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(dramatic orchestral music)
(castanet music)
(pounding on wall)
It may sound like music to her.
I can do better with my teeth in a cold shower.
Oh, she's a local.
When the dudes come out to New Mexico,
they want to wallow in Latin glamor.
This is a bad town for blondes.
[Kiki] Yeah, so I noticed.
Jerry's noticed.
He'll come up with something.
You think he's sort of nice, don't you?
Why not?
He's a good press agent
and a good friend.
You're lucky.
Wish he'd front-page for me.
I don't mean this personally, Miss Walker,
but it's ironic,
I mean, about you being a big star
and me being just a cigarette girl.
I know, I know.
You've got the talent.
I got the breaks.
I hear it in every nightclub.
(screaming)
(snarling)
(screaming)
Get him out of here!
Kiki, nothing to be afraid of.
Makes no difference.
Get him out of here.
Don't you want to guess what I cooked up?
That's easy.
Me.
I thought, is Kiki just going to walk out there tonight,
walk out on that floor cold in front of a bunch of gawks
that think that a Spanish twirler
is the greatest thing in life?
No, sir, not my client.
She's going to make an entrance
that this town will remember
for the rest of their lives.
On his back, I suppose?
No.
No, I thought that would be a little corny.
I want you to lead him in on a leash.
You're too good to me.
You know what's between us.
Why, we're a thing,
but this is serious, big competition.
Clo-Clo?
I thought you might like to strut the kitten in
right in the middle of her act.
Come on down and see what a picture you'd make
with this for a pet.
If you've got cold feet, honey,
I'll take over for you.
That red dress of yours fits me just perfect.
I'll bet someday you'll try on my coffin,
and I hope it fits you just perfect.
You look awful good in that three-alarm number.
The red dress?
No, a black one.
Then I'll be just like him.
(castanet music)
(light orchestral music)
(audience gasping and muttering)
Don't just stand there, Kiki.
You're on stage.
They're all looking at you.
(audience muttering excitedly)
(growling)
(castanet music)
(hissing)
(all shouting)
(banging and clanging)
No leopard, chief.
No cats, no kittens, nothing.
We have to tackle the houses.
(banging and clanging)
Hey, mister, remember what you said.
$10 for the loan of my cat.
225 if anything happened to her.
But nothing has happened to it.
It's up that alley, and it can't get out.
They'll find it.
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, mister.
They don't want to hurt you,
but if you scare them, they go crazy.
These cops, they don't know what they're doing.
(castanet music)
(stomping)
Maybe Mr. Manning would like to help me.
I don't need a leopard.
I have talent.
There's enough catting...
(castanet music)
Good night, Mr. publicity man.
(banging and clanging)
(light orchestral music)
[Woman] Why are you hurrying, Clo-Clo?
[Clo-Clo] Oh, it's you, faker.
[Woman] Take a card, Clo-Clo.
See what the night holds for you.
Your cards are a joke.
I wouldn't give you one centavo.
[Woman] One card, Clo-Clo, for nothing.
Faker.
(castanet music)
Hello, shorty.
(clicking tongue)
(laughing)
Hello, Chiquita.
Hello, Clo-Clo.
But, mamacita, why can't Pedro go this time?
I'm so tired.
I'm too young.
If your father comes home and there are no tortillas,
he will shout.
Tomorrow it will be all over town
that the family of Juan Delgado
is too poor to buy cornmeal.
I know what she's afraid of.
This.
And what,
(speaking foreign language)
is this?
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.
[Woman] A leopard.
They're big, and they jump on you!
Did you ever meet one of those things yet
when you went to the store for me?
Then you won't meet one this time either.
Now get out.
Do as I told you.
Now,
you will not come in again,
not till you bring the cornmeal with you.
(knocking on door)
[Teresa] Senora.
Senora Calderon.
It is Teresa, senora.
Teresa Delgado.
The store is closed.
[Teresa] I just want a sack of cornmeal
for my father's supper.
[Calderon] Tomorrow.
[Teresa] It will only take a second.
Please.
Or I must go clear across the arroyo
to the big grocery.
It means taking off the lock again,
putting on the light, measuring the meal.
It's too much trouble.
Once I close, I close.
Ay, senora.
