a door. The Senora
Contreras puts her hand on the knob softly. Cousin Felipe
pulls a single rose from Rosita's armful. Marta sees him -
she glares but says nothing.

INT. CONSUELO'S BEDROOM - EARLY MORNING

Although the curtains of the room are drawn, the softly
filtered daylight shows this to be a room of delicacy and
lightness. The simplicity of the white walls, the sheer
curtains hanging across the barred, embrasured windows, the
lovely lace coverlet and the pretty young-girl trinkets on
the dressing table give the room an air of lightness.

As the door swings inward, the sunlight fills the room. Then
we see, lying in the bed, serenely asleep, Consuelo
Contreras. This is her eighteenth birthday.

Senora Contreras walks to the foot of the bed and stands
looking down at her daughter. She smiles sadly. In still,
untroubled sleep, the full vulnerability of Consuelo's youth
is touchingly apparent.

Marta stands to one side, a little behind Senora Contreras.
Cousin Felipe remains in the background, near the open door.
Rosita tiptoes cautiously to the head of the bed and
carefully puts down the roses, so that the blossoms lie in
the curve of Consuelo's outflung arm. She has to drop on one
knee to do this and she stays in this position, slowly
drawing her hands away from the flowers. They start singing
"Las Mananitas" the traditional birthday song of Mexico --
singing very softly at first.

Consuelo stirs slightly and then opens her eyes. Lying as she
does, the first thing she sees are the roses, lying beside
her.

She lifts her eyes from the roses to see Rosita's eager
smiling face, almost on a level with her own. Rosita's smile
broadens but she goes on singing dutifully.

Still bemused, but beginning to smile faintly herself,
Consuelo looks beyond Rosita and sees Cousin Felipe standing
back by the door. Very much the gallant, he touches his
stolen rose to his lips and tosses it to Consuelo.

Consuelo continues her survey of the room and turns her eyes
to the foot of the bed.

			CONSUELO
		(happily and lovingly)
	Madrecita!

Senora Contreras nods slowly, but continues to sing with the
others as they go into the chorus.

Consuelo starts to sit up, pulling the roses to her.

Rosita gets up, too, and props the pillows behind her young
mistress. Senora Contreras comes around the bed and sits on
the edge of it as the song finishes.

			ROSITA
	Good morning on your birthday,
	Senorita Consuelo --

Marta goes to one of the windows and motions Rosita to the
other.

			MARTA
	It is a good morning, nina -- see
	how the sun is shining for you - -

Marta draws back the curtains and the room, already light,
seems to grow even lighter. Senora Contreras leans forward
and kisses Consuelo's forehead.

			CONSUELO
	What a lovely way to wake up!

She looks from the bouquet of roses to the single rose that
Cousin Felipe threw onto the bed. She picks it up and holds
it to her face.

			CONSUELO
	It is so beautiful, Cousin Felipe.
	Thank you for buying it!

At Consuelo's first words, Cousin Felipe begins to beam. But
he glances across the room and encounters Marts's grin,
sardonic glance just as Consuelo says "How carefully you must
have picked it out!" Abashed, he murmurs something
unintelligible and quietly slips out of the room.

At the window, Rosita has been standing with her back to
Marta, staring fixedly at Consuelo to attract her attention.
She makes a little notion with her hands now and Consuelo
glances at her. Smiling secretively, Rosita draws a white
envelope part way out of her apron pocket, just enough to let
Consuelo see what it is. Then she hastily puts it out of
sight again. There is a sudden light in Consuelo's eyes. She
is transfigured with a really exultant happiness.

			SENORA CONTRERAS
		(amused)
	Had you forgotten that it was your
	birthday? I believe you had --

Consuelo gives a helpless little laugh of delight, throws her
arms around her mother end puts her head down against her
mother's shoulder.

			CONSUELO
	I'm so happy -- so happy!

Senora Contreras pats the girl's head fondly. Marta, leaving
the room, smiles at mother and daughter.

			MARTA
		(turning at the door)
	Rosita!

Rosita slowly walks away from the window and toward the door,
But as soon as Marta has gone out of the door, she stops at
the dressing table on the pretext of dusting the bottles with
her apron.

Senora Contreras rises, with difficulty, and also goes to the
door.

			SENORA CONTRERAS
	Hurry now, my sweet, or we will be
	late for mass.

As Senora Contreras leaves the room, Rosita whirls around
from the dressing table.

			CONSUELO
		(excitedly)
	Quick! Give it to me!

Rosita hands Consuelo the letter, Consuelo tears it open and
reads the few lines. From her expression, one sees that even
the handwriting of her beloved fills her with happiness.

			CONSUELO
	He will be waiting...

			ROSITA
		(eager to help)
	You must say that you went to take
	some of the roses to your father's
	grave...

			CONSUELO
		(reading the note again)
	At four. He will be there at four.

She goes to the window and looks out.

CLOSE SHOT of Consuelo at window.	Beyond her we see the sun
dial on the wall.	It is seven o'clock and the shadows lie
thick and heavy in the morning quadrant.

			CONSUELO
	The time will never pass.

						DISSOLVE

INT. LIVING ROOM - DAY

At a French window in the living room downstairs, Consuelo is
pulling aside the heavy lace curtains and looking out. Beyond
her we see the big sun dial and the shadows lie heavy in the
afternoon quadrant. It is nearly 5:00. She drops the curtain
and turns back into the room.

MED. LONG SHOT - living room. Senora Contreras is half
reclining in a chaise lounge. Consuelo is sitting on a petit
point footstool beside the chaise lounge. Both of them have
embroidery frames in their hands. They are working on very
fine, sheer pillow cases,

			CONSUELO
		(nervously)
	It seems to be getting darker in
	here.

Senora Contreras glances over at the bright sunlight in the
windows.

			CONSUELO
	Aren't you afraid you will have a
	headache from working so long,
	Mama?

			SENORA CONTRERAS
	If we don't work on these a little
	each day, they will never be done -
	and you will be a poor bride.

Consuelo looks at her mother curiously and a little
apprehensively. Senora Contreras smiles but does not reply. A
clock on the mantel strikes five in tiny bell tones. Consuelo
looks at the clock desperately. Senora Contreras puts down
her embroidery frame.

			SENORA CONTRERAS
	It is late, isn't it? Too late, I'm
	afraid, for you to go to the
	cemetery now.

Consuelo jumps to her feet.

			CONSUELO
	But I must go to the cemetery,
	Mamas! It's my birthday -- I must!

Senora Contreras studies the girl's troubled face. She
reaches out her hand, takes Consuelo's hand and pulls the
girl to her.

			SENORA CONTRERAS
	I did not come into this world a
	middle—aged widow, mi hijita...

Consuelo shakes her head in agreement -- but looks puzzled.

			SENORA CONTRERAS
	Anything you think -- anything you
	do - - I thought and did before
	you. And my mother before me...

Consuelo nods dutifully.

			SENORA CONTRERAS
	You are so young. I don't want you
	to look back on anything lacking in
	dignity, a few years from now.

			CONSUELO
		(murmuring)
	No, Mama --

			SENORA CONTRERAS
	Naturally, young men will become
	interested in you. They should come
	here, to our house. They should be
	introduced to you by their parents
	or your Cousin Felipe or some other
	older relative -—

Consuelo nods again. She glances uneasily at her mother and
then her eyes go frantically to the clock. Senora Contreras
lets go Consuelo's hand and leans back against the chaise
lounge. She gives a little sigh of defeat.

			SENORA CONTRERAS
	Very well -- get Rosita and go.

			CONSUELO
	Thank you, Mama -- I'll hurry -
	I'll be right back!

Consuelo leans over, kisses her mother hastily and then
rushes out of the room. Senora Contreras looks at the doorway
through which Consuelo has passed. She smiles.

						DISSOLVE TO:

EXT. CEMETERY WALL - DUSK

TRUCKING SHOT - Consuelo and her maid are walking along the
wall, quickly. Rosita is carrying the roses in her arm.

			ROSITA
		(importantly)
	Pedro is waiting for me, too.

			CONSUELO
		(shyly)
	Rosita —— I have wondered -—

			ROSITA
	What, senorita?

			CONSUELO
	When you are going to see Pedro,
	does your heart beat until you
	tremble?

Rosita shrugs. Consuelo lifts one of the roses to her face.

			CONSUELO
	Once Raoul took my hand and pressed
	it to his cheek —- so gently, so
	longingly. Suddenly I was afraid
	for him -- afraid of everything in
	the world that might hurt or sadden
	him. He saw the tears in my eyes --

Consuelo is silent, her face ecstatic, remembering.

			ROSITA
		(almost sullenly)
	Love is different for different
	people.

			CONSUELO
		(slowly — thoughtfully)
	I suppose so. I suppose it will be
	different for us, too —— when
	everyone knows. Then we will be
	just like other people.
		(smiles)
	But these last weeks will always be
	our secret —— a lovely secret to
	remember all our lives.

EXT. GATES OF ALL SAINTS CEMETERY - TWILIGHT

The light is already dimming when Consuelo and Rosita come up
to the gates. In front of the ponderous wooden gates, folded
back like great dark wings, stands the gatekeeper of the
cemetery. Fe is a very tall, incredibly thin, old man,
dressed in a tight black alpaca suit. He has built a little
fire in the gutter and stands warming himself by it. In his
hands is an unfinished wooden necklace which he is carving.

			ROSITA
		(hurriedly)
	I will see you back at the house,
	Senorita...

Consuelo nods and Rosita hurries away down the street. The
gatekeeper looks up.

			GATEKEEPER
	You're late today, Senorita.

			CONSUELO
	I have brought my birthday flowers
	for my father's grave -- it will
	only take a moment - -

			GATEKEEPER
	Time is strange. A moment can be as
	short as a breath --or as long as
	eternity -- don't linger - -

Consuelo starts through the gates, not paying any attention
to the old man's words.

			GATEKEEPER
		(calling after Consuelo)
	The gates are locked at six --

There is no reply. The old man shrugs his shoulders and
hunches over his little Lire again.

EXT. CEMETERY - C0NTRERAS FAMILY PLOT - EVENING

The headstone of Don Rafael Contreras' grave, white stone,
with a bronze wreath, is shadowed by the failing light of
sunset. The headstone reads:
INSERT	RAFAEL CONTRERAS y GARCIA
PRAY FOR HIS SOUL

BACK TO SCENE. Consuelo's flowers lie across the grave.
Consuelo is half kneeling, half sitting beside the grave.

			CONSUELO
		(low, but speaking
		 perfectly naturally and
		 conversationally)
	And so you must forgive me, father,
	for deceiving mother. She will meet
	Raoul soon -- and everything will
	be as you would wish. I promise.

Consuelo rises and crosses to a near-by path. She looks into
the growing shadows of the cemetery -- then up into the
trees. Only the tops of them are lighted by the last rays of
the sunset.

EXT  PATH LEADING TO BELVEDERE IN CEMETERY - DUSK

Consuelo hurries along a path, with trees and graves on
either side.

EXT  BELVEDERE IN CEMETERY - DUSK

Just off the path is a little belvedere, a circular hedge
spaced at intervals by Grecian columns. Inside, a marble
bench curves half-way around the hedge. Consuelo approaches
it. Seeing the belvedere empty, she looks puzzled. She steps
into the belvedere and then turns back and looks into the
lowering gloom of the cemetery.

