Algiers (1938 Shooting Script)

IlALGIERSll

screenplay by

JOHN HOWARD LAWSON,

JAMES M. CAIN

Revised 4/12/38

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TITLES RUN OVER SERIES OF DISSOLVES OF APPROPRIATE" ,ATMOSPHERE SHOTS.

DISSOLVE TO:

.....

FADE IN:

1. INT. POLICE HEADQUARTERS - ALGIERS

Shot takes in several uniformed officers, as well as othersin native dress. At far end of room, Louvain sits behinddesk, while Jenvier strides impetiently beck and forth infront of him. These two are inspectors in civilian clothes,Janvier is talking mainly to Louvain, but partly to theothers, who listen with attention, but with a touch ofbored hostility. As scene progresses, CAMERA MOVES IN toaccent Louvain and Janvier •

JANVIERI'm not interested in hearingexcuses about local conditions.No doubt there are local conditions; here's a criminal whoseexploits have made him notoriousthroughout Europe, who escapedfrom France with a fortune In jewels-- and for two years he's been living here in Algiers Within a stone'sthrow of your headquarters ••.•

CAMERA HAS NOW REACHED position favoring the two officers.Louvain is bored but polite.

LOUVAINAs you say, Commissioner•••.

JANVIER( tu r _ling on himpompously)

I'm here to settle this, and Iwant it done quickly••••

LOUVAIN(shrugs)

We've been trying to settle thecase of Pepe Ie Moko for two years.

(CON'rINUED)

/

1. (cont.)

JANVIERIn Paris, we handle more difficult cases every day.

LOUVAINIt's too bad you didn't arresthim before he escaped from France merely an over~lght, no doubt ••••

JANVIERWe were told that he was dead ••••

LOUVAINOur department in Algiers mayhave its faults, Commissioner,but we don't believe everythingwe're told ••.•

JANVIER(angrily)

Does that excuse your failure?Is Pepa Ie ~oko a magician? Canhe disappear when you go in searchof him?

LOUVAINHets surrounded by magicians •••

JANVIERDo you deal 1n riddles here?

LOUVAIN. Indeed we do - Oriental riddles.

JANVIERFrom my experience, there's noproblom In surrounding a given area:then you close in and make a houseto-house Investlgat19n••••

2. QUICK PAN SHOe:AROUND OFFICERS.

Listening. They are obviously, but politely, amused.

AN OFFICER(lightly, as camerapasses him)

A house-to-house investigation.

/-----

\

/

3. TWO SHOT - JANVIER AND LOUVAIN

LOUVAINYou've just arrived from Paris.You're not familiar with the Casbah.

JANVIERCasbah? Wbat's that? Some kindof nut?

LOUVAIN(smiles)

A very hard nut to crack. You see,Pepe Ie Moko lives in the Casbah.

JANVIER(importantly)

~ell, why not go 1n and take himout of it?

LOUVAINYou can't arrest a King 1n his ownpalace -- Pepa 1s well guarded.Let me show you •.•.

They start walking toward the map.

JANVIERThis is fantastic ••••

LOUVAIN(who has risen)

As a civilized mao, you don't likefantasy ....

JANVIERAs 8 police officer, I don't believe in it ••••

Louvain has moved over to map of Algiers,

4. CLOSE UP OF LOUVAIN - AT MAP

The wall map of Al~iers, with the Casbah heavily outlined.

LOUVAINBut here it isl ~ben you go intothe Casbah, you go into anothercontinent, another world! A melting pot - for all the sins of theearth ....

/\

4.

5. INSERT OF MAP

LOUVAIN'S VOICE(continuing)

Terraces and steps and narrowstreets, twisted and dark••••

As he speaks -

DISSOLVE TO I

6. SHOTS OF CASBAH

LOUVAIN'S VOICE(continuing)

No one knows what mysteries arehidd.n behind tho•• wall •••• noone knows what wonders and crimessnd hope. are buried 1n dim roomsand secret courtyards --- people.w.rm through th.t l.byrinth - theybring the strange customs of a doz~en strange countries -- Kabyles •••Chin••e ••. Gyp.ie•••• Aiy.do•••• Slav•••• Maltese ••• Negroes ••. Slel11ana •••Spanlards ••• snd w9men - women withveils across their eyes ... slavegirls and dancing glrls •••women froma thousand lands, caught in the netof the C••bah!

(NOTE:I00Ve is simply an indication of dialogue, to be worked outin conjunction with .v.il.ble .hot•• )

DISSOLVE TO:

7. MED. CLOSE UP OF GROU?IN ~RONT OF l'AP

LOUVAINAnd Pepe Ie Mako is c.ught in tn.tnet! Bu~ he's safe as lo~g as 03

stays'there ••.

JANVIERYou mean to say you don: t 8:") 1., tothis quarter?

(CONTINUE)

•

5.

7. (cont.)

liN OFFICERIt's easy to go in. Sometimes it'snot as easy to come out. You crossthe deadline: you know your waythru quiet passagesj you creep alongthe walls in the darkj you can't beseenl Suddenly a voice speaks from aroof above you: "Hello I Inspector."How did he know you were there?Don't ask list You find your way toanother street. You think they'renot watching you: suddenly a bulletat your feet. It's just a friendlysuggestion: don't take the nextstep!

SI1mane has entered unobtrusivelynative officer in Algerian dress.S11mane carelessly.

during this.The officer

He 1s aindica tes

OFFICERAsk Inspector S11mans: the Casbahis his territoryl

Janvier turns to S11mans with his usual annoying energy.

JIINVII;RHow does Pepa Ie Mako conceal himself? A disgUise, no doubt?

SLD.!IINE(shrugs)

You don't know Pepe •.•• he'd laughat a disguise I

JIINVIERThen why don't you find him?

SLIMIINE(With the same shrug)

Ah, but that is singUlarly easy••••I see him every day!

JIINVIER(roars)

What?

SLIMJ\NE(to Louvain)

Our distinguished colleague is disturbed?

Louvain smiles. Janvier cuts 1n forcefully.

(CONTINUED )

7. (Cont.1)JANVIER

The man's wented in all the capitalsof Europe and you see him every day••.

SLIMANE( slyly, nodding)

Sometimes I have the honor of takinglunch with him .••

JANVIERLunch •..

SLIMANESometimes dinner! He's an amusingcompanion ...

JANVIER(on verge of apoplexy)

Amusing I

SLHlANE(slyly)

You wouldn't like himt

JAllVIER(turns violentlyto Louvain)

Another example of what you call1I10cs1 condltlons?H

(as usual, Louvain shrugs)

Gross inefficiency, no effort to mekean arrest ...

SLIMAllETo arrest him, distinguished colleague,would be simple. To get him out wouldbe 1nryossible.

JA11VIERSo you do nothing?

SLIMANEI flatter myself that I do a greatdaa1 •.• in my humble way ••. I learnabout Pepe - I know his habits - Istudy his weaknesses: when one canltuse guns, one must work with brains •..

JANVIERI prefer guns ••.

(CONTINUED)

6.

7.

7. (Cont.2)

SLIMANE(humbly, but with hiseyes on Janvier withsarcastic intentness)

In your case, honored sir, such Bpreference is unavoidable •.•

JANVIER(to Louvain)

By his looks, I'd s.y ha's too lazyto make an arrest.

SLIJ,iANEI'm merely careful.

JANVIERWhich means looking after yourown skin.

SLIIJlANEIt's the only skin I have •••

JANVIERSo Pepa Ie Mako would not amuse me!We'11 find out ...

(he turns angrilyto Louvain)

I want twenty men tonight, inspectedand ready for work.

8. CLOSE UP OF SLIMANE

Cynical, amused.

JANVIER'S VOICEAnd you might prepare a specialcell ••• for Pepe le Moko •••

Just a flicker of amusement in Slimenets eyes.

SLOW DISSOLVE TO:

9. INT. S1~LL ROOM - IN GRANDPERE'S HOUSE

It is dimly lit. A noticeable feature is a small, heavydoor, with a barred peep-slit in it. Beside door J onfloor, lounge Pepe's two bodyguards, ~ax and Gil. Seatedat a table are Grandpere, Carlos and Pepa. Jewels arespread out on 8 velvet cloth. Carlos is a big stupid manwhose brutality is in marked contrast to Grandpere's elderly finesse.