(wind howling)
(train whistle blowing in distance)
(tumbleweed rustling)
Thank you.
Oh, the toy birds.
You've seen them before.
I couldn't chase you away
from the counter when you were a little girl.
I'd forgotten them.
Every day you'd seen them, and you've forgotten them?
Oh, now I remember, my little Teresita.
Now I remember the little girl who was afraid of the dark.
Shouldn't send you.
I'm not afraid.
What could happen to me?
(toy bird singing)
I'll pay you tomorrow.
Next time you come.
The poor don't cheat one another.
We're all poor together.
(water dripping)
(train roaring past)
(train whistle blowing)
(leopard snarling)
[Teresa] Mamacita, let me in!
Let me in, let me in!
Ha.
[Teresa] If you love me, let me in!
"Mamacita, let me in.
"Let me in,
"now that I've spent half the night
"getting the cornmeal."
[Teresa] It's coming!
It's coming closer!
I can see it!
Just what she needs,
someone to nip at her heels and hurry her up.
(screaming)
(scratching)
(leopard snarling)
Wait, Teresa.
I come, I will let you in.
Only a moment, Teresa.
(speaking foreign language)
Your mother is here!
Your mother will let you in!
(dramatic orchestral music)
[Man] This evidence, having been presented before me
on this, the 10th 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 reportedly on theatrical exhibition in this city.
Death by accident.
Sister, I want the family to have this.
It might help with the funeral expenses.
It's all right, my friend.
It is the will of god.
Supposing I slip them a few bucks,
to help with the funeral expenses?
Don't be soft.
An unfortunate accident.
Nobody blames you, Mr. Manning.
You mustn't feel bad.
Would you sign here, please?
You can go now, Manning.
There's no way they can hold you legally responsible.
[Jerry] Thanks, sheriff.
Oh, that leopard's got to be found.
I'm forming a posse.
I can use some help.
I haven't done any posse work
since my matinee kid days
when I rode with Tom Mix
at the old bijou theater.
We go on foot.
I'm sorry, sheriff, but I'm literally
and figuratively a tenderfoot.
(door clicking)
You suppose he was trying to make me feel bad?
I suppose you don't feel bad.
Who was that man?
Oh, I don't know.
A witness.
Seemed to know something about animals,
you know, expert testimony.
Did he have to look at the body?
We all had to look at the body.
It was awful, Kiki.
Excuse us, please.
That card again?
I made a mistake.
It was a misdeal.
I'll try once more.
It was a black card and a 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 one to see her
except perhaps her mamacita and her little brother.
I was going past the house.
They were hunting for the leopard again,
out in the country this time,
but they didn't get him.
They're such fools.
Why don't they let Charlie How-Come hunt it alone?
He's an Indian.
Men are all fools.
They like to make a big show,
hunt, shout.
That bad card again?
What did they say before the bad card came up?
[Woman] You'll meet a rich man,
and he will give you money.
You and your cards.
"Meet a rich man."
I look for them with money,
and what rich man hasn't money?
For what was I born if it wasn't for money?
You're not telling me anything.
Watch and see.
A day or a week, certainly in a month,
you'll have money from a man,
and then you...
And then what?
I'll have to deal the cards again.
I made a mistake.
You and your mistakes.
Get out.
I have to get dressed for the supper show,
and I don't want you around here
putting the evil eye on me.
Andale.
Vamonos.
(knocking on door)
You decent?
Yes, come in.
Well, does everybody love us?
You've been gone long enough
to soft-soap 20 city editors.
[Jerry] Yeah.
Did you get the leopard?
Maybe it's the altitude,
you chasing around with a bunch
of boots and saddle boys.
The whole town's in a state, Kiki,
locked doors, people huddled together like scared sheep,
nobody on the streets.
Our first real break,
and we throw wild animals at the audience.
Yeah.
Well, let's forget it.
I'm buying a drink for a fellow
that was on the posse with me.
Nice guy.
Come along.
He'll get a kick out of meeting you.
Who is he?
You remember him from this morning.
Galbraith.
Just about got time to make it before the supper show.
(light orchestral music)
Jack rabbits, mesquite, and sagebrush.
Sagebrush, mesquite, and jack rabbits.
Thrills and excitement all the way.