			CONSUELO
		(uncertainly)
	Raoul? ... Raoul...

Consuelo waits, Her face is filled with disappointment and
the first faint uneasiness of apprehension as the silence
continues. She turns back into the belvedere.

INT  BELVEDERE - NIGHT

On the ground a number of partly smoked cigarettes have been
stamped out -— and another lies on the marble bench. Consuelo
picks it up and looks at it.

DISSOLVE

EXT. ENTRANCE OF CEMETERY - NIGHT

From the inside of the cemetery, we see one of the wooden
gates swinging closed,

EXT  GATES OF CEMETERY

The Gatekeeper is laboriously pulling the other gate closed.
Suddenly, he stops.  He pushes the gate back open a little
way and, standing in the opening, takes	a whistle from his
pocket and puts it to his lips. It has a high, thin,
quavering sound.

BELVEDERE IN CEMETERY - NIGHT

Consuelo is seated on the marble bench, her posture dejected,
lost in thought. In the distance, the whistle sounds faintly.
She does not stir.

EXT  GATES OF CEMETERY - NIGHT

The Gatekeeper gives two mere short blasts on the whistle.

INT  BELVEDERE IN CEMETERY - NIGHT

Consuelo raises her head as the quavering notes sound in the
distance. For a moment, she looks puzzled -- then her eyes
widen in horrified recognition of the sound. She jumps to her
feet.

EXT. BELVEDERE IN CEMETERY - NIGHT

Consuelo steps out of the inclosure. She looks up into the
tree tops. They are only darkness now, merging with the
almost complete darkness of the sky above. Consuelo runs down
the path.

EXT. GATES OF CEMETERY- NIGHT

The Gatekeeper stands listening for a moment and then
continues pulling the gate toward him until it clicks shut
with the other gate. He drops the whistle into his coat
pocket and, from the same pocket, pulls out a large key. He
turns it in the lock of the gate. He turns around and moves
toward the street and his little gutter fire. His shadow
moves enormously on the gate.

EXT  MAIN AVENUE OF CEMETERY - NIGHT

We see Consuelo running down a broad avenue in the cemetery.

EXT  GATES OF CEMETERY - NIGHT

MED. LONG SHOT of the closed cemetery gates. The Gatekeeper
has disappeared. The little fire burning away in the empty
street makes the loneliness of the scene more apparent.

EXT. ENTRANCE OF CEMETERY - NIGHT

Panting, Consuelo flings herself against the closed gates,
tugging at the handle.

			CONSUELO
	Let me out! Help —— helps! Let me
	out of here!

Looking desperately anxious, Consuelo turns. She looks across
the cemetery and then starts running back up the main avenue.

EXT. CROSSROAD OF CEMETERY - NIGHT

At the head of the avenue, several paths fan out in a half
circle. Consuelo stands looking from one to another. She
chooses the center oath and runs into the tree—thickened
darkness

EXT. PATH BETWEEN BOX HEDGES -- NIGHT

Consuelo runs at breakneck pace down a path. On either side
are box hedges taller than she is.

EXT  FORKED PATH - NIGHT

The path Consuelo is on splits into two paths. In the V of
the fork is a single grave and over it hovers a tall shaft of
marble carved in the likeness of a brooding angel with folded
wings and bowed head. Consuelo locks about frantically and
then leans against the base of the statue, gasping for
breath. Suddenly a wind springs up and the silence is broken
into a thousand rustles and murmurs as the wind stirs through
the trees. Consuelo shivers and slowly lifts her head to look
up toward the tree tops. She looks directly up into the face
of the statue.

CLOSEUP of the angel's face is curiously sinister because
there is light touching its contours.

Consuelo whirls about to find the source of light. Through
the wind-stirred branches she sees the great, lop—sided moons
just rising into the night.
She stumbles away from the statue and down the right—hand
path, walking a few steps, then running a few steps, trying
to force herself to rush on.

Consuelo stands looking down into the old burial ground, a
depression filled with weed-grown graves and ancient wooden
headstones, either crazily askew or down entirely. It is
entirely surrounded by the tall trees of the cemetery —— and
the moonlight seems to fill the place with mist. Consuelo
starts down the slope.

EXT. OLD BURIAL GROUND IN CEMETERY - NIGHT

There are no paths here. The weeds grow solidly across the
ground — except where a grave, here and there, has fallen In
and its earth is broken into clods. Consuelo stumbles about
aimlessly. As she crosses one of the mounds, her foot strikes
a fallen wooden marker. It is rotten and the green light of
phosphorescene flashes across it,

EXT. PATH LEADING TO WALL IN CEMETERY - NIGHT

Moving again between tall trees, Consuelo moves on, no longer
able to run. But when she sees a whiteness between the trees
ahead of her, she does spur herself forward more rapidly.

EXT. WALL OF CEMETERY - NIGHT

Consuelo flings herself against the wall, her face alight
with hope.

			CONSUELO
		(calling loudly)
	Help! Help! Help!

There is silence. Slowly, keeping her hands pressed against
the wall and moving sideways, Consuelo goes alongside the
wall until she comes to a tree growing very close to the
wall. In fact, one massive bough extends out over the wall
and Consuelo looks up at it hopefully.  Then her expression
changes — becomes tense.

CLOSE SHOT of Consuelo.  Her eyes are wide and frightened.
From the other side of the wall comes a sound — a light,
scratching sound, exactly the same sound as that heard by
Teresa Delgado in her first trip through the underpass
tunnel. Listening intensely, Consuelo turns her head until
her ear is pressed against the wall. Now, we hear the sound
more distinctly — as she is hearing it — but it is still a
light, feathery sound. Then, suddenly, it ceases. And as
Consuelo strains to hear it again, there is the sharp, hollow
clap of a car door carelessly flung shut just outside the
wall. It is followed by the grind of a car starter. Consuelo
jumps up.

			CONSUELO
	Wait —— wait!

The car motor starts. Pressing herself against the wall,
Consuelo screams again and again. Finally, as the unseen car
starts to slip away, the roar of its motor subsides and at
that moment Consuelo's scream sounds clearly. Brakes rasp.

			AUTOIST'S VOICE
	Hello -— who's that?

Consuelo is breathing in such convulsive gasps that she
cannot emit any sound for a moment.

			CONSUELO
		(weakly)
	Here! I'm in here behind the wall!

There is the sound of a car door being opened, and then
footsteps beyond the wall.

			CONSUELO
	I've been locked in. Please get me
	out -—

			AUTOIST'S VOICE
	Now, don't get panicky. I'll climb
	over and get you --

Pressed tightly against the wall, Consuelo listens. She hears
running footsteps and then the thud of someone jumping up at
the wall, trying to get over it with a running start. Once,
twice.

			AUTOIST'S VOICE
	I can't make it. You wait there and
	I'll get someone to lend me a
	ladder - -

There is the sound of the car door banging shut again.

			CONSUELO
		(frantically)
	No, don't leave me! Don't go away —

			AUTOIST'S VOICE
	But you're all right now. It's just
	a matter of a few minutes!

			CONSUELO
	You won't forget —— you'll come
	back?

			AUTOIST'S VOICE
	Stay just where you are...

The roar of the motor fills the scene again. Then it is quiet

			AUTOIST'S VOICE
	Be back before you know it.

There is the sound of the car drawing away. The sound of it
lessens, fades — is swallowed in renewed silence. Consuelo
stands against the wall, motionless. She turns fearfully, so
that her back is to the wall, and peers into the shadows.
Suddenly she stiffens.

CLOSE SHOT of Consuelo. Her eyes widen. She turns her head so
that her ear is close to the wall. And again we hear the
curious scratching sound, and with it, another sound —-- a
soft, living, breathing sound, as of animal nostrils
snuffling along the wall, searching the scent of prey. There
is a brief silence, and then Consuelo's head snaps up as we
hear a soft padding sound near the top of the wall. She sees
only the moon, just visible in the space between the tree
bough and the top of the wall. There is nothing to be seen ——
but a rustling sound comes from the top of the wall.
Consuelo's eyes are motionless, fixed on the bough overhead.
Very gradually, the great bough lowers, blotting the moon
from view. Consuelo presses her back against the wall, as if
she would push herself into it, escape through it. Her head,
thrown back, is motionless — her eyes watching the ominous
movement of the great bough, are motionless. And as she
stares, a spasm of terror contorts her face. The bough
suddenly springs back and the moon can be seen for one
instant. During that instant we hear simultaneously a low,
horrible snarl and a scream. Both are cut off as the whole
scene blacks out.

						FADE OUT

FADE IN

EXT. CEMETERY WALL - DAY

A HIGH ANGLE SHOT through the branches of a great tree
overhanging the wall shows a scene of sad activity.
Consuelo's body, covered with a light canvas sheet, lies the
at the foot of the tree.  Five ladders, three against the
outside wall, two against the inside wall, form a curious
pattern of bars and stripes in the clean morning sunlight.
Uniformed policemen and plain—clothesmen bustle about. One of
them is making a moulage of footprints, his little working
space roped off with twine and stakes  Others are examining
the tree.
Two policemen, one uniformed, stand at the side and between
them stands a young man dazed and broken, almost hanging in
the grip of the officers. He is sobbing. This is Raoul
Belmonte. Suddenly he screams out hysterically.

			BELMONTE
	Why? Why? Why?

The policemen gently shake him into silence.

Robles, followed by Galbraith and Jerry come up over the
ladders. Robles climbs down the inside ladder as does
Galbraith, but Jerry, being younger, leaps down.

MED. CLOSE SHOT — SHOOTING TOWARD the wall.

			BELMONTE
		(crying out)
	Why?

Robles looks over questioningly. The uniformed policeman, a
Mexican, answers.

			POLICEMAN
	El novio.

			PLAIN- CLOTHESMAN
		(almost simultaneously)
	The boy friend.

			ROBLES
		(not unkindly)
	Shut that man up. Take him out of
	here or give him something to keep
	him quiet.

As the two officers lead Belmonte away, Jerry looks after him
- his face deeply troubled. The three men then turn toward
the shrouded body. A police officer, an American with a
lieutenant's bars an his shoulders, stands at the head of the
corpse. He bends down, lifts up the canvas, and Robles and
Jerry peer under for a brief minute. Galbraith does not look.

			LIEUTENANT
	The leopard again.

			ROBLES
	Any witnesses?

			LIEUTENANT
	Just secondary witnesses -— the man
	who Was coming to help her out --
	the man he borrowed the ladder from
	- - they found the body --and the
	gatekeeper.

The gatekeeper, who has been standing near one of the
policemen, takes a half step forward.

			GATEKEEPER
	I warned her. I told her the gates
	would be closed.

			ROBLES
		(quieting him)
	That's all right, paisano, it's not
	your fault, we know.

The old man shuffles back.

			ROBLES
	(to Lieutenant)
	Anything else -— clues?

The Lieutenant points to a square cardboard box on the
ground. Galbraith picks it up.

			GALBRAITH
	It's the leopard all right. A
	broken claw --	some black hairs -—

			LIEUTENANT
	There arc claw marks on the tree.

They cross to the tree.

			GALBRAITH
	He must have made these getting
	out. Notice the way they've been
	dug in from above.