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8.

10. CLOSE UP OF JEWELS

On black velvet on table. Grandpere1s fingers among thegems. Rings, brooches, some unset stonese

GRANDPERE'S VOICEOne cannot always decide on the value1n terms of artistic appreciation.As for me, my thoughts are thoseof an artist •.•.•

(he holds up a diamond)Consider this diamond•..• a remarkable speclmen••• observe the warmth,a certain, shall we say, luminosity?

By this time, the CAMERA HAS PULLED BACK to show Carlos beside Grandpere, extremely bored and anxious to get down tothe immediate business at hand.

CARLOS(disgustedly)

Go ahead, ss:y It~

GRANDPERE(studying the ell. amond, shakes his head)

No, no, on second thOUght, luminosity 1~ not the word•.•••

CARLOSCash is the word••• \Vhat do we getfor that pileof e>ggle-rock?

GRANDPERE(pained)

My ear is offended by the expression - goggle-rockl

CARLOSYou1re goggling at them, aren't you?

GRANDPERE(turning to Pepe)

You and I have the same feeling,Pepa••• for beauty - shall we say,the quintessential essence••••

CARLOSGo ahead, say itl

10-A CLOSE UP OF PEARL

Cradled in Pepe's hand. Then the CAMERA MOVES UP his arm,to his face, intent on the pearl.

(CONTINUED )

9.

lO-A (cont.)PEPE

This pearl belongs on a very special kind of ear, like a pink shell..••with a little curl of gold hair•••• a special kind of gold •••• r cansee it, ....

He looks at Carlos, holds out the pearl.

11. CLOSE UP m' CARLOS' EAR

Of the cauliflower variety, with grizzled skin of his cheek,as Pepe's hand holds the pearl against it.

12. MEDIUM CLOSE UP OF GROUP

Pepa withdraws the pearl sadly.

No •.•. Pearl sall, Carlosl

PEPEdon1t suit you at

You're not the type •..

• GRANDPEREHe'd look better with brass rings1n hi sears•...

PEPEAnd a ring 1n his nose•.•••

CARLOS(anncyed, tryingto get it)

Say that againJ

PEPEA ring for your nose.

GRANDPLREHe'll get you a brass ring, athis own expense,

CARLOS( satisfied)

Okay.(turning to GrandpElr' e)

I thcught ws were here to talkbusinessJ

GRANDPEREAh, but there are ways of talkingbusiness: one speaks of otherthings, and one mentions a pricein passing~•••

(CONTINUED)

,

10.

12 (cont.)CARLOS

All right, mention it ••••

GRANDPERE(sadly - to Pepe)

He's definitely uncouth•..•

PEPE(grins)

You took the words out ·of mymouth•..

CARLOSHe's trying to cheat us, Pepa -all this talk is so he can get abetter price, so he can make foolsof us•...

13. TWO SHOT - PEPE AND CARLOS

PEPEIt's so easy to make a fool of me -why don't you try it sometime?

(indicating Grandpere)Grandpere has dealt with us for twoyears ••• we must have confidence ineach other - that's the way to getalong••.•

14. CLOSE UP GRANDPERE

He nods, smiling, showing the affection for Pepa which isthe most genuine thing about the old man 4

GRANDPEREThat's true, Peps •.•••

15. MEDIUM CLOSE UP GROUP

CARLOSThen why don't we get our moneyand,be done with it?

GRANDPERE(to Pepe)

He doesntt speak our language.

PEPE(to Grampere)

Pretend he's not here.(CONTINUED)

(

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11.

15 (cont.)CARLOS

But I ~ here.

PEFE(to Grandpere)

He doesn't know he isn't herel

GRANDPEREWell, one more thing he doesn'tknow makes it practically. perfect score.

PEPE(to Carlos, indicating Grandpere)

He was talking about beauty.

CARLOSThe more he talks about beauty,the less he talks about money.I'm talking about. how muchl

PEPEYou make me sick••.•

CARLOSI what? Say that again?

GRANDPERE(to Carlos· reasonably)

Since you make him sick••.•

CARLOS(giving up)

Okay.

Carlos starts to pick up a ring on the black velvet. Pepastops him, taking the ring away from him quickly.

PEPELook, but don't touch••• ~

(to G~·andpere)

He's destructive: I had an enamelbox, four hundreq years Old, studdedwith rubies -- do you know how hetook out the rubie.? With a harr~erl

CARLOSWhat does that prove?

GRANDPEREA painful lack of cultivation.

\ 12.

,16. CLOSE UP PEPE

/ He is thoughtful, a real sadness, nostalgia 1n his voice.

PEPEYou know this was once my trade:I began life in a jewelry store.

17. MEDIUM CLOS~ UP GROUP

GRANDPEREAnd when you left, you took thestore with you.

PEPE(shrugs, with a grin)

It became a habitl(again he is seriousand thoughtful)

You know, I dream about settlingdown 1n Paris sometime -~ andlId make a collection of thingslike this•....

(he indicates thejewels with a sweepof his hand)

Not just for myself • for peopleto see· 1n glass cases ••.•

(turns to bodyguard)With you in a uniform taking careof them, Gil .••

(to other guard)And you, Max.

PIEHROTWhat about me?

PEP"(affectionat ely)

Plerrot, you'd have a uniformlike a General, and you'd be 1ncharge of everything.

CARLOSAnd me?

PEPE·(to Pierret)

What would he be? Stuffed, ina glass case.

CARLOSWhat? Say that again.

( CONTINUED)

13.

17 (cont.)PEPE

Stuffed, in a glass case.

GRANDPERE(helpfully, to Carlos)

Like an Egyptian mwnmy•...

CARLOS(gives up)

Okay.

18. STREET - AT EDGE OF CASBAH

Police cars arrive, men get out, start for Casbah.

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19. NARROW STREETMEDIUM LONG SHOT

Showing people seated in street. Visible is L'Arbi, thepollce stool pigeon. Two sailors, drunk, come out of abar. As L'Arbl rises to his feet, CAMERA PANS disclosinggroup of detectives entering far end of street. CAMERAPANS BACK to include L'Arbi.

L'ARBI(yelling in Arabic)

Policel Policel Policel

Natives scatter at LfArbl l s warning.

20. MEDIUM CLOSE SHOT

As L1Arbl runs from house to house yelling.

L'ARBI(in Arabic)

Policel POlicel

As CAMERA PASSES partly dressed wom~l rushing into a doorway, IT PICKS UP a little girl seated on step. Feet ofdetectives going past her. Same woman ~ashes out, grabslittle girl in her arms, rushes back to the doorway withthe child.

, 21. EXT. STREETMEDIUM LONG SHOT

Detectives walking down street. Numerous natives are seated on street, playing cards, apparently unconcerned aboutpolice.

14.

22. EXT. CASBAH - STREETCLOSE UP GROUP OF NATIVES

Seated at table, playing cards.

NATIVES(talk in Arabic Pepa's name mentioned)

23. EXT. CASBAH STREETCLOSE ANGLE ON DETECTIVES

Walking almost into camera. CAMERA PANS to get two nativesseated against wall.

POLICEMAN(to Native)

Where's Pepa Ie Make?

NATIVE(in Arabic)

I don't know him.

24. INT. CAFESEVERAL NATIVES, INCLUDING REGIS

Sitting around. Janvier, Louval0, Sergeant and police enter, seize several of the natives, among them Regis,

POLICEWhere's Pepa Ie Moke? Come on,where is he? Etc.

NATIVES(jabber - mostly in theirown' language • they don'tknow)

SERGEANT(to Regis)

Where's Pepa Ie Mako?

Regis protests, apparently 1n an agony of tear.

REGISI don I t know. By the swo rd of thegreat Prophet, I haven't seen PepaIe Mako for two weeks. He hasn'tlet me look on his face for two weeksl

25. LOUVAIN'S HAND

Hand slides down Regis t arm. Piece of paper passes - fr~~

Regis to Louvaln.

(

15.

26. GROUP - REGIS, SERGEANT, LOUVAIN AND JANVIErl

LOUVAINLet him go.

The Sergeant releases Regis, who scuttles off. Louvainsteps to one side, out of sight of natives, followed bySergeant and Janvier.