And not a sign of the leopard.
Jerry tells me you're quite an expert
with animals, Mr. Galbraith.
Couldn't you tell where it went?
To know where that leopard went,
I'm afraid you'd have to be a leopard
and think like a leopard.
You can hardly describe me
as an expert in hunting lost leopards.
I used to teach zoology
in a little freshwater college back east.
I gave that up.
What do you do now?
There's a little museum here in town.
They've hired me to run it.
We have some interesting exhibits
in Indian arts and crafts.
It's fun.
I like living here in New Mexico.
But why did you give up teaching?
Various reasons.
But I don't see why you should be interested
in my rotten, dusty career, teacher, curator,
when you lead such a gay and exciting life yourself.
Show business?
Yes, it's always fascinated me.
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.
So you can see,
meeting you is a real thrill for me.
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.
Yes, that was unfortunate.
That was a calamity.
Look.
(grand orchestral music)
(audience applauding)
(castanet music)
(light orchestral music)
Well, I'm on next.
You won't hear anything like that, Mr. Galbraith.
I'm not a popular favorite
since I let that leopard loose.
I'm sure if you're as talented
as you are beautiful, Miss Walker,
you have nothing to worry about.
Thank you.
Well, I'd best be off.
Oh, say,
there's something I wanted to ask you.
It's about the leopard.
Are you worrying about its killing someone else?
Not me.
I'm not worried about anything.
Then why did you come on the posse this morning?
You've got some strange notions, Jerry.
Why do you feel you must seem hard and disinterested?
This morning, I heard you tell Robles
you didn't want to come,
and yet you came along.
That wasn't easy for a tenderfoot like you.
Listen, Galbraith,
where I was brought up, you had to be tough.
It was a tough neighborhood.
I learned it didn't pay to let anybody know
how you feel or really think.
All right, all right,
so I feel rotten, nervous.
I want to go out, be everyplace at once,
be sure that that cat doesn't hurt anyone else.
It's a wild animal.
Do you think a wild animal
prefers walls, streets, and people
when it can get into open country?
Sure, sure.
That's right, isn't it?
Don't feel so concerned, Jerry.
I've learned one thing about life,
we're a good deal 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 does
about the water that pushes it into the air,
lets it fall, and catches it again.
You shouldn't feel too bad about Teresa Delgado.
(light orchestral music)
Roses are like children, some have short legs,
some have long ones.
Thank you.
You can't sell it.
It's a day old.
But my stomach is not a day old.
If I don't sell flowers, I don't eat,
and I love to eat.
I'll tell everyone you gave it to me.
That'll be good for your business.
Yes, but bad for my wife.
Thank you.
Oiga, my mistress, senora Consuelo Contreras,
does not have to beg for flowers.
She won't miss one.
Thank your senorita for me.
Shh!
It will spoil the birthday song, Rosita,
if we wake her too soon.
(humming softly)
♪ Happy birthday, Consuelo ♪
♪ The sun has burned through the night ♪
♪ Consuelo, happy birthday ♪
♪ Open wide your eyes and see ♪
♪ Little roses of the morning ♪
♪ But not as lovely as thee ♪
Mamacita
[Rosita] Good morning on your birthday,
senorita Consuelo.
It is a good morning, Nina.
See how the sun is shining for you.
What a lovely way to wake up.
It's so beautiful, cousin Philippe.
Thank you for buying it.
How carefully you must have picked it out.
[Mother] Had you forgotten it was your birthday?
I believe you had.
No.
I'm so happy.
So happy.
[Woman] Rosita.
[Mother] Hurry now, my sweet,
or we'll be late for mass.
Quick.
Give it to me.
He will be waiting.
You must say that you want to take
some of the roses to your father's grave.
At four.
He'll be there at four.
The time will never pass.
Aren't you afraid you will have a headache
working so long, mama?
If we don't work on these a little each day,
they'll never get done, and you'll be a poor bride.
(clock chiming)
It's late, isn't it?
Too late, I'm afraid,
for you to go to the cemetery today.
Oh, no.
I must go to the cemetery.
It's my birthday.
I did not come into this world
a middle-aged widow, Consuelita.
Everything you think, everything you do,
I thought and did before you,
and my mother before me.