			NOBLES
		(pointing to the ground)
	And these leaves. They don't fall
	this time of year. They must have
	shaken down on her when it jumped.

Jerry has been looking from one bit of evidence to the other,
puzzled. He turns to Galbraith.

			JERRY
	Doc -- something you said the other
	day --

			GALBRAITH
	Yes?

			JERRY
	It doesn't jibe with this —— you
	told me the leopard would go out
	into the country —- it wouldn't
	stay in the city ——

			GALBRAITH
	Sure -- certainly —- but what's
	that got to do with this?

			JERRY
		(a little hesitantly)
	That's what I don't understand --
	why should it come here -- and why
	didn't it stay here? It's got trees
	and bushes here -- outside nothing
	but cement and asphalt.

			GALBRAITH
		(a little impatient)
	Jerry, I talked to you about the
	habits of an ordinary wild leopard.
	This leopard is another matter
	entirely - - a caged animal
	travelling around with Charlie How
	Come for years and years.. That's
	why it kills human beings.

			JERRY
	Why?

			GALBRAITH
	It doesn't know how to hunt its
	natural prey.

			JERRY
	But it doesn't eat what it kills.

			GALBRAITH
	Caged animals are unpredictable.
	They're like frustrated human
	beings. I can't answer your
	question.

			ROBLES
	That's why it just mauls and tears
	at them.

			JERRY
	Something's wrong with this whole
	setup --

			ROBLES
	Yes, there is something wrong.
	People who want publicity and don't
	mind how they get it --what risks
	they make other people run - - what
	agony and sorrow they bring to
	other people --

			JERRY
	I know all that, chief, and I don't
	like it any better than you do, but
	there's something else --

Robles is about to reply. Galbraith stops him.

			GALBRAITH
	Just a minute, Robles.
		(indicating Jerry)
	Let him go on.

			JERRY
	I can understand about the cat
	killing the first girl. Charlie How
	Come told me. All that noise and
	those lights -- scared crazy it
	would do anything. Last night there
	was nothing to disturb it. Just a
	little girl alone in a cemetery.

			ROBLES
	What are you getting at?

			JERRY
	Nothing much -- just that it might
	not be a cat this time.

Robles smiles, Galbraith shakes his head. Jerry starts for
the ladder.

						DISSOLVE TO:

EXT. STREET - DAY

MED. SHOT - Charlie How-Come's truck. Charlie is standing on
the tailboard of the truck with a rubber exerciser in his
hands. Beside him is an empty cage. He is giving his spiel
but has only managed to attract an audience of small Mexican
boys who obviously have not a dime among the dozen of them.
Jerry is standing by watching him, obviously waiting for him
to finish.

			CHARLIE
		(spieling)
	Health - - vigor -- vitality --
	s-t-r-e-t-c-h --
		(suiting the action to the
		 word)
	...s t r e t c h. Watch the
	panther! Watch the lion in the
	jungles! What do they do -- s-t-r-e
	t-c-h.
		(quieter and more
		 confidential tone)
	Strength -- strength and vitality.
	Here I can sell you the secret of
	the cat's strength -- the cat's
	vitality. Only a dollar. Only a
	dollar.

The group of small boys, sensing that this is the end of the
show, have already started to disappear. Charlie climbs
stiffly down from the truck and faces Jerry.

			CHARLIE
	Can't make a buck without my
	leopard. I tell you, Mr. Manning,
	you gotta find that cat for me --
	or pay up.

			JERRY
	Look, Charlie, just be patient.
	I'll fix everything. You don't want
	that cat, anyway. It killed two
	people.

			CHARLIE
		(shaking his head)
	No, sir. That girl in the cemetery?
	My cat didn't kill that girl. I
	told you cats don't go around
	looking for trouble. If that cat's
	alive, it's out in the country
	hiding under a bush, starving to
	death.

			JERRY
		(interested, but
		 concealing it)
	You really think so, Charlie?

			CHARLIE
	That cat ain't mean. I feed him out
	of my own hand for six years. Why
	don't he kill me? At night in the
	truck, I let him out of the cage.
	When I am falling asleep I hear him
	walking back and forth. I go to
	sleep. He don't hurt me.

			JERRY
	They all say the cat killed this
	second girl.

			CHARLIE
	They don't say it to me.

			JERRY
	I'd like one of them to say it to
	you, Charlie. I'd like to have you
	hear his side of it his reasons.
	Want to hear them?

			CHARLIE
	Sure.

			JERRY
		(taking his elbow)
	Let's get in your truck.

They climb into the truck.

			CHARLIE
	Where's that man?

			JERRY
	Up at the museum.

Charlie puts his foot on the starter and the motor coughs and
wheezes into reluctant activity.

DISSOLVE

EXT. PORTICO OF THE MUSEUM — DAY

The museum is built on a hilltop and from the portico we
overlook the sagebrush and mesquite-covered hills of New
Mexico, rolling away to the horizon. At one end of this open
porch an old Indian hand loom has been set up and here an
Indian woman in Zuni costume sits patiently weaving a rug,
the shuttle flying back and forth monotonously, and the foot
pedal creaking as she changes threads. Charlie and Jerry come
into the portico and cross to the door. They push open the
heavy bronze door and enter the museum.

INT. MUSEUM - DAY

This museum, probably erected with the aid of government
funds, is well-proportioned and severely plain. A portico, a
long, rectangular display room and a combined office and
workshop in an alcove off the main room comprise the museum.

The display room has glass showcases containing various
Indian artifacts. On the walls are examples of Indian rug and
blanket weaving, masks and ceremonial properties.

Galbraith's workshop is completely practical. A trestle table
with an office armchair behind it, book shelves and transfer
cases containing labeled shards and artifacts are in this
alcove. On the trestle table, which Galbraith uses as a desk,
is a reading glass on a fixed stand which he uses to examine
specimens.

Charlie and Jerry walk in. Charlie has evidently been here
before because he shuffles down the main aisle through the
display room without looking around. Jerry keeps pace with
him but glances from side to side at various pieces. At the
end of the museum they turn and enter the little alcove where
Galbraith is seated at his desk. He is sharpening a pencil
and does not look up. They wait.

			GALBRAITH
		(looking up)
	Why, hello.

He gets up, comes around the table.

			JERRY
	You know Charlie How-Come?

			GALBRAITH
	We're old friends.

Charlie nods.

			GALBRAITH
		(to Jerry)
	Come to look around?

			JERRY
	More or less.

			GALBRAITH
	I'll take you about. Got some nice
	things.

He starts off and they follow him.

			JERRY
		(as they walk)
	Charlie and I were talking. That's
	one reason I wanted to see you.

			GALBRAITH
		(looks at him)
	About Charlie's leopard?

			JERRY
	Yes.

They have reached the display room and pause a moment. From
this point on, the CAMERA TRUCKS WITH them as they go.
Galbraith acts as cicerone, conducting them about, walking
ahead of them as he displays the exhibits.

			GALBRAITH
		(pointing)
	Here is something that should
	interest Charlie - a stone leopard
	head made by his ancestors some six
	hundred years ago. They used it in
	ceremonies. The jaguar -- in fact
	all the cat family -- were
	considered the personification of
	force and violence in their
	religious rites.

			CHARLIE
		(squinting at it)
	It don't look like a leopard to me.

They walk on. Jerry has paid no attention to the exhibit.

			JERRY
	Charlie doesn't think the leopard
	killed the girl in the cemetery.

			GALBRAITH
		(turning, with a smile)
	Charlie likes his leopard.

			CHARLIE
	Sure, I like my leopards

			JERRY
	But he admitted quick enough that
	it killed the first girl.

			GALBRAITH
		(patiently)
	Well, Charlie, just why do you
	think your cat didn't kill the
	Contreras girl?

			CHARLIE
	You know -- not scared enough.
	Nothing to scare it.

			GALBRAITH
	If a leopard didn't do it, who did?

			JERRY
	It could be a man.

			GALBRAITH
	It could be. Why would a man kill
	her? For what? It wasn't robbery.
	It wasn't a crime of jealousy or
	passion. She had no enemies.

Charlie shrugs.

			JERRY
	There are all sorts of men. You get
	to see some funny ones as a
	reporter.

			GALBRAITH
		(sagely)
	I can understand what you mean -
	demented men, pathological cases.
	But what sort of man would kill
	like a leopard and leave the traces
	of a leopard?

			JERRY
	Some crazy guy.

			GALBRAITH
	But he would have to know about
	leopards - have access to leopard
	claws and hair.

They walk on. Galbraith points out a nicely molded jug.

			GALBRAITH
	Here's our prize exhibit - an
	artifact of the Paleolithic period.

He looks into the case with a glance almost of affection,
then turns back to Jerry.

			GALBRAITH
	We had given up digging in a
	certain barrow. I went back and I
	tried again. I just had a hunch.

			JERRY
		(thoughtfully)
	A hunch -- that's all I've got
	about this leopard thing. It's just
	a hunch, yet I feel it deep in the
	stomach. It was a man!

			GALBRAITH
	Yes, but what sort of a man?

			JERRY
	I don't know.

			GALBRAITH
		(turning toward Charlie
		 chuckling)
	You, Charlie -- you know leopards.
	You might have had an old claw
	around somewhere, and perhaps a bit
	of hair from the cage -— eh?

			CHARLIE
		(seeing the joke, with a
		 wide grin)
	Sure!

			JERRY
	No. I'm serious about this.

			GALBRAITH
		(still smiling)
	Oh, I'm only exploring your theory.
	Let's take a step further. You
	drink, don't you, Charlie?

			CHARLIE
	I drink.

			GALBRAITH
	And when you drink, you get drunk.

Charlie nods.

			GALBRAITH
	Then what do you do?

			CHARLIE
	I sleep it off.

			GALBRAITH
	But between the time you leave the
	cant ma and fall into bed in that
	old truck of yours, what happens,
	Charlie?

			CHARLIE
	I don't know.

			GALBRAITH
		(stopping near the door)
	That's just it, Charlie. That's
	what I'm driving at. You could do
	anything in that time.

			JERRY
	Charlie wasn't drunk last night.

			CHARLIE
		(very worried)
	Yes, I was drunk, Mr. Manning.

Galbraith makes a gesture with his arms as if to say "There
you are." Charlie shakes his head.

			GALBRAITH
		(with a wide friendly
		 smile)
	See? There's a suspect for you,
	Jerry.

Jerry looks over at Charlie, who is very woebegone, worried
and nervous.

			JERRY
		(taking his arm, kidding)
	Come on, Charlie. Let's go find
	another and better suspect.

			GALBRAITH
	Don't you want to see the rest of
	the exhibit?

			JERRY
	Some other time.

The men nod to each other. Jerry leads Charlie out.

EXT. MUSEUM PORTICO - DAY

Charlie and Jerry come out of the museum and stand for a
moment on the edge of the steps. Behind there the Indian
woman continues working at her loom, the heavy shuttle goes
back and forth.

			CHARLIE
	I'm sick.

			JERRY
		(reaching into his pocket)
	Here have a cigarette. He was only
	kidding.

			CHARLIE
	No, he wasn't kidding. I'm sick.
	Claw women? Hurt little girls? No!

Jerry is still holding the cigarette out toward him.

			CHARLIE
	I don't know. I want to see Robles.

