The Leopard Man Page #6

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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.

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