You are so young.
I don't want you to look back
on anything lacking in dignity a few years from now.
Naturally, young men will be attracted to you.
They should come here to your house.
They should be introduced to you by their parents
or by your cousin Philippe
or by some other older relative.
Very well.
Get Rosita and go.
Oh, mama.
I'll hurry.
I'll be right back.
(door clicking)
I will see you back at the house, senorita.
[Man] You're late this evening, senorita.
I have brought my birthday flowers
for my father's grave.
It will only take a moment.
Time is strange.
A moment can be
as short as a breath or as long as eternity.
Don't linger.
The gates are locked at six.
(dramatic orchestral music)
You must forgive me, father, for deceiving mother.
She will meet Raoul soon,
and everything will be as you would wish.
I promise.
Raoul.
Raoul?
(whistle blowing)
(suspenseful orchestral music)
Let me out.
(banging on door)
Let me out!
(wind howling)
(rustling)
(engine starting)
Wait.
Wait!
(screaming)
(tires screeching)
[Man] Hello.
Who's there?
Here.
I'm in here behind the wall.
Please get me out.
I've been locked in.
[Man] You wait there,
and I'll get someone to lend me a ladder.
No, don't leave me!
Don't go away!
[Man] You're all right now.
It's just a matter of a few minutes.
(door clicking)
You'll come back?
[Man] Stay just where you are.
I'll be back before you know it.
(leaves rustling)
(screaming)
Why?
It's El Novio.
Her boyfriend.
Take him out of here
and give him something to keep him quiet.
A leopard again.
[Officer] Any witnesses?
Only secondary witnesses,
the man that was coming to help her out,
the man that he borrowed the ladder from.
They found the body, and the gatekeeper.
I warned her.
I told her the gates would be closed.
It's all right, my friend.
It wasn't your fault.
We know.
Anything else?
Clues?
It's a leopard, all right.
A broken claw, some black hairs.
[Officer] There are claw marks on the tree.
He must have made those getting out.
Notice the way they've been dug in from above.
And these leaves on the ground.
They don't fall this time of the year.
Must have shaken down on her when it jumped.
Doc.
Something you said to me the other day.
Yes?
You said that the leopard would head for open country,
that it wouldn't stay in the city.
Sure, certainly,
but what's that got to do with this?
Well, why did it come here,
and why didn't it stay here?
It's got trees and bushes here.
Outside, nothing but cement and asphalt.
Jerry, I talked to you about the habits
of an ordinary wild leopard.
This leopard's another matter entirely,
a caged animal traveling around
with Charlie How-Come for years and years.
That's why it kills human beings.
Why?
[Galbraith] It doesn't know how to hunt its natural prey.
Yes, but it doesn't,
doesn't eat what it kills.
Caged animals are unpredictable.
They're like frustrated human beings.
I can't answer your question.
That's why it just mauls and tears at them.
There's something wrong with this whole setup.
Yes, there is something wrong.
People who want publicity
and don't mind how they get it,
what risks they make other people run,
what agony and sorrow they bring to other people.
I know all that, chief.
I don't like it any better than you do,
but there's something else.
[Robles] Now, look...
Just a minute, robles.
Let him go on.
Well, I can understand
how the cat could kill the first girl.
Charlie How-Come told me.
All that noise and those lights,
scared crazy, it would do anything.
But there was nothing to frighten it here,
nothing but a little girl in a cemetery.
[Robles] What are you getting at?
Nothing much.
Only that it might not be a cat this time.
Here I can sell you the secret
of the cat's strength,
the cat's vitality, for only $1.00.
$1.00.
I can't make a buck without my leopard, Mr. Manning.
You'll have to find my cat or pay up.
Don't get excited, Charlie.
Have a little patience.
I'll fix everything for you.
You don't want that cat anyhow.
It's killed two people.
No, sir.
You mean that girl in the cemetery?
My cat didn't kill that girl.
I told you before, cats don't go looking for trouble.
If that cat's alive,
he's probably out in the country somewhere
hiding under a bush, starving to death.
You really think so, Charlie?
Sure.
That cat ain't mean.
For six years, I feed him out of my own hand.
Why don't he kill me?
At night in the truck,
I let him out of the cage.