			JERRY
	What do you want to see him for?

			CHARLIE
	I want him to lock me up.

			JERRY
	Look, Charlie, you didn't do it,
	and you know you didn't.

			CHARLIE
	I don't know. I want him to lock me
	up.

He starts forward and Jerry goes with him.

						DISSOLVE

EXT. ENTRANCE TO THE ALLEY - DAY

Charlie's truck is parked at one corner. He, Jerry and Robles
stand in front of it talking.

			CHARLIE
	The Doc's right. I don't know what
	I do when I get drunk. I don't
	know.

			ROBLES
	This is crazy, Charlie. You know
	you didn't do it.

			CHARLIE
	You'd better lock me up.

			JERRY
	I've been trying to tell him,
	Sheriff. He won't listen to me.

			ROBLES
	Let me get one thing clear. Did
	Galbraith make a direct accusation?

			JERRY
	No. He was kidding Charlie.

			CHARLIE
	You'd better lock me up. If I do
	things like that I want to be put
	away. I don't want to hurt nobody.



			ROBLES
		(takes his arm)
	All right, Charlie. If it will
	relieve your mind, I'll put you
	away for a few days.

						DISSOLVE

INT. JAIL - NIGHT

MED. CLOSE SHOT -Charlie holding on to some cell bars, stands
brooding. O.S., we hear the sound of castanets. Charlie lifts
his head to look out of an unseen window.

EXT. STREET - NIGHT

TRUCKING SHOT - Clo-Clo, dressed in dancing costume, with a
black shawl over it, passes along the street, clicking her
castanets idly. From afar we hear a sad, sweet Mexican love
song, being sung in a high tenor voice.

Clo-Clo passes a dimly lit doorway, and we see a woman
sprinkling holy water on the door step from a font that hangs
beside the door.

			MEXICAN WOMAN
	Valganos Dios.

She makes the sign of the cross and softly closes the door.

Further down the street, two policemen pass Clo—Clo, walking
in step. She grins at them.

			CLO-CLO
	Two men for one beat? Afraid of the
	big cat?

			FIRST POLICEMAN
		(grinning)
	Sure. I've got a family.

They pass on. The CAMERA FOLLOWS Clo—Clo. The love song has
grown louder and clearer and now we come to its source. A
young boy is perched on ton of some vegetable crates on an
old truck parked alongside the curb. He is singing for his
own pleasure and hardly notices Clo-Clo as she passes.
Smiling, she lifts one pair of castanets to follow the beat
of his song. He waves to her and she passes on into the
darkness beyond the truck.

The CAMERA HOLDS for a moment on the young boy as the
castanets, playing the rhythm of his song, fade away in the
distance.

						DISSOLVE

EXT. PATIO OF EL PUEBLO - NIGHT

The patio is pretty well filled with patrons. Clo-Clo,
crossing the patio from the entrance gates to the bar in the
rear, skirts the dance floor —- watching the customers with
amusement. In doing so, she almost bumps into a waiter with a
full tray. To let him pass, she backs aside and stands by one
of the tables.

At this table are three people; John Brunton, his daughter,
Helene and her husband, Dwight.

John Brunton is a heavy—set, rather impressive looking man of
about sixty  Because he is an older man with the air of
authority which comes from success and money, you have to
look twice to catch both the gaiety and the gentle irony in
his eyes. Helene and Dwight are two of his closest reasons
for that irony. They are nice-looking, well—groomed, somewhat
conventionally smart people.

Waiting for the waiter to go by, Clo-Clo half turns and looks
down at the three people. She smiles.

			CLO-CLO
	Hello —-

Helene looks up coolly at Clo-Clo and then reaches for her
cigarette case. Dwight, with a faint smile which is intended
to put brash women in their places, busies himself lighting
Helene's cigarette. Brunton looks up at Clo-Clo end gives her
a friendly smile.

			BRUNTON
	Hello, there.

Clo-Clo continues on her way to the bar, without looking
back.

			DWIGHT
		(fretfully looking at his
		 wristwatch)
	It's been half an hour since we
	ordered.

			BRUNTON
	Let's have a drink while we're
	waiting.

Brunton leans back a little and cranes his neck to see if he
can locate the waiter. Helene puts her hand over his on the
table.

			HELENE
		(sweetly)
	Don't bother. I don't want one -—
	do you, Dwight?

Dwight, disinterested, shrugs his shoulders. Helene gives him
one of those say-something-dope looks.

			DWIGHT
		(hastily)
	No —- no, thank you.

The music has stopped and the dancers applaud in the brief
pause, Then the orchestra starts again -- this time a tango.

			BRUNTON
		(brightening)
	Want to dance, Helene?

			HELENE
		(shrugging her, shoulders)
	I suppose so --

As she starts to rise, he gets up to pull back her chair.

			HELENE
	Dwight --

Dwight rises from the table and the two of them walk over to
the dance floor. Brunton watches them as they go off. Then he
walks away, in the direction of the bar.

INT. BAR AT EL PUEBLO - NIGHT

Quite a crowd of people are standing around the bar, either
waiting for their drinks or drinking them there. Others are
seated at the small tables here and there on the veranda that
houses the bar. At a table quite near the steps leading down
to the patio, Clo-Clo is seated. A tall, thin goblet of beer
stands in front of her.

Brunton starts up the steps.. Seeing him, Clo-Clo grabs the
beer and puts it on the floor between her chair and the
veranda railing. Then she starts looking toward the bar, as
if waiting for someone to wait on her.

As Brunton comes to the top of the steps Clo-Clo just
"happens" to catch his eyes.

			BRUNTON
		(pleased)
	Hello!

			CLO- CLO
		(turning on the charm and
		 the gamin grin)
	I think we are playing tag -- or
	maybe hide-and-seek, huh?

Brunton steps over to her table and stands with his band on
the back of the unoccupied chair - - a little uncertainly.

			BRUNTON
	Is someone with you -- can I get
	you a drink?

			CLO-CLO
	Why not?

						DISSOLVE

EXT. PATIO AT EL PUEBLO - NIGHT

Helene and Dwight are seated at the table again. A waiter is
serving the dinner they hate been waiting for.

			HELENE
		(savagely)
	It's taken this	impossible trip to
	show me what an old fool father has
	become!

Dwight rises from the table.

			DWIGHT
	I'll look for him. He's probably in
	the bar.

			HELENE
	Probably.

INT. BAR AT EL PUEBLO - NIGHT

Brunton is now seated at the little table with Clo-Clo. Near
them, a waiter is preparing to open a bottle of champagne
from an ice bucket.

			BRUNTON
		(to the waiter)
	Just a moment
		(to Clo—Clo)
	Look —- you've ordered this stuff
	like a sensible girl --but you
	don't have to drink it.

Clo—Clo studies him, a little warily.

			BRUNTON
	Do you want it? Or do you want
	another beer?

He looks over the side of the table and gently nudges the
hidden goblet with the toe of his shoe, For a moment Clo—Clo
is startled — then she begins to grin.

			BRUNTON
		(to the waiter)
	Two beers -- big ones!

Brunton looks off toward the steps. An expression of dismay
comes over his face. Clo—Clo turns around to see Dwight
coming up to them. Dwight looks from Clo-Clo to the unopened
champagne —- and then smiles at his father-in—law with a
disagreeably "understanding" smirk.

			DWIGHT
	They've finally gotten around to
	our dinner --

			BRUNTON
		(shortly)
	I'll be there In a few minutes.

			DWIGHT
		(nasty-nice)
	Sorry -- but you know how Helene is
	-- she's been worrying about you --

Still smiling, Dwight turns away. Clo-Clo looks after him and
then straightens around and faces Brunton again.

			BRUNTON
	My son—in—law. What do you think of
	him?

			CLO-CLO
		(flippantly)
	That depends. How much money has
	he?

Brunton studies her -- not disapprovingly, but as he would
study a child or an animal that appealed to him.

			BRUNTON
	When you marry champagne, Clo-Clo,
	you can't trade it in for beer.
	You're stuck with it.

			CLO-CLO
	I can't understand that fancy talk.
		(excitedly)
	You mean I'm a gold-digger? Sure,
	I'm a gold-digger -- why not?

			BRUNTON
		(echoing her calmly)
	Why not -- if you like it —- if
	that's what you really want.

Clo-Clo sniffs angrily. The waiter serves the two glasses of
beer. Clo—Clo grabs hers and gulps thirstily.

			CLO-CLO
	Maybe I should just forget all
	about money - - forget about mamma
	and the kids and the rent, huh -
	marry some poor dope like -- oh,
	like Carlos Dominguez - - and get
	fat and —-

			BRUNTON
		(interrupting)
	Who's Carlos Dom-what's-his-name?

Clo—Clo shrugs her shoulders in a dramatic gesture of
indifference.

			CLO-CLO
	Nobody. A boy who works in a
	grocery.

			BRUNTON
		(watching her)
	Good looking?

			CLO-CLO
	Mmm———yes.

			BRUNTON
	Nice fellow?

Again Clo-Clo shrugs her shoulders.

			BRUNTON
	Is he in love with you?

			CLO-CLO
	I don't know —-

Clo—Clo looks down at her glass of beer, sullenly. Brunton
watches her, not saying anything.

			CLO-CLO
		(in a sudden outburst)
	Why do you ask so many questions?
	What difference does it make how
	Carlos and I feel? Feeling does not
	buy clothes and houses!

			BRUNTON
		(kindly)
	Drink your beer and don't get so
	excited.

In spite of herself, Clo-Clo starts smiling. Brunton smiles
back at her and lifts his glass of beer. She lifts hers to
touch it in salute.

The Brunton's table. The younger Bruntons are half-way
through dinner. He looks at his watch. She frowns.

She rises and he helps her on with her stole.

John Brunton is still seated at the little table. He is
laughing and coughing from the exertion of the laughter. Clo
Clo stands behind him, thumping him on the back. She looks
worried. Several people in the bar are watching them with
amusement -- but a nice kind of amusement.

			CLO-CLO
	You'll kill yourself. Isn't there
	something sad we can talk about,
	just until you get over this?

Brunton wipes the tears of laughter from his eyes.

			BRUNTON
	That's what we were supposed to be
	doing this time. But the sadder you
	try to be, the funnier it comes
	out!

			HELENE' S VOICE
	Father!

Brunton makes a little face and then turns around to see
Helene who is coming coward him from the steps.

			HELENE
		(furiously)
	We finished dinner hours ago.

Brunton gets to his feet.

			BRUNTON
		(wearily)
	All right. I'll be with you as soon
	as I've settled this ——

He waves his hand at the glasses on the little table.

With a fishy eye for Clo-Clo, Helene turns and goes back down
the steps.

			CLO-CLO
	Why do you let her boss you around
	like that? Give her a good slap and
	tell her to keep still!

Brunton chuckles. He takes some change from his pocket and
puts it down on the little table. The waiter from the patio
comes up the stairs and hands him the bill on a plate.

			WAITER
	Madame will be waiting at the
	entrance -—

Brunton looks at the bill and then reaches into an inner
pocket for a wallet. He takes a couple of greenbacks from it
and hands them to the waiter. The waiter bows and smiles and
goes off.