27. LOUVAIN, SERGEANT, JANVIER

Louvain hands paper to Janvier, who reads.

JANVIERGrandpere---whols he?

LOUVAINReceiver of stolen goods.

JANVIERYou know his place?

LOUVAIN( testily)

We know it.

They start off.

28. MEDIUM LONG SHOTSHOOTING THROUGH ARCHWAY

Regis enters scene, runs down stairs, turns corner, thendown narrow street.

29. EXT. STREETLONG SHOT

Regis running down street, enters Ines' house.

30. CLOSE UP AT DOOROF INES' IDOM

As Regis comes to the door, knocks.

31. INT. INES' HOUSE

Room scantily fUrnished in Oriental fashion~

,

32.

16.

CLOSE UP OF INES

Lying back among cushions in ~ nook in the wall, as shehalf rises at the sound of knocking. She is an Egyptiangirl, with a dark beauty which is enhanced by her childlike simplicity and her quick emotional response to chan ging moods.

INES( eagerly)

Pepe?

REGIS' VOICE(outside door)

No, it's Regis.

(

33. INT. ROOMMEDIUM SHOT

As Illes runs across to door, and opens it.

INESWhat's the matter?

REGISThe police - they're lookingfor Pepa.

INESSo soon?

REGISSoon? Were you expecting them?

INESAlways •••.•

34. CLOSE.UP INES

At Closet, as she hurriedly takes o~t a cape dress or cape.

INESBut ecpecially tonight .- Pepesaid th~y sent someone all theway fr~m Paris ••••

35. TWO SHOT - INES AND REGIS

As he comes over beside her, inte~sely inquisitive.

REGISOh, he knew ••.•

(CONTINUED )

,

17.

35 (cont.)IllES

(proudiy)Of course, Pepa knows everything..•

Regis gives a knowing little smile.

REGISYou're going to him?

roes nods, rushing w1th her preparations, putting on slippers, etc. Regis, apparently with the intention of delaying her, seems to be getting 1n her way.

REGISTell him I've never seen so manyof them...•

INESHe'll laugh that's what he ex-pected.

REGISLook at my neck••.•

(she pays no attention)I thought they were going to wringit like a chicken••••

roes laughs.

REGIS•••• But all the time I was thinking only of Pepe -- let them killme, I thought, as long as Pepa ••• ,.

INES(aston1ehed)

Why should you feel that way?

REGISDon't you?

36. CLOSE UP OF INES

She speaks with simple, intense feeling.

lNESI? ... Everyone knows how I feelabout Pepel

She suddenly realizes she is wasting time. She starts fordoor.

18.

37. MEDIUM CLOSE UP AT DOOR

As Regis blocks her way, anxious to clinch the good impression he feels he is making.

REGI.SPepe doesn't like me. He ignoresme, humiliates me - but I F11 havemy revenge: sometime he'll be sorry he didn't notice me sooneroh, I'm ve~ humble· I do my bestto serve him 1n my small way_

INESThat's nice of you, Regis.

REGISThat's how I am: sensitivel Butno one appreciates me.

She ~rles to brush past him, but he is very insistent.

REGISPromise me you'll tell him -.that I came to warn him.

INES(trying to go)

I willI

REGIS(calling after her)

I don't want any favors -- I justwant him to know _. VIh ere there'strouble..•.•

She has gone.

38. CLOSE UP REGIS

As he finishes for his own benefit.

REGIS•••• look for Regisl

39. EXT. STREET CORi'll:;R

Janvier and Louvaln enter, followed by police. Louvalnpoints down the street.

LOUVAINThird on the left.

19.

40. LONG SHOT OF STREETREVERSE fu~GLE

CAMERA PICKS UP police in background, PANS to doorway RIGHT,where a beggar is ly1ng. The beggar raises his head, seespolice, surreptitiously takes stick and knocks on doorway.CAMERA DOLLIES BACK to second doorway where second beggarrepeats same business. CAMERA STILL DOLLYING GOES tothird doorway, where third beggar repeats same business.

41. MEDIUM SHOTJANVIER,LOUVAIN AND POLICE

Janvier points off.JANVIER

Cover the root.

Four policemen exit quickly down side street. Janvier"turns to other cops and indicates that they are to take upa position the other side of Grandpere's house.

JANVIERGo around to the back.

Six men start off down the street.

42. LONG SHOT OF ROOFS

Ines enters 1n medium foreground and starts across.

43. MEDIUM SHOT • SMALL STAIRWAYSHOOTING OUT TOWARD STREET

Cops who first left Janvler, enter and exit up stairs,past camera.

44. MEDIUM SHOT OF ROOFS

Roof door of Grandpere's house 1n background. lnes entersfrom behind camera, turns and looks off.

45. REVERSE AmGLE

Cops enter onto roof from stairway 1n background.

20.

46. MEDIUM SHOT OF ROOF

Ioes reacts to what she sees and exits through door intoGrandpere's house.

47. INT. GRANDPERE'S HOUSE

J~e5 enters, clos8s door and bolts it, exits past camera,

48. CORNER OF STREETNEAR GRANDPERE'S HOUSE

In background, four cops are arriving at further corner ofblock. CAMERA PANS TO SHOW original front of Grandpere'shouse from OPPOSITE ANGLE, with four cops in foreground.

49. JANVIER. LOUVAIN AND REMAINING COPS

They start down toward door to Orandpere's house.

50. INT. GRANDPERE'S HOUSE

Pepe, Carlos, Grandpere, Max and Gil. They stand 11sten~

lng, alert, as knocking is heard from door which leads toroof. (This door is up a short flight of steps.)

Pepa makes a ourtup steps to door.

gesture to Max,who draw. gun, and goesThe knock 1s repeated.

IllES' VOICE(outside door)

It's Ines .•... quick...•

Max opens the door. Ines enters, dashing down the stepsto Pepa.

IllESThe police••• on the roof, Pepa -they're coming.

51. TWO SHOT - INES AND PEPE

In running, her hair has fallen down over her eyes. Helooks at her with mock severity, pulls the hair back frc~.~

her eyes.

(CONTINUED)

21.

51 (cont.)

Suppose thelike that?of you?

PEPEpolice should see youWhat would they think

He arranges the hair with quiok delicate fingers.

INES(somewhat reassured ~

half laughing)Pepa ••••.

52. WIDER ANGLE ON SCENE

Pepa turns quickly as Pierrot enters, locking the doorafter him..

PIERROTTheY've surrounded the house they know you're here.

53. CLOSE UP PEPE

As he looks around thoughtfully, mildly disturbed.

PEPEThat's funny -- how did they

know I was here?

54. CLOSE UP GRANDPERE

He hasals oncloth.

turned to the table, where hethe b1aok velvet cloth, about

He is not unduly hurried.

is 'U'ranging the jewto wrap them in the

GRANDPEREIt's getting so one can't· meditate1n peace any more -- always rushand bustle ....

Pepa enters scene, as Grandpere is about to wrap thejewels. Pepe casually picks up a ring among the jewels.

PEPEI'll keep this one, I ratherlike it.

Grandpere nods. Pepa looks off. Something he sees makeshim angry. With a frown he moves off quickly. CAMERAMOVES with Pepa as he goes to window 1n recess. At the

(CONTINUED)

22.

54 (cont.)

window,street.roughly.

Pi erret has gunHe is about to

in hand. and shoots once into theshoot again as Pepe seizes him

Do you

PEPE(indicating gun)think that's a toy?

PIERROT

(

Well, I --

PEPE(harshly)

When will you learn to obey orders?

Before Pierrot can answer, a bullet from the street whizzesright between their faces and buries itself in the wall beside which they are standing; Pepa is standing 80 close tothe wall that plaster falls on his shoulders.

PEPEYou see ....

As he quickly pulls Pierrot out of range, he is suddenlygentle, his arm affectionately around the boy's shoulder.

PEPEDon't take so many chances -- it'sfoolish -- I don't want a bulletto come between UB ••••

(he touches the broken plaster of thewall with a grin)

•.. the way that one almost didJ

By this time, the noise around them has increased, violentknocking from the roof, and a dull, heavy knocking below.


As Pepe gives signal to Max and Gil, who pull aside a heavychest, disclosing amall opening in wall leading to housenext door. All quickly start to exit through the opening.