When I'm falling asleep,
I hear him walking back and forth.
I go to sleep.
He don't hurt me.
They all say your cat killed that second girl.
They don't say it to me.
I'd like one of them to say it to you, Charlie.
I'd like to have you hear his side of it, his reasons.
You want to hear them?
Sure.
All right, get in the truck.
Where is this man?
Up at the museum.
Hello.
You know Charlie How-Come?
Yeah, we're old friends.
Come to look around?
More or less.
I'll take you about.
Got some nice things.
Charlie and I were talking,
that's another reason I wanted to see you.
About Charlie's leopard?
Yes.
Here's something should interest you, Charlie.
A stone leopard head made by your ancestors
some 600 years ago.
They used it in ceremonies.
The jaguar, in fact, all the cat family,
were considered the personification
of force and violence in their religious rites.
Don't look like a leopard to me.
Charlie doesn't think his leopard
killed the girl in the cemetery.
Charlie likes his leopard.
Sure, I like my leopard.
He was quick enough to admit
that it killed the first girl.
Well, Charlie, just why do you think
your cat didn't kill the Contreras girl?
Not scared enough.
You know, nothing to scare it.
If a leopard didn't do it, what did?
It might be a man.
Yes, it might be.
But why would a man do it?
For what?
It wasn't robbery.
It wasn't a crime of jealousy or passion.
She had no enemies.
Well, there's all sorts of men.
I've met some pretty funny ones in bars and nightclubs.
Oh, I understand what you mean.
Demented men, pathological cases.
Well, what sort of man would kill like a leopard
and leave the traces of a leopard?
A crazy guy.
But he'd have to know about leopards,
have access to leopard claws and hair.
Well, this is our latest find.
We'd given up digging in a certain barrow.
I went back and tried again.
Just had a hunch.
A hunch.
That's all I've got on this leopard thing.
Just a hunch, it was a man.
[Galbraith] But what sort of a man?
I don't know.
You, Charlie.
You know about leopards.
You might have an old claw around somewhere
and perhaps a bit of hair from the cage, eh?
Sure.
No, I'm serious about this.
Oh, I'm only exploring your theory.
Let's take it a step further.
You drink, don't you, Charlie?
Yeah, I drink.
[Galbraith] And when you drink, you get drunk?
Sure.
[Galbraith] Then what do you do?
I sleep it off.
But between the time you leave the cantina
and fall into bed in that old truck of yours,
what happens, Charlie?
Well, I don't know.
That's just it, Charlie.
That's what I'm driving at.
You could do anything in that time.
But Charlie wasn't drunk last night.
Yes,
I was drunk last night, Mr. Manning.
See?
There's a suspect for you, Jerry.
Come on, Charlie.
We'll find another and better suspect.
[Galbraith] Don't you want to see the rest of the exhibit?
Some other time.
I'm sick.
Here, Charlie, have a cigarette.
He was only kidding.
No, he wasn't kidding.
I'm sick.
Claw women,
hurt little girls.
No.
I don't know.
I want to see robles.
What do you want to see him for?
I want him to lock me up.
You didn't do it, Charlie.
You know you didn't do it.
I don't know.
I want him to lock me up.
This is crazy, Charlie.
You know you didn't do it.
You better lock me up.
I've been trying to tell him, sheriff,
but he won't listen to me.
Wait a minute.
Let me get one thing clear.
Did Galbraith make a direct accusation?
No.
No, he was kidding him.
You better lock me up.
If I do things like that, I want to be put away.
I don't want to hurt nobody.
Nobody.
[Robles] That's okay, Charlie.
If it will make you feel any better,
I'll put you away for a few days.
Come on, son.
(castanets clicking)
(speaking foreign language)
Two men for one beat.
Afraid of the big cat, eh?
Sure.
Got a family.
(singing in foreign language)
(Latin music)
Hello.
Well, hello there.
It's been a half-hour since we ordered.
Well, let's have a drink while we're waiting.
Don't bother.
I don't want one.
Do you, Dwight?
[Dwight] No.
No, thank you.
Want to dance, Helene?
I suppose so.
Dwight.
Well, hello.
We seem to be playing tag,
or maybe hide-and-seek, huh?
Is someone with you?
Can I get you a drink?