			CLO—CLO
		(muttering)
	Madame will be waiting -- Madame
	ought to go on waiting! To have
	such a father and treat him like a
	poor cousin!

Brunton smiles again -- he starts to put his wallet away —
then opens it up again and takes a single bill from another
compartment. He puts it in Clo-Clo's hand and folds her
fingers over it.

			BRUNTON
	This is for "mama and the kids."

			CLO-CLO
		(without looking at the
		 bill; kidding)
	What about me?

			BRUNTON
	You get your money from your
	husband.

Clo—Clo stares at him.

			BRUNTON
	Carlos What's-His-Name -- the boy
	at the grocer.

Clo-Clo looks at him questioningly for a moment —- then very
suddenly puts her arms around his neck and kisses his cheek.
Brunton, greatly touched, pats her shoulder. They smile at
each other -- and then Brunton turns and walks away.

Clo-Clo looks after him, then down at her hand. She lifts the
fingers from the bill crushed in her palm. Her eyes widen in
shocked amazement.

INSERT	$100 bill, crumpled in her hand -- The fingers close
on it again.

BIG HEAD CLOSE-UP - Clo-Clo. She smiles happily and starts
off.

						DISSOLVE IN

EXT. STREET - NIGHT

Clo-Clo is scurrying down the street as fast as her stilt
heeled pump will carry her. Her face is bright with
excitement and she hums to herself, snapping her fingers in
imitation of her castanets. She passes the flower shop and
then the window of the store where Maria tells fortunes. Clo
Clo hesitates -- goes back and peers through the window.

INT. FORTUNE TELLING BOOTH - NIGHT

The interior of the store is dismal. On one wall hangs a
phrenological chart. In the center of the room is a plain
kitchen table with two rickety chairs, one of them a bentwood
affair with a sagging cane seat. On the table sleeps a white
cat, curled up against a cracked crystal ball. A cheap thick
restaurant saucer on the table is more than half—filled with
cigarette butts and ashes.

Maria is seated at the table. A cigarette is in her mouth.
She just sits there, not touching the deck of cards in front
of her —— staring across at the wall.

There is the sound of the door opening and Maria looks up.
She says nothing as Clo-Clo comes into the place, but waits
until Clo-Clo stands beside the table.

			MARIA
	Well -- did he give you a lot of
	money?

			CLO-CLO
	Who?

			MARIA
	The elderly man I told you about.

Clo-Clo shrugs her shoulders and sits down at the table,

			CLO-CLO
	He was old enough -- but you
	slipped up on the money. Try it
	again, why don't you?

Maria looks at her sardonically, but obligingly picks up the
deck of cards.

			MARIA
	Put your wish in them.

Clo-Clo shuffles thorn a few times and then hands them to
Maria. Maria cuts them into seven piles, face down. She
starts turning up the top card on each pile.

			MARIA
	Money?

She looks up at Clo-Clo who maintains a completely blank
expression. Clo-Clo smiles.

			CLO-CLO
	Maybe a honeymoon --

Maria starts to turn up the next card, with a practiced roll
of the wrist —- as she sees what it is, however, she drops it
and quickly swirls all the cards together again and hands the
pack to Clo-Clo.

			MARIA
	Cut.

			CLO-CLO
		(astounded)
	What are you doing that for?

Maria shrugs her shoulders. Clo-Clo cuts the deck into three
sections. Maria starts turning the top cards.

			MARIA
		(murmuring)
	Again --

Clo-Clo looks down at the cards, perplexed because Maria is
perplexed. She sees a ten of diamonds followed by a four of
spades. The third pile is still untouched.

			MARIA
	Something black —- something on its
	way to you ——

			CLO-CLO
	Go on -—

Maria stares down at the third pack and then, with a deft
twist, flips the top card face up. Almost simultaneously,
Maria slaps her hand over it.

			MARIA
		(sharply)
	Don't look at it!

			CLO-CLO
		(whispering)
	Let me see it ——

Slowly, seemingly reluctantly, Maria uncovers the card.

INSERT	The Ace of Spades.

			CLO-CLO
	The death card - -

			MARIA
	Maybe not - cards mean different
	things different times --

Clo-Clo just stands there, staring down at the card.

Clo-Clo nods her head slowly. She lays some silver on the
table in payment for the reading, then goes across the room
to the door. Maria stands up and walks over to join her. Clo
Clo stands looking out of the door. She turns abruptly to
Maria, at her elbow.

			CLO-CLO
	Walk a little ways with me —-?

Maria shrugs her shoulders. Clo—Clo starts out the door,
Maria behind her.

EXT. STREET - NIGHT

Clo-Clo and Maria walk in silence past the doorway where
Shorty blew the smoke ring, past the perch where the boy and
girl were kissing -- past the dark Delgado house. Clo—Clo
glances up at the window as they go by.

EXT. STREET CORNER - NIGHT

The sidewalk is so high above the street here that there are
three stone steps set in the curb. Clo-Clo goes down the
steps, but Maria stops at the top. Clo—Clo turns and looks up
at her.

			CLO-CLO
	Well ——

Maria says nothing, Just stands there with an odd, mocking
little smile on her face.

			CLO-CLO
	See you tomorrow —-

			MARIA
	Tomorrow -—

Clo—Clo continues across the street and up the curb steps on
the other side. At the top of those steps, she turns and
looks back. The corner where she had left Maria is now empty.
The moonlit street stretches deserted on either side. Clo-Clo
hurries on again, almost running.

DISSOLVE

EXT. STREET CORNER RESIDENTIAL DISTRICT - NIGHT

This is a nice residential section, more American in feeling
than the other streets we have seen. There are trees on
either side of the street and the moonlight makes lacy
patterns through them. A shoulder-high brick wall encloses
the garden of the house on the corner. Clo-Clo is walking
along this brick wall. A purr of sound quickly lifts to the
sound of a high-powered motor and the glare of headlights
precede a long, low black roadster. The car comes around the
corner and stops. A young man leans out on the driver's side

			YOUNG MAN
	Hey, chiquita, want a lift?

Clo-Clo stops and eyes him speculatively.

			CLO—CLO
	What way are you going?

			YOUNG MAN
	Your way ——

Clo-Clo suddenly shrinks back, horror coming into her eyes.

			YOUNG MAN
	What's the matter?

			CLO-CLO
	Your car —— what color is it?

			YOUNG MAN
	Black.

Clo-Clo backs up against the brick wall.

			CLO-CLO
		(shrilly)
	Get outta here! Get away from me
	with that thing!

			YOUNG MAN
		(dumbfounded)
	What do you mean -— "thing"?

Clo-Clo starts running along the wall, looking back in terror
over her shoulder. The young man looks after her dumbfounded.

						DISSOLVE

EXT. CLO-CLO'S HOUSE - NIGHT

This is a small, ordinary clapboard house. In front of it is
a scraggly, dusty attempt at a lawn and garden. A mongrel pup
lies on the dusty path sleeping.  Suddenly he leaps up and
barks sharply.

			CLO—CLO'S VOICE
	Be still, Pancho!

Clo-Clo walks up the path to the house. She opens the front
door, pushes Pancho away with her foot and slips	into the
house, closing the door behind her.

INT. CLO-CLO'S BEDROOM - NIGHT

In the shadowy light of a single candle, Clo-Clo's small
bedroom can be seen only dimly. In it are a bed with iron
bedstead, an ancient wooden rocking-Chair, a chest of
drawers, and a little child's bed. The candle stands in a
saucer on top of the chest. A little girl is sleeping in the
large bed.

Clo-Clo comes into the room.  She sits down on the edge of
the bed and pulls the little girl into her arms. The child
murmurs sleepily and snuggles up to Clo-Clo.

			CLO-CLO
		(happily)
	Pepita, tomorrow..I'm going to buy
	you the most beautiful silk dress
	in the world.

The little girl tries to open her eyes, but the lids flutter
closed again and the child goes on sleeping.

			CLO-CLO
		(laughing softly)
	You don't believe me, do you?

She lays the child in the smaller bed and pulls up the full,
ruffled skirt of her costume..

			CLO-CLO
	Wait until you see what I have —
	then you'll wake up.

She runs her finger under the rolled top of one of her silk
stockings. She looks startled. Then, she stands up and pulls
the costume back over the other leg. She looks in that
stocking roll. She stands stricken under the realization that
she has lost the money.

			MOTHER'S VOICE
	Is that you Gabriela? What's the
	matter?

Clo-Clo doesn't answer. She scuffs off her shoes and looks in
them. She drags off the long stockings, standing first on one
leg and then the other. She turns them inside out and shakes
them.

Clo-Clo's mother appears in the doorway. She is a prematurely
-aged woman with her hair in two braids and wearing a torn
wrapper.

			MOTHER
	What are you doing? Have you lost
	something?

			CLO-CLO
		(tensely)
	Yes. Money. I must have lost it in
	the street.

Clo-Clo thrusts her feet into the slipper, not bothering to
put the stockings on again. She grabs up a shawl from the
foot of the bed and throws it over her shoulders.

			MOTHER
	Are you going out again, hijita?
	Why don't you stay home and rest -—

Clo—Clo stops to kiss her mother's forehead and then goes
swiftly out the door, past her. The Mother turns to follow
her.

			MOTHER
		(urgently)
	Gabriela!

						DISSOLVE

EXT. STREET CORNER IN RESIDENTIAL DISTRICT - NIGHT

Clo-Clo walks into the scene very slowly, scanning every inch
of the sidewalk, from the curb to the brick wall and back
again, over and over as she moves toward the corner. She
retraces the pattern of her steps when she stopped to talk to
the Young Man -- out to the curb —— back to the wall and
along the wall to the corner. She	then turns the corner.

EXT. STREET WITH RAMADA - NIGHT

Clo-Clo looks down her side of this street. She looks across
the street. Clo—Clo half turns, as if to retrace her steps —-
but just then something further down the sidewalk catches her
eye. She runs along the wall and leans down to grab at the
bit of folded green and white paper there. The elation dies
from her face. Stonily, rigidly she stares at it, the wrapper
from a stick of gum.

There is a tiny sound -- no more than a flicker of sound.
Clo—Clo lifts her face slowly. There is no movement anywhere,
no further sound. Clo-Clo looks to the building. There are
alternate bands of black darkness and moonlight. Clo—Clo's
eyes move from one to another. There is no movement behind
any of them.

Frowning a little, Clo-Clo starts back toward the corner. As
she moves, she hears footsteps across the street in the black
shadows. Listening, she walks more softly. But there is no
fear in her expression	or her posture. She is only curious.
Suddenly, she whirls and looks across the street. There is
nothing over there, nothing moving, nothing making sound. She
walks on to the corner arid, looking back once, goes on
around the corner.

EXT. STREET CORNER IN RESIDENTIAL DISTRICT - NIGHT

Clo—Clo walks away from the corner, along the brick wall,
very slowly. Her eyes go from side to side and she turns her
head slightly, as she listens. She stops. Behind her, back
around the corner, she hears footsteps

—- and then an imitative silence. She takes a few more steps,
stops suddenly again -— and again the pursuing footsteps
overlap hers. As Clo-Clo stands there, the silence is
protracted. Puzzled, but still showing no expression or
gesture of fear, Clo-Clo listens, then smiles and turns back.