56. MEDIUM CLOSE UPDOOR FROM ROOF

As an axe crashes into the door.

23.

57. CLOSE UP GHANDPEIiE

About to go through the small opening, looks off at thedoor which is being smashed.

GRANDPERE(to Pepe)

Every few weeks, I have to getnew doors.

They go through.

58. EXT. STREETIN FRONT OF GRANDPERE'S HOUSE

Janvier directing activities of police.

JANVIER(indicating the door)

Break it down.

The police set to lDrk with crowbars, axes, etc.

59. INT. ROOM IN HOUSE NEXT TO GRANDPERE'S \

As Gil and Max pull the chest back into place by means oftwo iron rings on the back of it. During following scene,they get a long iron bar and put it through the rings tohold the chest in place. CAMERA MOVES from Gil and Max (asthey close the opening) to a CLOSE ANGLE ON PEPE AND INES,a little apart from the others.

PEPEInes ....

She looks up at him with obedient adoration.

PEPEDid you tell anyone where I was?

INES(shakes her head)

No one, Papa..... .

Papa is seriously worried. He grips her arm, looking intoher face intently.

PEPEYou're sure? Try to remember••..•

(CONTINuED)

24.

59 (cont.)IilES

(frightened andtearful)

Why don't you believe me, Pepa?All I want 1s to please you •••..•I couldn't lie to you ••.•

Pepe's manner SUddenly changes to mocking amused tenderness, realizing he has frightened her.

PEPEHlm.... couldn't you? How aboutall that time you kept tellingme you didn't like me••.•

IllESBut this is serious•..•

PEPESo love 1s not serious?

INES( shocked)

Don't say that ••• ~

PEPEX2!!. sai d it •••

INESI didn't mean it ••••

PEPE( triumphantly)

Then you told a liel You see., •••

INESBut, Peps, it's serious if someonetold the police - I didn't speak toanyone. I was at home until Regiscame••••

PEPEWho came?

Regis ..ran to

rilES(innocently)As soon as he

you.told me, I

PEPEWhat did Regis tell you?

IllESAbout the po~lce. He wanted me towarn. you.

(COll'fINUED)

(l

2S.

S9 (cont. 1)PEPE

That was nica of him.

INESThat 's what I thought.

PIlPEThat's all you thought?

INESWas there something else for meto think?

He grins, pinches her cheek with amused affection.

PEPEThat's what I like about you.

INES( eagerly)

What?

PEPEYou're such a child •..•

60. INT. ROOM IN GRANDPERE'S HOUSEFULL SHOT

As the door from the roof ia smashed to pieces and the police rush in. At the same time, the police, led by Janvierand Louvain enter from below. They all look around.

LOUVAINAnd thl~ seems to be all,

JANVIER(vigorously)

Itts not all for meJ Search the place.

They start the search. Detectives open the chest that conceals the passage, 010a6 it again in disgust. They 3ta~tto turn the room upside down..... .

61. INT. ROOM Ilf HOUSE NEXT DOOR

We can hear the noise of the search in the room next door.Inas Is pouting. Pepa glances at her, takes ring frompocket, holds it cupped 1n his hand.

PEPEHold out your hand.

(CONTINUED )

I

26.

61 (cont.)

She holds out both hands obediently. He shows the ring she impulsively reaches for it.

PEPE( severely)

Don't grab -- it's unlucky•.•

INES( eagerly)

You want to give it to me, Pepa?

He is trying it on her fingers rapidly. It is much too bigfor a slim finger. He even tries it on the thumb, shakeshis head sadly.

PEPENO •.. it's for some fat old woman...

INES(eagerly)

Let me have it, Pepa - sometimes1 ' 11 get fat •••••

PEPEYou'd lose it before that •••

INESNo, I'll keep it for a charm....

Pepa smiles, taking her hand.

62. INSERT OF INES' HAND

With ring on her finger, as Pepa puts one of her fingersover the other, so as to keep the ring in place.

63. TWO SHOT - PEPE A..'lJ) HIES

PEPEThen you must keep your fingerscrossed.

INES(holding up the handproudly, fingers crossed)

All right.(seeing he is amused)

Why do you amile?

(CONTINUED )

(

27.

63 (Cont.)PEPE

(shrugs)In my country, it has a meaning

INESLike crossing the heart?

PEPESomething like that --

INES(with plaintiveearnestness)

This ring will mean that I'malways yours, Peps, with myfingers crossed --


Grandpere 1s listening at wall.

GRANDPERE(sadly)

Those vandals are turning myhouse upside down.

PEPEThey'll be 1n here next •.• letlsget out •••

The men move qUickly, Grandpere turning to aPierrot and the others going up 8 staircase.to Ines.

PEPEStay hera. When the policecome, you know what to say.

65. CLOSE UP - INES

door,Pepe turns

She nods, watching them go.the ring, looking prOUdly at

Sha holds up the hand withher crossed fingers.

66. INT. ROOM IN GRANDPERE'S HOUSE

The search 1s completed, and Janvier and Louvaln areobviously depressed.

(CONTINUED)

28.

66 (Cant.)LOUVAIN

No evidence. Nothing.(turning toJanvier, coldly)

Are you satisfied?

JANVIER(grimly)

we'll search every house In theneighborhood. You men - up onthe roof, the rest of you, followme •••

Four police start up steps to roof. The others turn tostairs leading to street.

67. EXT. ROOFNEAR DOOR FROM GRANDPERE'S HOUSE

The four cops come up from below, move across roof.

SERGEANTThere they go!

68. LONG SHOT - ROOFS

Carlos, Max, Gl1 and Pierrot climbing over a wall abouttwo houses away.

69. LONG SHOT - ROOFS

Sergeant and his men crossing roofs, firing as they go.

70. MEDIUM SHOT - SMALL COURTYARD

A narrow well into which Pepa drops from terrace above.

71. CLOSE UP - PEPE

Holdln6 one arm, shOWing that he has been wounded. Helooks up.

72. MEDIUM SHOT - FROM PEPE'S ANGLE

ShOWing opening above, as police pass above, continuingtheir search.

,

,

,

73.

74.

75.

76.

29.

EXT. ROOF AT EDGE

As Sergeant and his men reach the edge, find they cengo no farther 1n this direction, and look around at theempty expanse of terraces around them.

MEDIUM SHOT - STREET

The street Is absolutely empty, as Janvier, Louvaln andgroup of police appear around a corner, looking aroundcautiously.

LOUVAIN(to Janvier)

What are your orders?

JANVIERHe must be near here. Wetll gethim. You, and you, come with methe others stay here.

CLOSE SHOT - BARRED WINDOW

Carlos moves into shot behind Window, looks down, smiles.

REVERSE ANGLE - FROM CARLOS I VIEWPOINT

Cops standing at street corner.

77. CARLOS - IN WINLOW

Draws his gun, takes aIm and fires.

78. CLOSE SHOT - COPS STANDING ON STREh~ CORNER

Carlos' bullet nicks a piece of the well above cop'shead. He ducks and flattens himself against the wall.

79. EXT. STREh~ CORNERMEDIUM SHOT

All the cops look off to whare shot came from and takepositions of protection.

•80.

30.

EXT. STREET CORNER~lliDIUM SHOT - DIFFERENT CORNER

Janvier and several cops have stopped, having heard theshot, and are looking back towards the cops they have .left on the other corner. Janvier signals them to followhim, and exits past camera.

81. CLOSE SHOT - ARCHWAY OVER STREET

Pierrot's head rises from behind the balustrade of thearch. He looks around cautiously, raises his gun intoposition.

82. REVERSE LONG SHOT - ORIGINAL STRE",T COhNERFROM PIERROT'S ANGLE

Police, flattened against the walls, trying to keep outof bullet range. Janvier and cops enter, looking off,their backs to the camera.

I 83. CLOSE SHOT - ARCHWAY OVER STREET

Pierrot aims his gun and fires.

84. REVERSE SHOT - CORNER OF STREET

Police turn to see where new attack 1s coming from,fire back.

