The Leopard Man Page #7

---

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.

Rate this script:0.0 / 0 votes