			CLO-CLO
		(smiling; speaks softly)
	Carlos —-

She gets as far as the corner, throws away her cigarette and
takes a compact and lipstick from her pocket. She holds up
the compact mirror and starts to outline her lips with the
lipstick.

BIG CLOSEUP — Clo—Clo. There is a tiny sound - and some
grains of pebble and brick-dust trickle down the wall behind
Clo-Clo's head. She looks down, puzzled, and then - very
slowly - lifts her head.

Enormous HEAD CLOSEUP of Clo-Clo. The mouth goes slack and
the eyes widen in the shock of absolute horror.

A FLASH of the lipstick dropping from Clo-Clo's limp fingers.

A hoarse cry of terror is broken off by a violent snarl and a
FLASH of Clo-Clo's body arching back -- almost in the posture
of a dance -- away from the assault of something black which
rises from lower left-hand corner of the frame and instantly
blacks out the entire screen.

We FADE ON her still glowing cigarette in the gutter.

FADE IN

EXT. CEMETERY - DAY

MED. LONG SHOT - Clo-Clo's grave. The coffin, on canvas strap
supports, is being held over the open grave by four black
suited attendants. The priest stands at the head of the
grave, dressed in his vestments, and with the open prayer
book in his hand. At the grave side are a few mourners, Clo
Clo's mother and her little covey of brothers and sisters are
all huddled together at the foot of the grave. Between them
and the priest stand a small group: Robles, Jerry, Mr.
Brunton, Galbraith, Charlie How-Come, the Florist and
Belmonte. The priest is just finishing the service.

			PRIEST
	Anima ejus, et animae omnium
	fidelium defunctorum, per
	misericordiam Dei, requiscant in
	pace.

			OMNES
	Amen.

From some distance away we hear the tolling of church bells.
The attendants slowly begin to lower the coffin into the
grave. The florist who had begrudged Clo-Clo one wilted
flower comes forward and lays a whole armful of roses on the
descending coffin. Jerry follows him. He puts Clo-Clo's
castanets among the flowers.
The coffin sinks slowly from sight. One of the attendants
takes a spade. We hear the hollow thump of the first spadeful
as it strikes the casket.

						DISSOLVE CUT

						DISSOLVE IN:

EXT. CEMETERY GATE - - DAY

Robles, Charlie, Jerry and Galbraith come out of the cemetery
together. They are walking slowly, evidently still somewhat
under the sombre influence of the ceremony they have just
witnessed.

			GALBRAITH
		(to Robles)
	Have you sent for the state
	hunters?

			ROBLES
	I wired this morning.

			JERRY
	State hunters?

			ROBLES
	Professional hunters, who rid the
	state of cougars.

The men have paused just outside the cemetery gate.

			JERRY
		(incredulously)
	You still believe it's the leopard?

Robles stares at Jerry.

			ROBLES
	Haven't you seen the evidence,
	haven't you heard the testimony?

			GALBRAITH
	Is there anything In Clo-Clo's
	death, Jerry, to suggest it wasn't
	the leopard?

			JERRY
	Yes. The lipstick.

			ROBLES
	Why?

			JERRY
	Ask Kiki. Ask any woman. Girls
	don't put on lipstick in the middle
	of the night on a dark, lonely
	street unless they're with a man or
	expecting a man.

Robles and Galbraith look at Jerry. There is some admission
of agreement in their very silence, as they weigh what he has
said.

			GALBRAITH
	It is possible --

			ROBLES
	Just the same - - I am going to
	use the state hunter. Well -- come
	on, Charlie, I'll give you a lift
	back into town.

Robles starts off and Charlie obediently starts after him.
But Charlie stops and turns back to Jerry and Galbraith.

			CHARLIE
		(to Galbraith)
	Now I know I didn't hurt nobody
	when I was drunk - -

			GALBRAITH
		(kindly)
	Of course, not, Charlie. I never
	thought you did.

			CHARLIE
	And my leopard - - maybe he hurt
	the first girl -- but no more.

Charlie, looking satisfied at having had his say, turns and
goes off after Robles. Jerry and Galbraith start off in the
opposite direction.

THE CEMETERY WALL - DAY

TRUCKING SHOT with Robles and Jerry as they walk along.

			JERRY
	You must admit it's possible that
	it might have been a man.

			GALBRAITH
	Just barely possible - - yes.

Jerry pauses and Galbraith stops and looks at him
inquiringly.

			JERRY
	You know a lot. You've taken a lot
	of fancy courses in colleges and
	that kind of stuff - - what kind of
	a man would kill like that?

			GALBRAITH
	But all those fancy courses were
	about the dead, Jerry, not the
	living.

			JERRY
	All right -- the dead, then.  In
	history there must have been men
	like that -- men with kinks in
	their brains --

Galbraith nods his head. He starts walking slowly forward
again and Jerry goes along with him.

			GALBRAITH
	Yes. There have been men who kill
	for pleasure -- strange pleasure.
	There was Blue Beard in France --
	Jack The Ripper in London. It's not
	uncommon.

			JERRY
	If there were a man like that, with
	a kink in his brain around here
	loose, what would he be like.

			GALBRAITH
	To the eye? Like other men.

			JERRY
	I don't mean that. How would he
	act? What would he do?

			GALBRAITH
	He'd act normally when he was with
	other people. It would be a man who
	suffered remorse and even pity when
	it was all over.

			JERRY
	Couldn't you tell a man like that
	when you saw him?

			GALBRAITH
	No. He would be a hard man to find,
	Jerry. Particularly if he were a
	clever men. He would go about his
	ordinary business calmly and coolly
	except when the fit to kill was on
	him.

			JERRY
	You've thought of all this before.
	You know it isn't the leopard ——
		(insistently)
	Don't you?

Galbraith makes no answer. Jerry looks at him and senses the
finality in this. The two men start walking once more.

						FADE OUT:

FADE IN:

KIKI'S DRESSING ROOM - DAY

Jerry, Kiki and Eloise are in the dressing room.	Jerry and
Kiki are dressed for travelling. Kiki is wearing a suit and
her hat and topcoat are on the table. Standing on the floor,
near the door, are a couple of	suitcases. Both Kiki end
Eloise are holding paper cups in their hands. Jerry is Just
finishing filling Kiki's cup	from a champagne bottle (split).

			JERRY
	There you are —-

Jerry crosses to Eloise and fills the cup she holds out.
Eloise looks at him with sentimental fondness.

			ELOISE
	Oh, dear -- I don't know what I'm
	going to do without you -
	honestly, I don't ——

			KIKI
		(amused)
	Hey —— I'm over here.

			ELOISE
		(not taking her eyes off
		 Jerry)
	I'll miss you too, honey --

Jerry grins at her. He fills a cup for himself and puts the
bottle down on the dressing table. Then he lifts the cup to
Kiki.

			JERRY
	Well -— here's to luck in Chicago.

			ELOISE
	Chicago! Imagine getting out of all
	this silly scenery and opening in a
	real city!

			JERRY
		(a little smugly)
	Not bad, huh? And this place
	closing for the week—end gives us a
	couple of extra days to rest up.

			KIKI
	I can use them.

			JERRY
	Do they close up every year for
	this Processionist business?

			ELOISE
		(nodding)
	It's the big religious ceremony
	around here. You really ought to
	see the procession -- why don't you
	wait over —— say, who knows, I
	might be able to scare up some
	money and go with you then!

			JERRY
		(laughing)
	You're sure crazy to get out of
	here, aren't you?

			ELOISE
	You know what it is to be ambitious
	-— but you two are already on your
	way -- I haven't even started.

The door opens, simultaneously with a knock, and a Mexican
waiter appears with a large box of flowers in his hands. He
hands the box of flowers to Jerry, who is	nearest him.

			WAITER
	These for the Senorita Kiki. And
	the cab is coming soon.

			JERRY
		(happily)
	Okay, Kiki -- here we go!

They start out. The CAMERA HOLDS ON Eloise as she watches
them go.

DISSOLVE

INT. OF THE CAB - DAY

Kiki and Jerry are seated side by side in the cab. The box of
flowers is between them. It is covered, but the ribbon has
been taken off. Kiki holds a card in her hand. She looks down
at it.

			KIKI
	That was nice of Mr. Galbraith.

			JERRY
	He's a nice guy. Vie ought to keep
	in touch with him.

Kiki looks down at the box of flowers. She lifts the box
cover a little and then closes it again.

			KIKI
	Pretty. You know -- it's funny but
	flowers only mean one thing to me
	now.

			JERRY
	I know. Funerals.

			KIKI
	Yes.

In the following pause, Kiki looks out the window. Jerry
looks over at her, watching her seriously and questioningly.
But as she turns back, he looks away again.

			KIKI
	Jerry ——

Jerry waits, but says nothing.

			KIKI
	Jerry, these flowers aren't really
	for me ——

			JERRY
	You mean you want to take them to
	the cemetery.

			KIKI
		(a little shame-faced)
	Yes. Do you mind?

Jerry leans forward and taps on the glass partition between
themselves and the driver.

DISSOLVE

INT. BELVEDERE IN THE CEMETERY - DAY

In the arbor-like inclosure, two or three white pigeons are
moving about on the sunlit ground. As Kiki and Jerry enter
the inclosure, they lift into the air with a flutter of wings
and fly away. Kiki looks around the little inclosure.

			KIKI
	And she waited here for him?

			JERRY
	Robles says it looks that way.
	Belmonte had already been there and
	left. They only missed each other
	by a few minutes.

Kiki goes over to the little marble bench and sits down.

Jerry stands and looks down at her.

			KIKI
	What do you suppose she thought
	about - alone in here?

Jerry shrugs his shoulders.

			KIKI
	It's such a sad little place --

Kiki stands looking out at the sunlit trees of the cemetery.

			JERRY
	Why do you want to stay around
	here? It'll only make you feel
	badly.

			KIKI
	Maybe I want to feel badly.

			JERRY
	That doesn't make sense.

Kiki turns around and faces him across the belvedere.

			KIKI
	Maybe I'm tired of pretending that
	nothing bothers me -- that I don't
	care about anything but myself -
	myself and my two-by-four career.

Jerry comes part way across the belvedere to her.

			JERRY
	What else do you care about, Kicks?

			KIKI
	You. Us.

Jerry comes over and takes her in his arms. He looks into her
eyes and then kisses her deeply. As he lifts his head again,
he holds her even more tightly.

			JERRY
	I'm glad you care about us, Kicks.
	Sometimes that gets kind of lost in
	the racket --

			KIKI
		(looking up at him)
	Maybe there ought to be less racket
	and more us.

Jerry smiles at her. Leaving one arm around her shoulders, he
steers her over to the little marble bench. They sit down,
still with their arms around each other.

			KIKI (CONT'D)
	We've been so busy pretending to be
	tough hombres --

Jerry nods. With a little sigh, Kiki puts her head down on
his shoulder.

			KIKI
	Confession. I'm a complete softie.
	I've been conscience-stricken and
	worried sick ever since that
	leopard got away --

			JERRY
	If that's being a softie -- there
	are two of us.

They sit quietly -- happy in a moment of complete
	understanding.

			JERRY
	Kiki -- it wasn't the leopard.

			KIKI
	You're positive of that, aren't
	you?

			JERRY
	Absolutely sure.

Kiki gets to her feet and tugs at Jerry's hand.