85. EXT. ALLE'i'NAYMEDIUM SHOT

Group of visitors enters scene. Gaby, two men and anotherwoman. The girls are dressed in evening gowns withshort fur jackets and are heavily jeweled. Their escortsare two heavily-jowled, middle-aged men in ordinarybusiness clothes. As they enter street, we hear moreshots. Police grab them and hurriedly pull them back outof the way, except Gaby, who runs a few steps in theother direction and gets under an archway.

86. MEDIUM SHOT - UNDER ARCHWAY

As shooting continues, $limane runs up and pulls Gabyinto a dooI'l17ay.

(CONTINUED)

31.

86 (Cant.)SLIMANE

Quick - this way.

87. INT. NATIVE WOMAN'S HOUSEMEDIUM CLOSE SHOT

Gaby and Slimane entering doorway. CAMERA PANS them intothe room, bringing them into a MEDIUM THREE SHOT withthe native woman, dressed in gypsy costume.

NATIVE WOMANCome In. Make yourself comfortable.

GABYWhat is it? What happened?

NATIVE Vi OMANOh, it's nothing •••

GABYYou call this nothing?

NATIVE WOMAN(philoaophically)

Oh, you know how it is with thepolice. They like to keep everything 1n an uproar •••

SLIMANE(bowing to thenative woman)

A very profound observation!

NATIVE WOMAN(helpfully, to Gaby,seeing that she isstill puzzled)

They'll get tired of it soon;they're looking for a man.

GABYAll this, for one man?

NATIVE ,"OMAN(with justifiablepride)

Ah, you don1t know Pepa Ie Mokol

88. CLOSE SHOT - CORNER OF ROOFTOP

Max's smiling face and his gun appear.

(CONTINUED)

32.

89. R~VERSE ANGLENEW ANGLE ON STREET CORNER

Showing police in increasing confusion.

90. CLOSE SHOT - CORNER OF ROOFTOP

Max shoots.

91. EXT. STREET CORNERMEDIUM SHOT

Cops turn and try to scramble out of range of the newattack.

92. CLOSE SHOT - SMALL WINDOW, BALCONY

Gills head appears. He smiles and shoots.

93. MEDIUM SHOT

By this time, the police are completely at a loss,trapped in crossfire, helpless.

94. INT. NATIVE WOMAN'S ROOM

SI1mans, Gsby and Native Woman.

GABYDoes this sort of thing happenoften?

fhe native woman nods laZily, pleased that the disturbanceIs making such a good impression on the visitor.

SLIMANEMore often then you might think ••.The police have been looking forhim for two years.

OABYThe police must be rether stupid.

SLIMANE(bowing toher gravely)

As one of them, I consider that atriumph of under-statement •••

•

33.

94 (Cont.)GABY

You're one of them?

SLIMANE(again bowing)

I have that doubtful honor.

GABYHow does he do it?

SLIMANEA good head •••

NATIVE WOMANIt's not his head that saves him -it's his heart -- a man with sucha good heart can get around anyone •••

GABYSounds intriguing•••

SLIMANEH'm••• that's a matter of taste •.•

SI1mane 1s looking off fixedly toward stairs.

f\ 95. CLOSE UP - GABY

As she follows his look.

96. CLOSE UP - P~PE

As he enters sloWly down short flight of steps, holdinghis left. arm. He walks calmly over to native woman,pUlling up his coat sleeve.

97. TwO SHOT - PEPE AND NATIVE WOMAN

As he smiles down at her with friendly carelessnesJ~

PEPEFix it up.

She starts to work with eagerness.

98. WI~ER ANGLE ON SCENE

SLIIIANE(politely, to Pepe)

Permit me to hope that it'slog serious?

noth

(CONTINUED)

,

34.

98 (Cant.)

PEPE(equally poll te)

Thanks .•• a flea bite.

He notices Gaby for the first time.

99. CLOSE UP - GABY

Looking at Pepe.

100. CLOSE UP - PEPE

Looking at Gaby. His eyes drop down to the bracelets onher wrists.

101. CLOSE UP - BRACELETS ON GABY'S LEFT WRIST

Gabyls right hand makes a little movement to cover them.

( 102. CLOSE UP - PEPE

His eyes go up slowly, deliberately, to the pearls onher neck.

103. CLOSE UP - PEARLS ON GABY'S NECK

104. CLOSE UP - PEPE'S ~YES

Looking at her.

105. CLOSE UP - GABY'S SMILE


He glances over at Sllmane, turns to him with a smile.

...

35.

107. T~O SEOT - PEPE AND SLIMANE

PEPEWhy aren't you chaslpg the fox?

SLIMANE(shrugs agreeably)

It's such a s1l1y business, Iprefer to use my brains.

PEPEWell, your friends did a littlebetter than usual tonight. Atleast they found me. That'spretty good for them.

SLIMANEShall we say, a step in the rightdirection?

108. WIDER ANGLE

As Pepa turns to Gaby.

PEPEExcuse us, Madame, if we talk shop.

109. CLOSE UP - GABY

Watching Pepa, much intrigued •.

PEPE'S VOICECigarette?

GABYPlease,

CAMERA PANS TO Pepe's pocket, showing his hand drawinggun from pOCket, in effort to take cigarettes with hisone good hand.

SLIMANE'S VOiCELet me help you.

Sllmane's hand comes into scene, taking cigarettes outof pocket. CAMERA PANS UP to Pepe's face. Slimaneputs cigarette in his mouth. CAMERA PANS BACK to Gabyas ~he takes cigarette from Pepa.

110. TWO SHOT - PEPE AND SLIMANE

SI1mane takes a clg~rette from Pepa's pocket.

(CONTINUED)

I

361

110 (Cont.)PEPE

Sometimes I feel sorry for ~hem.

They'll never get me by thistechnique, you know,

SLIMANEI've tried to point that out tothem.

PEPEFor once the Inspector and Iagree completely.

SLlMANEI am the one who will get you,Pepe, in the end.

PEPEI can hardly wait for the day.

111. WIDER ANGLE

Gaby In foreground, watching the two men.lighting Gaby's cigarette. Then he hold.for Pepe.

SI1mane Isthe lighter

SLIMANEAnd not only you, but the other.Pierrot, Carlos, Grandpere, allof you•••

PEPEThen what. wIll you do? Put us Inthe zoo?

SLIMJ.NEYou flatter yourself •••

PEPE _You mean, you won1t exhibit me ina cage?

SLIMANEYou're important now, because you'refree -- once y~alre behind bars,people will forget all about you •••

PEPE(to Gaby)

He's funny, my friend Sl1mane. Helooks normal, doesn't he? But hehas delusions -- he thinks he canarrest me.

(CONTINUED )

37.

111 (Cont.)

SLUIANEThat's exactly what I'm going todo, Pepa.

PEPE(patting his cheek)

Sure ••• sure ••• sure ••• sh-shsh ••• How you make me laugh!

(surveys Slimanewith amusementi

You know what I like about you?

SLIMANENo, but 1 1 m humbly waiting foryou to tell me •••

PEPEYour facet It's a perfect facefor your job -- To look thatfalse 1s almost the equivalentof being honest.

SLIMANE(bowing)

1 1 m honored that my appearancepleases youl

PEPEDon't mention it --

(he turns to Gaby)You'll excuse me. 1 1m afraidI have to go.

(with an expressiveshrug of apology)

Business.

He exits, followed by bodyguard.


Watching him go, puzzled and impressed.into scene, study~ng her. His manner IsIs interested In he~ impression.

SI1manecasual,

comesbut he

It's a

What?

SLIMANEshame, 1sn't it?

GABY (surprised)

SLIMANEA waste of talent •.. an unusualintelligence •.. ona hates to seehim buried so young •••

(CONTINUED)

/

38.

112 (Cont.)

GABYBuried?

SLIMANEI (carelessly)

It's the same thing.

GABY(looks at him withnew interest, hervoice low and puzzled)

What makes you so sure?

SLIMANEI've marked the date of hisarrest on the wall of my roomhigh, where it reads black 1nthe rays of the setting sun.

VlIPE TO:

(

113.

114.

EXT. NF,AR EDGE OF CASBAHLONG SHOT - STEEP STRE£TS AND STEPS

As the police come down the hill through the windingtwisted streets toward the edge of the native quarter.

