The Leopard Man

---

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.

Rate this script:0.0 / 0 votes