The Leopard Man Page #20

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The sound of the front door opening breaks suddenly into the

stillness. It brings Galbraith to his feet in an instant. His

book falls to the floor.

Across the shadowy display room, a figure moves to the

accompaniment of a woman's brisk footsteps.

There is no terror in Galbraith's face this time -- but he

waits tensely to-identify his visitor.

Kiki steps into the lighted alcove.

KIKI:

I've disturbedyou. I'm sorry -

GALBRAITH:

Miss Walker -- I didn't expect

anyone ��

Kiki steps closer to the table.

KIKI:

(apologetically)

I came up on the spur of the

moment.

Galbraith leans down and picks up the book.

KIKI:

I wanted tosee the procession ��

and I remembered your kind

invitations--

She smiles a little uncertainly.

GALBRAITH:

Of course. Only I'm afraid you'll

be cheated. There isn't much of a

view of the procession here.

KIKI:

(puzzled)

I thought they came right past

here ��

GALBRAITH:

They do, but -- there are no lights

out there �- they'll just be

shadows -�

Kiki moves across the alcove to a window.

KIKI:

It's not so terribly dark out. If

we turn off these lights, we can

see.

A panic-stricken look leaps into Galbraith's eyes.

GALBRAITH:

(no trace of fear in his

voice)

No use turning the lights out until

they get here..

Kiki stands looking out at the window.

KIKI:

But they're coming now, listen.

Very faintly, in the far distance, can be heard the chanting

of the procession.

KIKI:

Hear them?

Galbraith listens as if he wore listening to Fate itself.

KIKI:

Turn off the lights --

Galbraith stares across at her. With great effort, he speaks.

GALBRAITH:

(thickly)

Wait ��

KIKI:

No �- really, I can see them --

they're coming now -� turn off the

lights ��

As if hypnotized, Galbraith walks out of the alcove and to

the light-switch on the nearby wall. His fingers move up

towards the second switch.. He still stares toward Kiki. He

has the set, bloodless look of a man-lost in some fearful

resolve.

CLOSE SHOT of Kiki. For the first time, we see that she is

terrified. She is looking at the window where Galbraith is

faintly mirrored.

CLOSE SHOT of Galbraith's hand on the light-switch. The

fingers curve claw-like as he pushes down the switch.

INT. MUSEUM ALCOVE - NIGHT

In the window, the reflection is blotted out.

Outside we can see the processionists marching. The pin

points of their candles are making bright spots against the

dark background of their robes and the night sky. The loader

chants and the rest answer him monotonously, over and over

again.

Kiki stands at the window. Behind her Galbraith crosses from

the light switch, walking normally, his footsteps following

one another with great regularity.

Kiki stands perfectly still, keeping her eyes to the window.

Only her left hand slowly rising to press against her heart

betrays her anxiety. As the hand rises we pick up the beat of

her heart. (Trick effect.)

Galbraith comes closer and closer until finally he stands

behind her. The beating of her heart subsides. There is

perfect silence. Even the processionists cease their chant

for a moment. Kiki and Galbraith stand this, way for an

instant,, then suddenly Galbraith moves violently toward her.

She screams. The side door bursts open and Jerry and Belmonte

come pell�mell into the room.

It has all happened with such suddenness that for a moment

Galbraith stands stock still. The two grapple with him. This

physical contact rouses him. He shakes himself loose and

dodges around the desk. They chase after him through the

dark.

INT. DISPLAY ROOM - NIGHT

Galbraith runs in, followed closely by Jerry and Belmonte. He

dodges among the showcases. He tries the great door. It has

been locked. He turns and starts running back toward the

alcove. They stop him. He dodges them and goes on. Jerry

starts after him again. Belmonte reaches under his coat and

pulls out a revolver. The movement has caught Jerry's eye and

he turns.

JERRY:

Raoul -- don't. Put that gun away.

Jerry runs on, without seeing whether or not Raoul has obeyed

his order. With the gun still in his hand, Raoul follows

after.

INT. MUSEUM DISPLAY ROOM - NIGHT

Galbraith runs in past Kiki, who has left the window and is

standing in front of the desk. Just as he passes her,

Jerry reaches him, grabs his arm and whips him around. The

two men struggle. Belmonte comes up. To avoid the struggling

men, Kiki steps backward and knocks against the showcase

containing the butterflies. It falls with a great crash and

the sound of breaking glass, Kiki falls with it.

Jerry glances over and sees Kiki on the floor. He lets go of

Galbraith who dodges out of the side door, Belmonte after

him. Jerry kneels down beside Kiki.

JERRY:

Kiki?

KIKI:

It's all right. I'm not hurt.

He scrambles up from his knees and runs after Belmonte.

The processionists slowly climb the hill toward the cross.

The leader is still calling out and the others answer him in

the long established rigmarole of their ceremonies. Galbraith

with a hurried look over his, shoulder runs into the scene

and slips in with the marching men.

MED. CLOSE SHOT of Galbraith as he makes him way to the

center of the marching column.

Jerry and Belmonte stand panting beside the marching column

of processionists. He looks right and loft. There is no sign

of Galbraith. He, too, falls in the rank near the end of the

procession. He begins to slowly make his way to the head of

the column, peering under the hats and into the dark faces of

the men. His gun is still in his hand.

ANOTHER ANGLE of the marching column. We see Galbraith in the

very center and behind him Jerry and Belmonte come up and

look into his face. They seize his arms. Galbraith struggles

to get away from them. There is a disturbance in the ranks of

the processionists. Quickly, six of the enormous, tall,

hooded figures gather menacingly around the center of the

disturbance. No word is spoken. There is only the convergence

of these six great figures about the two struggling men. The

three men subside. Galbraith ceases to struggle. The six

hooded men leave them, drawing back to the flanks of the

procession.

CLOSER SHOT of Jerry and Galbraith. The two men are close

together, but march on in step with the processionists, and

as they walk, they talk sotto voce. Despite the urgency of

what one demands from the other and the other denies, the

silent authority of the hooded figures mutes their voices.

JERRY:

It was you, Galbraith!

GALBRAITH:

No.

JERRY:

It was you.

GALBRAITH:

Not! I tell you. No!

JERRY:

You shot the leopard. We know that.

You killed Consuelo. You killed Clo

Clo. Then tonight --

GALBRAITH:

I didn't do anything. She screamed.

Something frightened her.

JERRY:

Consuelo screamed too -- and Clo

Clo. Why did you do it? Why? Quick.

Tell me why?

GALBRAITH:

(brokenly, very near

hysteria)

It's better you don't know.

JERRY:

Tell me.

GALBRAITH:

Why do yo&i accuse me? You don't

know what you're doing -- you don't

understand -- nobody understands --

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