MEDIUM SHOT

On street as the police pass, dejected, having failed.CAMERA PANS UP side of an enormous blank well ofcolored stucco. The CAMERA FINALLY REil.CIlES a curiouslittle niche in the wall, reached by a narrow ledge.In thls'n1che, Ines and Pepa are lying, close together,peering over the edge, watching the departure of thepolice. CAMERA MOVES to a VERY CLOSE ANGLE on the two.

PEPE(pointing)

Ther. they go.

INES(cuddling againsthim)

That's the end of them •••

PEPEFor tonight •••

,

39.

115. CLOSE UP - INES

She holds up the ring on her hand. By this time, shehas forgotten the crossing of her fingers.

INESOur charm worked, Pepe, itkept you safe.


Holding her hand. He glances at Ines, then looks offat the departing police. He carefully crosses herfingers over the ring and smiles at her.

F~EO~.

40.

FADE IN

117. INT. FOLICE HEADQUARTERS

police and detectives sit in dejected attitudes. The onlyperson who 1s not dejected 1s Janvier, who 1s stridingup and down 1n a masterful manner, as he dictates to apolice secretary.

JANVIERI am happy to report that the raidwas carried out 1n an energeticmanner, and although it ,failed 1nits objectives ••• No, cross that out,cross out IIfsl1ed In its objectlves ll •••

In an energetic manner under mydirection •••

118. CLOSE UP - LOUVAIN

Fanning himself lazily, watching Janvier with sarcasm.

JANVIER'S VOICE(continues)

••. although we narrowly missed capturing Pepa Ie Mako •••

Louvain smiles.

119. MEDIill4 CLOSE UP - JANVIER

Who is working himself up to quite a pitch of pride inhis own achievements.

JANVIER•.• he was eVidently wounded whileescaping. In fact, his injuries mayprove fatal ••• In the event of hisdeath, I shall inform you withoutdelay.


Louvaln rises, confronts Janvier lazily.

LOUVAINWhy don't you just declare himd~ad and be done with itl

Janvier ignores this, and turns pompously to the Secretary,continuing his dictating.

(CONTINUED )

f120 (Cont.)

JANVIERYou can rest assured that I havethe situation well 1n hand andwill take whatever steps I deemadvisable.

(turning togo, curtly)

Wire that to Paris, immediately.

He exits. Regis approaches Louvaln.

R,EGISWhat does he mean by saying thathe has the situation well 1n hand?

LOUVAIN(sourly)

He means that he'll sit here andwrite letters to Paris while hewaits for Pepe to die of old age.

. REGIS(grinning)

That's better than going into theCasbah looking for him.

LOUVAINAt least, our friend from Paris haslearned something about the Casbah.

REGISWe've all learned that there's onlyone way to arrest Pepa.

LOUVAINThat's very intelligent of you --

REGIS(pompously)

As you know 1 my intelligence 1s atyour service.

LOUVAIN(shru~s)

So far, that s hardly been enough ~_

REGISBut wait; suppose Pepa comes out ofthe Casbah -- then it follows thathis arrest 1s a matter of child'splay -- oh, I know what you're go·tog to 8ey -- he won't come out!But I'm not so sure --

(CONTINUED )

41.

I

,,

42.

120 (Cont.l)LOUVAIN

Shall we send him an engraved invitation?

REGISHe's too clever to fall into a trap,but some of his friends are not soclever.

LOUVAINHe doesn't care about them

REGISHe cares about Pierrot: he lovas himlike a brother, like a brother whois a1ao a son -- I assure you thathis affection for Pierrot has reallytouched me, I'm sensitive to thatsort of thing --

LOUVAINGet to the point --

REGISSuppose Pierrot should come intotown? Pepa would be worried by hisabsence, he'd come down to find him -.

LOUVAINYou overlook one little point -- Howdo you get Pierrot to come down?

REGISAh, you've put your finger on thepoint I

He takes 8 letter from his pocket.

121. CLOSE UP - REGIS

He taps the letter and winks with pompous delight.

REGISI have here a letter. I got itfrom Pierrot, but he doesn't knowthat. The letter is from hismother, a letter of exquisite tendernesa --

\ 122. TWO SHOT - LCUVAIN AND REGIS

As Louvaln interrupts him, taking the letter, glancingat it.

(CONTINUED)

I

,

43.

122 (Cont.)LOUVAIN

From France. I can't see muchvalue 1n that.

Regis takes back the letter Bnd waves it proudly.

REGISIt depends: Pierrot speaks of hismother 1n a manner which touches asensitive heart ••• the boy 1s agood son ••.

(seeing Louvaln'sunbelieving shrug)

A bad boy can be a good son ••• thegood son can help us to lock upthe bad boy••• then we keep thearrest a secret, and Peps willCOme out of the Casbah to look forPierrot •• are we agreed?

LOUVAINAgreed.

REGISAs to the price --

LOUVAINYou know the reward has been posted

REGISBut a little bonus besides, 1n viewof the circumstances -.

LOUVAINAgreed ••. How do we know we cantrust you not to make a betterbargain with Pepe?

REGIS(indignantly)

I'm an informer, not a hypocrite I

orr scene, we hear Sl1mans's sardonic laughter.

123. MEDIUM CLOSE UP - SLIMANE

LaUghing, as Regis enters scene, looks down at him annoyed.

REGIS~hat are you laughing at?

SLllibNEIt amuses me to see you sell yourfriends at bargain prices. Youhave a flair for business.

(CONTINUED )

I\

44.

123 (Cont.)REGIS

(turns away fromhim J annoyed)

You say that because you'rejealous. That doesn't touchme at all. I'm above it!

DISSOLVE TO:

124. EXT. STREET OUTSIDE PEPE'S HOUSEDAY

Various street activities. CAMERA PhNS, showing Max andGil playing dice and ball game on sidewalk. CAMERA THENPbNS to Tanis, resting on her aoorstep, then to streetas SI1mane walks up the street.

125. MEDIUM SHOT OF STREET

Max and Gil in background, BS S11mans approaches them.

SLIMANE(watching the game)

Double him, Gil, he'll never make it.

Max plays with ball and misses.

126. MEDIUM CLOSE UP - TANIA

As S11mans enters scene.

SLIMANEGood morning, Tania.

TANIAGood morning, Inspector.

SLIMANEMay I offer my regards to yourcharming husband.

TANIA(astonished)

HUh!

SLIMANEDonlt tell me he'a been beatingyou .sgain?

(CONTINUED)

,

45.

126 (Cont.)TANIA

You know how it is with a roent

SLIMANEWell, I can't say I do.

TANIAThey seem to take to it naturally.

SLIMANEThat's been your experience?

TANIAI've had my share of love: when Iwas married to Alphonse, he beat mebecause I made more money than hedid ••• Then he lost his voice andheld beat me because I didn't makeenough. Maybe it's my face thatmakes me unlucky: I've tried tochange it ••• I thought it would bringme luck to have red halr ••• that yearI was married to a magician and hebeat me black and blue ••• I changedto a blonde, but it didn't do meany good Maybe I ought to turngreen --

SLIMANEI'm sure Carlos would like yougreen --

TANIA(hopelessly)

That's Why he beats me, becausehe likes me.

127.

128.129.130.131,132.

WIDER ANGLE ON STRE~T

As Pepa appears at doo~ of house. One of the bodyguardshurries forward to light his cigarette. He waves agreeting to the whole street.

FLASHES OF GIRLS

Of various types, at windows, terraces, etc., waving atPepa I "Good morning, Pepe," ItHi, Pepe ,It etc.


Waving back from doorway, As he steps forward into street,

(CONTINUED )

46.

133 (Cont.)

Slimane confronts him, with his customary cynicalfriendliness.

SLIMANEBetter watch out, Pepe ••. womenwill be the death of you.

It 's 8

PEPE( shrugs, grinning at him)happy death.

(

SLIMANEI'm just warning you.

PEPEDon't worry, I keep my head. Imay need it one of these days.

SLIMANE(drily)

No doubt •••

PEPE(starting to walkdown street)

Coming my way?

SLIMANE1'/1 th pleasure.

134. TRUCKING SHOT WITH PEPE AND SLIMANE

As they walk down the street, followed by Pepels body~

guard. As they pass natives, Pepa exchanges a greetlr-g,often in native language, showing his casual friendlinesswith the whole populetion.

PEPEDid you get home safely lastnight?

SLIMANEWhy not?

