From the Novel BLACK ALIBI by Cornell Woolrich
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 i