Leopard Man, The
Writers: Ardel Wray
Genres:
THE LEOPARD MANScreen Play by Ardel WrayFrom the Novel BLACK ALIBI by Cornell WoolrichFADE 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 br