			KIKI
	We're not going to catch a train,
	darling -- we're going to stay
	right here and catch a murderer.

Jerry stands up.

			JERRY
		(eagerly)
	You're sure it's all right?
	You don't mind staying?

Kiki smiles up at him.

			KIKI
	You already know the answer to
	that. I want this town to be safe
	and happy again --

			JERRY
	I'm no detective. I don't even know
	how to begin. All I know is I want
	to do something about all this.

Kiki takes his arm and they start across the inclosure. Jerry
stops at the entrance.

			JERRY
	Oh, by the way -- I'm out of cash --

			KIKI
	Didn't you take your cut out of the
	closing check?

			JERRY
		(ruefully)
	I got into a little crap game.

			KIKI
	That's funny -- I never knew you to
	lose that much before --

Jerry looks innocent and helpless..

			KIKI
		(a little embarrassed)
	As a matter of fact, I'm out of
	cash myself.

			JERRY
	What! You can't be --

			KIKI
	I -- I bought some silver jewelry
	and stuff from Eloise --

			JERRY
	Eloise doesn't own enough of
	anything to make a dent in your pay
	check, Kicks.

			KIKI
		(defiantly)
	All right, I'm not ashamed of it! I
	split it two ways —

			JERRY
		(before he can continue)
	Half to the Delgado family and half
	to Clo-Clo's family.

			KIKI
		(taken aback)
	How do you know?

Jerry grins.

			KIKI
	You did the same thing yourself!

Impulsively, Kiki puts her arms around Jerry and hugs him
affectionately.

DISSOLVE

EXT. THE GATES OF THE CEMETERY - DAY

The old gatekeeper is leaning against the cemetery gate,
whittling. Kiki and Jerry the gate. Kiki smiles at him..

			JERRY
		(just by way of polite
		 observation)
	Must get lonely here.

			GATEKEEPER
		(nodding toward the
		 graveyard)
	I have many friends -- and they
	don't bother me with talk --

			KIKI
		(to Jerry)
	That ought to hold you.

Charlie How—Come comes walking towards them, dragging a sack
behind him.

			CHARLIE
	Two hundred and fifty dollars you
	owe met

			JERRY
		(very excited)
	You found the leopard!

Charlie comes up to them and drops the sack to the ground.

			CHARLIE
	What's left of him.

			JERRY
	Where? Where did you find it?

Charlie is wiping his face with Now he gestures with the
cloth, a bandana handkerchief.

			CHARLIE
	North -- in an arroyo, Shot through
	the head —- maybe week ago. No
	good, skin, everything gone ——

			JERRY
	What arroyo -— how did you get to
	it ——

Charlie looks perplexed. He draws a line in the air with his
forefinger.

DISSOLVE

THE SHOE SHINING STAND - STREET - DAY

A small shoeshine stand with two chairs under an awning.
Robles sits in one of them, looking down like a judge at the
group before him -- Kiki, Jerry and Charlie. The other chair
is empty. The little Mexican who runs the stand is working
with furious diligence over Robles' boots.

Charlie, the sack lying nearby, is bent over almost double,
tracing an imaginary line on the sidewalk.

			CHARLIE
	And here is Three Tree Mesa -- and
	here I go out of the big arroyo --

			JERRY
		(interrupting)
	That's the place: I remember -— My
	feet were so darn sore, I couldn't
	make it -- and Galbraith went on up
	to the head of the canyon by
	himself --

			ROBLES
	Just a moment ——

He looks at Kiki and holds out his hand beseechingly.

			ROBLES (CONT'D)
	Please -- Miss Walker —— come up
	and sit beside me. I cannot stand
	— so you must sit.

			KIKI
	No, really -- thank you just the
	same, I ——

			JERRY
		(interrupting)
	Chief, don't you understand what
	this means?

			ROBLES
		(sighs)
	You think Galbraith found the
	leopard on the day you went out
	with the posse.

			JERRY
	I'm sure of it!

Having finished one boot, the Mexican bootblack goes to work
on the other. Robles holds up the polished boot and looks at
it admiringly.

			ROBLES
	Isn't that beautiful? There is no
	one in the state like him. He is a
	genius in his own line.

Jerry makes a gesture of impatience.

			JERRY
	Galbraith knows something. He as
	good as said so ——

			ROBLES
	I am not interested in what
	somebody else thinks. You being me
	facts and I'll act on them.

Jerry kicks at the sack with his foot.

			JERRY
	That's a fact, isn't it?

			ROBLES
	Yes. And I am taking it to
	headquarters for examination.

The bootblack puts the final buff on the second boot. Robles
steps down. He pats the bootblack on the shoulder and hands
him a coin.

			JERRY
	You won't go to Galbraith with me?

			ROBLES
	Offend a reputable citizen and
	involve the department in a slander
	suit? No. I'm in office to protect
	the taxpayers money — not throw it
	way. Come on, Charlie.

Charlie picks up the sack and trails away after Robles.
Jerry stares after them. The his arm. Jerry looks at him. The
bootblack makes a gesture of buffing and points down to
Jerry's shoes.  Jerry shakes his head.

			JERRY
	No. No, thanks.
		(to Kiki)
	Now we've got to do it ourselves.

			KIKI
		(encouragingly)
	We will ——

Jerry takes her arm and they start walking away.

						DISSOLVE

INT. BELMONTE'S BEDROOM - DAY

This is a small, simply furnished bedroom with a day-bed.
Raul Belmonte is sprawled on this couch. His hair is rumpled,
he needs a shave and his shirt is badly wrinkled. His face
and eyes show the effects of constant drinking. A bottle and
glass stand on the floor beside the head of the couch. Jerry
is looking over at a photograph which stands on a small table
in the window —- a photograph of Consuelo Contreras.

			RAUL
	A lovely face, a tender smile, soft
	beautiful hair -— that's what you
	see in the photograph, isn't it?

Raul props himself on one elbow and looks across at the
photograph himself.

			RAUL
		(in a hard voice)
	A smear of blood, clawed rags in a
	huddle on the ground --that's what
	I see. A horrid, terrible thing.

			JERRY
		(quickly)
	I know. I was there.

Raul swings himself into a sitting position on the edge of
the couch. He puts his head into his hands.

			RAUL
	But you aren't here when she calls
	out at night. Wake up and hear her
	- screaming —- "Raul, Raul, get me
	out"

Jerry goes over to him and puts his hand on his shoulder.

			JERRY
	Easy, boy. I want to talk to you.
	Maybe there's something I can do —-

Raul reaches down and gets the bottle and the glass. He
starts automatically to pour a drink for himself —— then
stops and holds out the bottle and glass to Jerry.

			HAUL
	Have a drink. That's the best thing
	to wipe out nightmares ——

Jerry takes the bottle-and glass and carries them over to the
table. He puts them down and then comes back to Raul, who has
sat watching him stupidly.

			JERRY
	No. You've got to kick at
	something, fight with something, to
	work the nightmares out of your
	system. In Consuelo's case, there's
	been nothing to fight against -—
	just fate and a dumb brute animal.
		(pauses to watch Raul)
	I've got something to tell you that
	will change all that.

Raul looks up at him.

			JERRY (CONT'D)
	It wasn't an animal.

Raul frowns and moves uneasily, trying to understand through
his alcoholic haze.

			JERRY
	It was a man.

The two men stare at each other.

			RAUL
		(whispering)
	A man -— killed Consuelo?

Jerry nods his head. Raul slowly gets to his feet and stands
eye to eye with Jerry.

			RAUL
	Who?

			JERRY
	I don't know. But I want your help
	to find out.

Raul goes over to the table and picks up the bottle. He pours
some liquor into the glass and takes it off quickly, as if it
were medicine. Then he turns back to Jerry.

						DISSOLVE OUT

DISSOLVE IN

INTERSECTION OF THE ALLEY AND THE STREET - DAY

The commemorative procession is forming here. Some of the
participants are hooded, wearing black hoods very much like
these worn by the Ku Klux Klanners. In the doorways and
windows, the townspeople are watching.

Galbraith passes through the crowd. He has a small paper
package in his hand, his pipe in his mouth and is walking
along, obviously on his way to somewhere. Eloise, who is
standing watching the Processionists, blocks his way for a
moment. He tries to pass around her. She sees him and smiles.

			ELOISE
	Oh, Mr. Galbraith! I'm so glad
	you're here.

			GALBRAITH
		(a little puzzled and
		 trying to pass on)
	Good evening.

			ELOISE
		(stopping him)
	You know all about these things - -
	and I've lived here all my life —-
	and I still don't know what the
	Procession means.

			GALBRAITH
	It's to remind people of the great
	tragedy that took place here so
	that they won't ever forget that a
	peaceful village of Indians was
	wiped out by the Conquistadores,
	back in the 17th Century... A band
	of monks buried the dead and prayed
	for them and did penance for their
	deaths —— that's what this
	procession is supposed to be.

			ELOISE
		(gushing)
	Oh, that's so interesting!

			GALBRAITH
	Well, now that you've had your
	history lesson, I think I'll get on
	to the museum.

He nods and starts off. Eloise turns back to watch the
Processionists.

						DISSOLVE IN

EXT  CEMETERY WALL - NIGHT

Galbraith is walking along the quiet, empty street outside
the cemetery wall.

There is a very faint cry from inside the cemetery.

Galbraith slows his stride perceptibly, but does not stop.

			GIRL'S VOICE
		(o.s., very faint)
	Help! Get me out! Help! Help!

Galbraith stops and looks up at the cemetery wall,

CLOSEUP of Galbraith shows fear and puzzlement in his eyes.

Still looking toward the wall, Galbraith walks on.

EXT. CORNER WHERE CLO-CLO WAS KILLED - NIGHT

Galbraith is walking along the brick wall, approaching the
corner. Just before he gets to the corner, a lighted
cigarette spins out and falls to the pavement in front of
him.	Galbraith stops as if he had come up against stone.	He
stands there, forcing courage to go on. He takes the few
steps to the corner and faces the direction from which the
cigarette was thrown. There is on one in sight anywhere.

Very slowly, Galbraith reaches down and picks up the
cigarette. The unlighted end is dark with lipstick. With an
almost imperceptible shudder, Galbraith lets the cigarette
fall. Walking rigidly, he continues on his way.

INT. MUSEUM - NIGHT

The large room is in shadowy darkness. The heavy front door
swings open. Suddenly the place is brilliantly lighted from
the overhead fixtures. Galbraith takes his hand from the
light-switch just inside the door. He pushes the clear closed
and leans up against it exhaustedly. He is breathing heavily
and his eyes are dull and heavy-lidded with the reaction from
violent fear.

He sighs deeply and then walks slowly and wearily across the
display room to the office alcove. He sits down at his
worktable and starts work on a small model of Indian ruins,
done in colored clays.

Suddenly, far away but clear in the silence, he hears the
sound of castanets —— just three widely spaced clicks. His
hands becomes motionless above the model —-but he does not
look up.

The same sound comes again, repeated twice, the clicks a
little more rapid.

Galbraith gets to his feet and stands staring into the empty,
brilliantly lighted museum room.

The castanets sound again and this time they go into a steady
rhythm, still faint and faraway; a purr of sound. But the
sound increases in volume and intensity every second.
Galbraith listens, his eyes mirroring his growing terror, his
hands pressing down onto the worktable.