Sure.
Why not?
(light piano music)
Just a minute.
You've ordered this stuff like a sensible girl,
but you don't have to drink it.
Do you want it,
or do you want another beer?
(laughing)
Two beers, big ones.
It's taken this impossible trip
to show me what an old fool father has become.
When you marry champagne, you can't trade it in for beer.
You're stuck with it.
I don't understand that fancy talk.
You mean I'm a gold digger?
Sure, I'm a gold digger.
Why not?
Why not, if you like it?
If that's what you want.
Maybe you think
I should just forget all about money,
forget about mama and the kids and the unpaid bills
and the rent and marry some poor dope
like Carlos Dominguez and get fat.
Who's Carlos Dom-what's-his-name?
Nobody.
Boy who works in a grocery.
Good-looking?
Yeah.
Nice fellow?
Is, uh, is he in love with you?
I don't know.
Why do you ask so many questions?
What difference does it make
how Carlos and I feel?
Feelings don't buy houses and pay for rent
and help bring up kids
and get clothes for them...
Drink your beer.
Don't get so excited.
(both laughing)
(light orchestral music)
Madam, will be waiting at the entrance.
Madam will be waiting.
Madam ought to go on waiting,
to have such a father and treat him like a poor cousin.
[Man] For mama and the kids.
What about me?
You'll get your money from your husband.
Husband?
Carlos, uh, what's his name?
The boy at the grocery.
(chuckling)
[Clo-Clo] Mmmm.
(castanets clicking)
Well, did he give you a lot of money?
Who?
The elderly man I told you about.
He was old enough,
but you slipped up on the money.
Try it again, why don't you?
Put your wish in them.
(dramatic orchestral music)
Money?
Maybe a honeymoon.
(dramatic orchestral music)
[Woman] Cut.
What are you doing that for?
Again.
Something black.
Something on its way to you.
Go on.
Let me see it.
Don't look at that.
Let me see it.
Death card.
Maybe not.
Cards mean different things at different times.
Walk a little way with me, huh?
Well,
see you tomorrow.
Tomorrow.
Hey, Chiquita, want a lift?
What way are you going?
Your way.
What's the matter?
Your car.
What color is it?
Black.
Get out of here.
Get away from me with that!
What do you mean that?
Pepita.
Tomorrow I'm going to buy you
the most beautiful dress in the whole world.
You don't believe me, do you?
Wait until you see what I have.
Then you'll believe me.
(door clicking)
Is that you, Gabriela?
What are you doing?
Have you lost something?
Yes.
Money.
I must have lost it in the street.
Are you going out again, mi hijita?
Why don't you stay at home and rest?
(door clicking)
Gabriela!
(footsteps thudding)
Carlos.
(footsteps thudding)
(screaming)
Have you sent for the state hunters?
Yes, I wired for them this morning.
State hunters?
Professional hunters.
They rid the state of the cougars.
[Jerry] So you still think it was the leopard?
Is there anything in Clo-Clo's death, Jerry,
to suggest it wasn't the leopard?
Yes, the lipstick.
Why?
Ask Kiki.
Ask any woman.
Girls don't put on lipstick
in the middle of the night on a dark, lonely street
unless they're with a man
or are going to meet a man.
Just the same,
I'm going to use the state hunters.
Come on, Charlie.
Give you a lift back to town.
[Charlie] Now I know I didn't hurt anybody
when I was drunk.
Of course not, Charlie.
I never thought you did.
You know a lot,
taken a lot of fancy college courses
and that kind of stuff.
If it were a man,
what kind of a man would kill like that?
All those fancy courses were about the dead, Jerry,
not the living.
All right, the dead, then.
In history, there must have been men like that,
men with kinks in their brains.
Yes, there have been men who killed for pleasure,
strange pleasure.
There was Bluebeard in France,
Jack the Ripper in London.
It's not uncommon.
And if there were a man like that,
with a kink in his brain, running around loose,
what would he be like?
He'd be a hard man to find, Jerry,
particularly if he were a clever man.
He'd go about his ordinary business calmly,
except when the fit to kill was on him.
You've thought about all this before.
You know it isn't the leopard, don't you?
There you are.
Here's luck to you both in Chicago.