PEPENothing unpleasant?

SLIMANEYes, we had one rather unpleasantexper1 enea.

(CONTINUED )

,

47.

134 (Cont.)PEPE

(glancing at him)Huh?

.Vii th you I

SLIMANE

PEPE

f,

(grins)She didn't think so.

SLIMANEV~at makes you so sure?

PEPEWhat did she say?

SLIMANEYou know women, they talk aboutnothing. I hardly listened. ~as

there anything special about her?

135. MEDIUM CLOSE UP OF BOOTH

As Peps stops to eat a bit of native food, salutes thevendor by touching the palm of his hand, then raisesfinger to his lips.

PEPEYea -- Pearls •.. the color I like.And handcuffs I can appreciate platinum and diamonds •••

(as he turns frombooth, sniffingnostalgically)

She didn't buy that perfume inAlgiers I

136. TRUCKING SHOT - PEPE AND SLIMANE

SLHlANESo all you noticed were thejewels and perfume?

PEPE(carelessly)

Whet else Is there?

SLIMANEWhat about the eyes?

(CONTINUED)

,\

48.

136 (Cant.)PEPE

They all have eyesl But all thatchi-chi and jingle -- you don'tsee much of that in the Casbah!

SLIMANE(glancing at him slyly,understanding his mood)

But you do where. ahe.comesfrom! She asked quite a fewquestions about you.

PEPEAnd what did you tell her?

SLIMANEWhat could I tell her?

PEPE~hy? Afraid she'd be a littleshocked at my past?

SLIMANENo, but she might be a littleappalled at your future. I toldher you might get off with twentyyears -- with a good lawyer.

PEPEYou wouldn't want me to get twentyyears -- you're too fond of me -~hat's her name?

SLIMANE(glances at him,grunts expressively)

Ts-ts-ts •.• so you're thinkingabout her?

PEPEHow can I think about her when Idon't know her name?

137. MEDIUM SHOTAT DOOR OF PIERROT'S HOUSE

Alcha on the doorstep, weaving a basket or some othertask, as Pepa and SI1mane come into scene.

PEPE(approaching the door)Alcha - Pierrot at home?

(CONTINUED)

<

49.

137 (Cont.)AICHA

(shakes her head)He went to Chani's.

PLPE(to Slimane)

Let's go to Chani's.

138. CLOSE UP OF AICRA

Continuing her weaving, watching them go. A pair of veryunprepossessing feet appear on the worn stone stepsbeside the girl, knocking on the door. Aloha looks upat the owner of the feet.

CAMERA PANS UP to show L'Arbi knocking at the door.

AICHA'S VOICEWhat do you want?

139. TWO SHOT - AICHA AND L'ARBIAT DOOR

L'ARBI(producing a letter)

I have a letter for Pierrot •••

AICRAWell, give it to me.

L'ARBIOh, I can't do that 1 I swore bythe bones of my ancestors to giveit only to Pierrot •••

AICRAWho's it from?

L'ARBIA woman.

AICHAWhat kind of woman?

L'ARBII didn't look.

Aloha snatches the letter.

AICHAYou tell her I took it away from you.

L'Arbl shrugs and goes away, muttering a.string of nativeimprecations under his breath.

(

50.

140. CLOSE UP OF L'ARBITRUCKING 11TH HIM

As he walks, he mutters a string of native imprecationsunder his breath. But we see that he is smiling a slycrooked smile.

WIPE TO:

141. INT. UPPER ROOM IN CHANI'S·INSERT OF CARDS

Held In Carlos' hand.

142. CLOSE UP - CARLOS

Studying cards in his hand with his usual stupid expression. CAMERA PULLS BACK to show Pierrot andGrandpere, also at the table playing cards, and Regisstanding behind Carlos watching the game.

GRANDPEREThis vulgar game is hardly worththe compromise to one's dignityinvolved in playing it.

CARLOSIt's vulgar, but it's fast.

Regis, haVing studied Carlos' hand from behind hischair, Is moving around the table toward Pierrot.

GRANDPEREI don't know why I waste my time1n such common pursuits •.• withsuch mediocre companions 1

143. CLOSE UP OF PIERROTSHOWING REGIS BEHIND HIM

Pierrot Is about to playa card, as Grandperels voicecontinues on sound track.

GRANDPERE'S VOICEIn my youth, I intended to be aphilosopher or a statesman•..

144. CLOSE UP OF REGIS' FINGER

NUdging Pierrot's back, giving him a signal.

\

51,

145. CLOdE UP OF PIERROT

As he holds back the card he was about to play. Hemoves over his cards, separating each for a second.

IGRANDPERE'S VOICE(continues)

But man's destiny Is written 1nthe stars.

146. CLOSE UP OF FINGER

Nudging Pierrot's bsck.

147. /6EDIUM SHOT - GROUP AT TABLEFAVORING CARLOS

Who looks su~prlsed and glum 8S Pierrot plays. Carlosplays and Pierrot wins.

GRANDPERE(continues)

We play the game, but Fate con·troIs the cards.

CARLOS(looking at Regissuspiciously)

IIho?

Pierrot Is dealing.

GRANDPEREFate •••

CARLOSWell, if fate goes on controllingthe cards, he might get a knifebetween his ribs ••.

Regis Is again behind Carlos, who throws down a cardviciously. Regis moves around to Pierrot.

148. CLOSE UP OF REGIS' FINGERAGAINST PIERROT'S BACK

Again signaling.

GRANDPERE'S VOICEThe moving finger writes ••.

,\

52.

149. LONG SHOT OF ROOM

As Pepa and Sllmane enter, followed by bodyguards.

150. MEDIUM CLOSE UP OF PIERROT

As Pepa comes into scene, nudges Pierrot, who risesobediently. Pepa picks l:'p Pierrot I s hand. Regis movesaround the table.

GRANDPERE(con tinuing)

And having writ, moves on •••

CARLOSStop that nonsense •..

GRANDPERE(sadly to Pepe)

He has no ear for poetry.

CARLOS(studying his cards)

I'm trying to think.

Pepe laughs.

151. MEDIUM CLOSE UP AT DOOR

Aicha appears, looking for Pierrot.

152. MEDIUM SHOT - GROUP AT TABLEFAVORING PEPE

Pierrot sees Alcha, exits from scene. Regis 1s standingbehind Pepa's chair, drumming on the back of the chairwith his finger. The drumming makes Pepe acutelyuncomfortable.

REGIS(as Pepe plays)

I would have played the ace.

PEPE(to Carlos andGrandpere)

Do you smell something?

GRANDPERE(sniffing thoughtfully)

I've been wondering -- onlons.

(CONTINUED)

(,

53.

152 (Cont.)CARLOS

Cheese.

GRANDPEREA mixture of onions and cheese.

CARLOSI don't like it.

PEPE(turning to Regis)

Would it be too much to ask you totake your nose out of my hand?

REGISYou haven't got a hand.

PEPEAnd don't breathe down my back.

REGISYou seem nervous.

GRANDPERE(to Regis)

My dear fellow, consider yourselfblackballed by this club.

CARLOS(to Regis)

He means - get out!

Regis turns away.

153. MEDIUM CLOSE SHOT - NEAR DOOR

Pierrot is reading the letter. He glances at Aicha,who is waiting beside him.

PIERROTWhat are you hanging around for?This 1s business.

~lcha goes. Regis comes into scene. Pierrot handshim the letter.

PIERROTRead this.

REGISBad news?

154. MEDlmn CLOSE UP AT TABLEFbVORIIIG PEPE

He looks around, calls.

PEPEPierrot, come here.

155. TWO SHOT - PIERROT AND REGIS

PIERROTWait for me.

He goes back to the table.

156. MEDlmn CLOSE UP - PEPE

F.S Pierrot reappears at the table.

PEPE(to Pierrot)

I'd like it better if you didn'thang around with Regis.

PIERROTWhy?

PEPEDid you ever see a clock thatpointed to two and struck fourwhen it's really a quarter pasttwelve. Well, your friend Regis1s like that, he doesn't ringtrue.

PIERROTThat's what you say - but you can'tprove it.

PEPEIf I say so, that's enough.

PIERROTRegis gets along all right withme.

PEPEThat's why I'm telling you - I .don't like it.