The castanets come up to a brain—splitting reverberation of
sound. The tendons in Galbraith's neck stand out —— his
forehead is wet with sweat.

As the tenseness of his body and the madness in his eyes
signal that his control is about to break —— the castanet
furor abruptly ceases.

For another few seconds, Galbraith stands there  Then he
lifts his hands from the table and draws in a deep shuddering
breath. He takes a handkerchief from his pocket and slowly
wipes his face and his bands.

Re steps out of the alcove and presses a light—switch on the
wall nearby. The overhead lights in the display room go out.
The alcove is new like a little lighted stage at the end of a
dark auditorium. Galbraith steps back into it, takes a book
from the worktable and settles down in an armchair at one end
of the table. He begins to read.

The sound of the front door opening breaks suddenly into the
stillness. It brings Galbraith to his feet in an instant. His
book falls to the floor.

Across the shadowy display room, a figure moves to the
accompaniment of a woman's brisk footsteps.

There is no terror in Galbraith's face this time -- but he
waits tensely to-identify his visitor.

Kiki steps into the lighted alcove.

			KIKI
	I've disturbed	you. I'm sorry -

			GALBRAITH
	Miss Walker -- I didn't expect
	anyone ——

Kiki steps closer to the table.

			KIKI
		(apologetically)
	I came up on the spur of the
	moment.

Galbraith leans down and picks up the book.

			KIKI
	I wanted to	see the procession ——
	and I remembered your kind
	invitations	--

She smiles a little uncertainly.

			GALBRAITH
	Of course. Only I'm afraid you'll
	be cheated. There isn't much of a
	view of the procession here.

			KIKI
		(puzzled)
	I thought they came right past
	here ——

			GALBRAITH
	They do, but -- there are no lights
	out there —- they'll just be
	shadows -—

Kiki moves across the alcove to a window.

			KIKI
	It's not so terribly dark out. If
	we turn off these lights, we can
	see.

A panic-stricken look leaps into Galbraith's eyes.

			GALBRAITH
		(no trace of fear in his
		 voice)
	No use turning the lights out until
	they get here..

Kiki stands looking out at the window.

			KIKI
	But they're coming now, listen.

Very faintly, in the far distance, can be heard the chanting
of the procession.

			KIKI
	Hear them?

Galbraith listens as if he wore listening to Fate itself.

			KIKI
	Turn off the lights --

Galbraith stares across at her. With great effort, he speaks.

			GALBRAITH
		(thickly)
	Wait ——

			KIKI
	No —- really, I can see them --
	they're coming now -— turn off the
	lights ——

As if hypnotized, Galbraith walks out of the alcove and to
the light-switch on the nearby wall. His fingers move up
towards the second switch.. He still stares toward Kiki. He
has the set, bloodless look of a man-lost in some fearful
resolve.

CLOSE SHOT of Kiki. For the first time, we see that she is
terrified. She is looking at the window where Galbraith is
faintly mirrored.

CLOSE SHOT of Galbraith's hand on the light-switch. The
fingers curve claw-like as he pushes down the switch.

INT. MUSEUM ALCOVE - NIGHT

In the window, the reflection is blotted out.

Outside we can see the processionists marching. The pin
points of their candles are making bright spots against the
dark background of their robes and the night sky. The loader
chants and the rest answer him monotonously, over and over
again.

Kiki stands at the window. Behind her Galbraith crosses from
the light switch, walking normally, his footsteps following
one another with great regularity.

Kiki stands perfectly still, keeping her eyes to the window.
Only her left hand slowly rising to press against her heart
betrays her anxiety. As the hand rises we pick up the beat of
her heart. (Trick effect.)

Galbraith comes closer and closer until finally he stands
behind her. The beating of her heart subsides. There is
perfect silence. Even the processionists cease their chant
for a moment. Kiki and Galbraith stand this, way for an
instant,, then suddenly Galbraith moves violently toward her.
She screams. The side door bursts open and Jerry and Belmonte
come pell—mell into the room.

It has all happened with such suddenness that for a moment
Galbraith stands stock still. The two grapple with him. This
physical contact rouses him. He shakes himself loose and
dodges around the desk. They chase after him through the
dark.

INT. DISPLAY ROOM - NIGHT

Galbraith runs in, followed closely by Jerry and Belmonte. He
dodges among the showcases. He tries the great door. It has
been locked. He turns and starts running back toward the
alcove. They stop him. He dodges them and goes on. Jerry
starts after him again. Belmonte reaches under his coat and
pulls out a revolver. The movement has caught Jerry's eye and
he turns.

			JERRY
	Raoul -- don't. Put that gun away.

Jerry runs on, without seeing whether or not Raoul has obeyed
his order. With the gun still in his hand, Raoul follows
after.

INT. MUSEUM DISPLAY ROOM - NIGHT

Galbraith runs in past Kiki, who has left the window and is
standing in front of the desk. Just as he passes her,

Jerry reaches him, grabs his arm and whips him around. The
two men struggle. Belmonte comes up. To avoid the struggling
men, Kiki steps backward and knocks against the showcase
containing the butterflies. It falls with a great crash and
the sound of breaking glass, Kiki falls with it.

Jerry glances over and sees Kiki on the floor. He lets go of
Galbraith who dodges out of the side door, Belmonte after
him. Jerry kneels down beside Kiki.

			JERRY
	Kiki?

			KIKI
	It's all right. I'm not hurt.

He scrambles up from his knees and runs after Belmonte.

The processionists slowly climb the hill toward the cross.
The leader is still calling out and the others answer him in
the long established rigmarole of their ceremonies. Galbraith
with a hurried look over his, shoulder runs into the scene
and slips in with the marching men.

MED. CLOSE SHOT of Galbraith as he makes him way to the
center of the marching column.

Jerry and Belmonte stand panting beside the marching column
of processionists. He looks right and loft. There is no sign
of Galbraith. He, too, falls in the rank near the end of the
procession. He begins to slowly make his way to the head of
the column, peering under the hats and into the dark faces of
the men. His gun is still in his hand.

ANOTHER ANGLE of the marching column. We see Galbraith in the
very center and behind him Jerry and Belmonte come up and
look into his face. They seize his arms. Galbraith struggles
to get away from them. There is a disturbance in the ranks of
the processionists. Quickly, six of the enormous, tall,
hooded figures gather menacingly around the center of the
disturbance. No word is spoken. There is only the convergence
of these six great figures about the two struggling men. The
three men subside. Galbraith ceases to struggle. The six
hooded men leave them, drawing back to the flanks of the
procession.

CLOSER SHOT of Jerry and Galbraith. The two men are close
together, but march on in step with the processionists, and
as they walk, they talk sotto voce. Despite the urgency of
what one demands from the other and the other denies, the
silent authority of the hooded figures mutes their voices.

			JERRY
	It was you, Galbraith!

			GALBRAITH
	No.

			JERRY
	It was you.

			GALBRAITH
	Not! I tell you. No!

			JERRY
	You shot the leopard. We know that.
	You killed Consuelo. You killed Clo
	Clo. Then tonight --

			GALBRAITH
	I didn't do anything. She screamed.
	Something frightened her.

			JERRY
	Consuelo screamed too -- and Clo
	Clo. Why did you do it? Why? Quick.
	Tell me why?

			GALBRAITH
		(brokenly, very near
		 hysteria)
	It's better you don't know.

			JERRY
	Tell me.

			GALBRAITH
	Why do yo&i accuse me? You don't
	know what you're doing -- you don't
	understand -- nobody understands --

Jerry studies Galbraith. A new note has crept into the man's
voice -- an odd note of irrationality and self—pity.

			GALBRAITH
		(miserably)
	In the whole world there isn't a
	single human being who knows what
	it is to be tormented this way --

The procession has reached the crest of the hill. As the head
of the column begins to make its way around the cross the
whole file slows from a march to a shuffling half step. Jerry
and Belmonte seize the opportunity to edge Galbraith out of
the column toward a Joshua tree. They stand in its deep
shadow while the procession goes on and off.

CLOSE SHOT of Jerry and Galbraith, with Belmonte close to
Galbraith in the b.g.

			JERRY
		(prompting Galbraith)
	Tormented -- ? Why?

			GALBRAITH
	I couldn't rest —- I couldn't
	sleep.
	All I could see was Teresa
	Delgado's body -- broken --mangled.
	I saw it day and night.  It was
	waiting everywhere I turned.

			JERRY
	Then you found the leopard --

			GALBRAITH
	I didn't want to kill, but I had
	to. I heard her in the cemetery -
	talking to the man in the auto --

Belmonte stirs in the shadow of the Joshua tree.

			GALBRAITH
	When he went away -- I thought
	maybe I was going to help her get
	over the wall -- I can't remember.
	—-

CLOSE SHOT of Belmonte. His face is motionless —- his eyes
are burning.

			GALBRAITH
		(with mounting hysteria)
	I looked down -- in the darkness
	I saw her white face turned up to
	me -- the eyes dark and wide with
	fear -- the fear -- that was it --
	the little frail body -- the soft
	skin —-

Slowly, Galbraith's two hands lift, the fingers curved
slightly inwards. He looks at them as if he, too, were
terrified by their deadly potentiality.

			GALBRAITH
	And then --
		(smiles, strangely and
		 appallingly)
	——	she screamed --

Behind him, Belmonte comes up close. Agony passes over
Belmonte's face and contorts it... His hand squeezes down on
the gun. A shot roars out. Galbraith falls, silently
crumpling down at the base of the Joshua tree. Belmonte
throws the gun away and stands looking at him.

			BELMONTE
		(softly)
	Consuelo,

						DISSOLVE

EXT  UNDERTAKER'S PARLOUR - NIGHT

T. C.  Johnson' s undertaking parlour is lighted and the
light falls out of the window in. a great broad path onto the
dark sidewalk. Jerry and Kiki come out of the	building. They
pause and stand in the broad glow of light from the window.
For a moment they are silent. Behind them, in the shop, we
see Raoul Hobbs and two policemen.

			KIKI
	We stood here once before.

			JERRY
	I know -- Teresa -—

			KIKI
	I hated you that day —- you and
	your flip talk -— with that little
	girl lying dead.

			JERRY
	I know. What do you think I felt
	when you said, "don't be soft?"

			KIKI
	Jerry, I want you to be soft. You
	are soft -- inside -— where it
	matters. I wanted it that day too,
	but didn't dare tell you.

			JERRY
	We ought to dare to tell each other
	everything, Kiki -- you and I.

Re looks up and down the street.

			JERRY
	It's a strange town, Kiki. A funny
	town. Mexican, American and Indian,
	all mixed up in itself, with two
	languages. The sign posts written
	in Spanish and English. A strange
	town.

ANOTHER ANGLE showing the street. Four hooded processionists
go by in single file.

			KIKI
	It's a lovely town —- it was until
	we came and let the leopard loose
	and all this happened.

			JERRY
	Kiki, Galbraith said something to
	me once, -- something you ought to
	know. We were talking and he said
	that people were like that ball on
	the fountain at the hotel --they
	got pushed around by things bigger
	than themselves. That's the way it
	was with us -- and we were too
	small to see it that way.

He puts his arm about her and they begin to walk up the
street.

						FADE OUT


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