Must be great to be getting out of here,
going to a real city.
Yeah, it's a pretty good feeling, all right.
And this place closing for the weekend
will give us a couple days to rest.
I can use them.
Say, what is this processionist business?
Do they close the cafe every year for it?
It's the big ceremony around here.
We have it every year.
All the cafes and saloons close.
Why don't you stay over for it?
All I want to do is get to Chicago.
Are you lucky, you two.
Big buses go by my house.
At night I can hear the sound of their tires on the road,
like someone humming,
and I think of Chicago and New York,
being somebody, being a real entertainer.
Don't worry, kid.
You'll get there.
(knocking on door)
This for la senorita Kiki,
and I've called your cab.
Oh.
Here we go.
That was nice of Mr. Galbraith.
He's a nice guy.
We ought to keep in touch with him.
Pretty.
You know, it's funny.
Flowers only mean one thing to me now.
I know.
Funerals.
Yes.
Jerry,
these flowers weren't really meant for me.
You mean you want to take them by the cemetery?
Yes.
Do you mind?
(knocking on window)
(dramatic orchestral music)
And she waited here for him.
Robles said it happened something like that.
Belmonte waited here for her,
and then he left.
She missed him by just a few minutes.
What do you suppose she thought about in here alone?
It's such a sad little place.
What do you want to stay here for?
It'll only make you feel badly.
Maybe I want to feel badly.
[Jerry] Ah, it doesn't make sense.
Maybe I'm tired of pretending
that nothing bothers me,
that all I care about is myself,
myself and my two-by-four career.
What else do you care about, Kiks?
You.
Us.
I'm glad you care about us, Kiks.
Sometimes those things get lost.
We've been so busy trying to be tough guys.
Confession.
I'm a complete softy.
Oh, I've been conscience-stricken
and worried sick ever since that leopard got loose.
If that's what it takes to make a softy,
there's two of us.
Kiki.
Hmm?
It wasn't the leopard.
You're positive of that, aren't you?
I'm absolutely sure.
We're not going to catch a train, darling.
We're going to stay right here and catch a murderer.
You sure it's all right?
You don't mind staying?
You know the answer to that.
I want this town to be safe and happy again.
Kiki, I'm not much of a detective.
I don't even know how to start.
All I know is I want to do something about all this.
Oh, oh, and, Kiki, uh,
I'm out of cash.
You'll have to loan me a little dough.
Didn't you take your cut out of the closing check?
Yeah, sure, but, well, I got clipped in a crap game.
That's funny.
I never knew you to lose that much before.
In fact, I'm out of cash myself.
Oh, but you can't be.
Well, I bought some silver jewelry
and stuff from Eloise...
Eloise hasn't got enough of anything
to make a dent in your paycheck.
All right.
I'm not ashamed of it.
I split it two ways and...
Half to the Delgado family and half to Clo-Clo's family.
How did you know?
Why, you did the same thing yourself.
Must get lonely here.
No.
I have many friends,
but they don't bother me with talk.
I guess that will hold you.
$225 you owe me.
You found the leopard.
What's left of him.
Where?
Where did you find him?
North in an arroyo, shot through the head.
Maybe week ago.
No good.
Skin, everything, gone.
What arroyo, Charlie?
How do you get to it?
Well, you go,
and here is Three-Tree Mesa.
And here I go out of the big arroyo
into the canyon.
That's the place I remember.
My feet were so sore that I couldn't make it,
but Galbraith went on up
the head of the canyon by himself.
Just a moment.
Miss walker, will you please sit alongside of me?
You see, I can't stand, so you must sit.
Thank you very much, but...
Chief, don't you understand what this means?
You think that Galbraith found the leopard
the day he went on the posse.
I'm sure of it.
(chuckling)
Isn't that beautiful?
You know, there's no one
in the whole state like this fellow.
He's a genius in his own line.
Galbraith knows something.
He as good as said so.
Now, look, I'm not interested in what somebody thinks
that somebody else thinks.
You bring me some facts, and I'll act upon them.
That leopard in a bag's a fact, isn't it?
Yes, it is, and I'm taking it
down to headquarters for examination.
But you won't go to Galbraith with me.
Offend a good citizen,
then involve the department in a slander suit?
Oh, no.
I'm in office to protect the taxpayers' money,
not to throw it away.
Here you are, son.
Thank you.
Come on, Charlie.
Now we'll have to do it ourselves.
We will.
Lovely face and a tender smile.
That's what you see in the photograph, isn't it?
Smear of blood, torn rags in a huddle on the ground.
That's what I see.
I know, I was there.
But you're not here at night when she calls out.
I wake up and hear her screaming,
"Raoul, get me out!"
Take it easy, boy.
I want to talk to you.
Maybe there's something I can do.
Have a drink.
No.
That's no good for you.
You've got to kick at something,
fight with something to get it out of your system.
In Consuelo's case,
there was nothing to fight against,
nothing except fate and a dumb, brute animal.
But I've got something to tell you
that will change all that.
It wasn't an animal.
It was a man.
A man?
Who?
I don't know, and I need your help to find out.
(all murmuring)
Oh, Mr. Galbraith.
I'm so glad you're here.
Oh, good evening.
You know what this procession's all about.
I've lived here all my life,
but I don't know what the procession means.
It's to remind people of the great tragedy
that took place here, so they won't ever forget
that a peaceful village of Indians
was wiped out by the conquistadores
back in the 17th century.
A band of monks buried the dead, prayed for them,
and did penance for their deaths.
That's what this procession's supposed to be.
Oh, that's very interesting.
Well, now that you've had your history lesson,
I think I'll get on to the museum.
Well, thank you.
(suspenseful orchestral music)
[Woman] Help.
Help.
Get me out.
(castanet clicking)
(castanets clicking)
(breathing heavily)
(footsteps thudding)
I've disturbed you.
I'm sorry.
Miss walker, I didn't expect anyone.
I came up on the spur of the moment.
I wanted to see the processions.
I remembered your kind invitations.
Of course.
Only I'm afraid you'll be cheated.
There isn't much of a view of the procession from here.
I thought they came right past here.
They do, but there are no lights out there.
They'll just be shadows.
It's not so terribly dark out.
If we turn off the lights, we can see them.
No use turning off the lights till they get here.
But they're coming.
Listen.
(solemn chanting)
Hear them?
Turn off the lights.
Wait.
No, really, I can see them.
They're coming now.
Turn off the lights.
(chanting in foreign language)
(castanets thudding)
(screaming)
Raoul, don't.
Put that gun away.
(glass shatters)
Kiki.
It's all right, I'm not hurt.
(chanting in foreign language)
It was you, Galbraith.
No.
It was you.
No, I tell you, no.
You killed the leopard, we know that.
You killed Consuelo.
You killed Clo-Clo.
And tonight...
I didn't do anything.
She screamed.
Something frightened her.
Consuelo screamed, too.
So did Clo-Clo.
Why did you do it?
Tell me why.
Why do you accuse me?
You don't know what you're doing.
You don't understand.
Nobody understands.
You don't know what it means to be tormented this way.
(chanting in foreign language)
[Jerry] Tormented?
Why?
I couldn't rest.
I couldn't sleep.
All I could see was Teresa Delgado's body,
broken, mangled,
I saw it day and night.
It was waiting everywhere I turned.
[Jerry] And then you found the leopard.
I didn't want to kill,but I had to.
I heard the little girl in the cemetery
talking to the man in the auto.
When he went away,
I thought I was going to help her get over the wall.
I can't remember.
I looked down.
In the darkness, I saw her white face,
the eyes full of fear.
Fear.
That was it.
The little frail body, the soft skin,
and then she screamed.
(gun firing)
Consuelo.
[Robles] It's a serious charge, Belmonte.
You'll have to stand trial for murder.
We stood here once before.
I know.
Teresa.
I hated you that day.
You and your flip talk,
that little girl lying dead.
I know.
How do you think I felt
when you told me not to be soft?
Oh, Jerry, I want you to be soft.
You are soft inside, where it counts.
I wanted it that day, too,
but I didn't dare tell you.
Kiki, Galbraith said something to me,
something that you ought to know.
We were talking, and he said
that people were like
that ball in the fountain at the hotel,
that they get pushed around
by things bigger than themselves.
That's the way it was with us,
only we were too small to see it that way.
(dramatic orchestral music)