PIERROTWell, I dol In business, I'lldo anything you say, P~peJ butoutside business, I'll do as Iplease.... (CONTINUED)

54.

•

55.

156. (cont.)

Pepa rises, faces him.

PEPEOh, so yOU'll do as you please.

He slaps Pierrot violently across the face. Then helaughs.

PEPE(casually)

It's a good thing I like you.Now get out.

Pierrot goes. Pepa sits down, picks up his cards again.

PEPENice kid 1

157. EXT. CHANI'SIi.EDIUM SHOT

People are passing, natives and usual activity of street.Pierrot goes to Regis who is sitting on a bench with theletter.

PIERROTWhat do you think of it?

REGISYou know what I think?

PIERROTNo.

REGISNeither do II I'm puzzled.

PIERROT(troubled)

So am I I

REGIS(unctuously)

Remember that I also had a mother.So it's as one son to another thatI advise you. What did she writeyou in her last letter?

PIERROTThat she had a cold. She saidshe'd start as soon as she feltbetter.

(CONTINUED)

,

.."56.

157. (cont.)

REGISOh, then you knew she was coming?

PIERROTI sent her a money order.

REGISIn that case, it's not so strange ••and yet ••

(he studies the letter,and then looks atPierrot slyly)

It's odd that she should arrive 1nAlgiers like thet -- without lettingyou know.

PIERROTThat's whet I thought.

REGIShh•• is this her handwriting? Haveyou another letter from her?

PIERROTI think so.

He finds a crumpled letter from inside pocket.

REGISWe'll put them side by side likea pair of Siamese twins -- thenwe'll see if they're both from thesame mama


As he compares the two letters, smelling them, making agreat to-do about his scientific method of comparison.

CAMERA PULLS BACK TO SHOW Pierrot watching nervously.

PIERROTWell? What do you think?

REGIS( judicially)

Same mistakes 1n spelling .•.(wagging hishead sentimentally)

Ah, our poor dear memas can neverspell! Same "M" •..

(CONTINUED)

41,4':;:;'

158. (cont.)

PEPE LE MOKO - Changes - 3/31/38

PIERROTSame what?

REGISSame ItM" •• and crossing the"t" .• that settles it 0 •

you can always tell by the "t."PIERROT

Then you think it's all right?

REGISYou oan see with your own eyes.

PIERROTThen I don't want her to bethere worrying. After all, shetss i"ty- two.

57.

"

REGIS(making clickingnoise. wi th histongue)

Tst •• tst • * my mother livedto 'eight-tour, and she neverfelt better than the day shedied.\ .

CAMERA MOVES ALONG WALL to a niche in turn of wall, whereAicha is standing tensely. listening. The voices continueon sound track.

PIERROT'S VOICERue de l'Abreuvoir - where'sthat?

REGIS' VOICEI know it well, a l:\alf hour'swalk.

159. TWC SHOT - .PIERROT AND REGIS

REGISI can take you therll, it youwish to go •.

PIERROTI've got to go, I've got to· see

'her.

REGISFortunately, you can rely on me.

(CCIITINUED)

;


159. (cont.)

PIERROTIt's good of you to help me,Regis, you're a real friend.

REGISThat's how I am, sensitive.'

DISSOLVE TO:

160. INT. SUITE IN HOTEL ARLETTICLOSE UP OF GABY'S HAND

As she adjusts a brace~et around her wrist.

(CONTINUED)

",

,', ., '

-",

, ,

,

57A.

" '

",

<

"

. , '

r,

" "

(

160. (cont.)

MARIE'S VOICEReady, Gaby?


At dressing table, answers listlessly.

GABYI suppose so.

162. WIDER ANGIE ON ROOM

As Marie comes forward from door.

MARIEEtienne just phoned, they'rewaiting 1n the bar.

GABYIf I'm out of his sight for fiveminutes, Etienne phones.

MARIEDon't you like having him soattentive?


GABY(carelessly)

Love it •••.(she glances atherself 1n mirror,and adds grimly)

I've just been sitting here thinking that I'm the happiest girl inthe world 1

164. GABY AND MARIE

MARIEYou ought to be - marrying a manwho adores you and can give youeverything you ever dreamed about.

(CONTINUED)

58.

164 (cont.)

59.

That'sfool.wrong

That's

"GABY(lightly - with alittle catch inher voice)my trouble: I'm such aI go dreaming about the

thing••••

MARIE(with feeling)a terrible mistake •••

GABY

I\

(rises)Marie ••. remember the Elite bargain basement - the two of usbehind the counter -- handkerchiefs,gloves, hosiery --

MARIE(nod.)

And don't you forget itl

GABYI won't •.••

MARIE(as they go)

After all, you don't marry for funlI didn'tl

WIPE TO:

165. INT. COCKTAIL BARMEGIUM SHOT AT TABLE

Bertler, Glraux and Slimane at the table. The men riseas Marie and Gaby reach the table.

GABY(greets Sl~mane)

Hello, Inspector ••.•(indicating thetwo men)

So you've already met?

SLIMANEI took the liberty of pre.entingmyself.

60.

166. CLOSER ANGLE ON TABLE

As they seat themselves.and always complaining_ton.

Glraux 1s stout, disagreeableBartier is a good-natured simpl~-

,

SLlMANE(to Gaby)

As you see, I couldn't wait totake advantage of your invitationlast night.

GABYI'm glad.

GIRAUX(grunts lmpleasantly)

We're all glad.

GABY(glances at Giraux)

Inspector, will you tell my fiancewhere I was last night during theshooting.

SLIMANEBut with me 1

GABYThere, you Bee!

(turning to Slimane)And whom did we meet?

SLIMANEPepa Ie Mako.

GIRAUX(coming to life forthe first time, givingSl1mane a look)

Nice friends, you havel

SLIMANEIn business, one canlt choose!

BERTIER(wide-eyed)

You don't mean Fepa Ie Mako!

SLIMANE(nods)

BERTIERThe one they're all talking about IThe famous criminal!

(CONTINUED)

(

,

166. (cont.)

SLIMANEHeld like to hear you say that.

GIRAUXJust a common law-breaker •••

GABYDarling, if the police wantedyou, do you think you could keepout of their way for two years?

GIRAUX(annoyed)

I can't even consider such apossibili ty.

GABY(turns to Sllmaneagain)

Have you seen him since?

SLIMANE(nods)

H'mm •.• thls morning.

GABYDid he say anything about me?

SLHl/INE(hesitates)

Well, in a way ••.•

GABY(interrupting him)

I know, my pearls.

. SLIMANE(shrugs)

A connoisseur can admire pearls,Without neglecting the wearer•.•

MpHI,;,(excitedly p,iggling)

He means, if he stole the pearls,he'd steal you with them.

BERTIER(giggling like achild)

Doesn't that frighten you, Gaby?


She smiles enigmatically.

(CONTINUED)

61.

f

,\

62.

167. (cont.)

MARIE'S VOICEIt sounds marvelousj lId like tomeet him.

SLIMANE'S VOICEIt can easily be arranged.


SLIMANE(continuing)

If you wish to visit the Casbahagain, with a suitable guide ..

BERTIERHow's that, Etienne? An adventure.

MARIEThat's what we're here for.

GIRAUXThe Casbah! Once 1s enough formet I don't like natives.

GABYThen we'll go with Maxim. youlllprotect US , won't you, Maxim?

BERTIERI'm at my best among natives 1

GABYTonight, Inspector, if it'sconvenient?

DISSOLVE TO:

169. LONG SHOT OF HARBOR - DAYSHCWING THE HARBOR AN) SEA BEYOND

A liner mOVing slowly out toward the open sea.

,

170. EXT. TERRACE - DAYCLOSE UP - PEPE

Hunched up on wall at corner of terrace, staring moodilyout toward the sea. The long whistle of the steamer Isheard 1n the distance. Pepa rescts to it as if it werecalling to him. He 1s lost 1n his dreams. Ines' voice Isheard off scene,

(CONTINUliD)

63.

170. (cont.)

INES' VOICEPepa.

PEPE(grunts, paying noattention)

Huh•••

INES' VOICE~hat are you doing?

PEPENothing •••


She looks at him humbly, troubled, but hesitating to intrude.

INESWhat are you looking at like that?

•PEPE

France.

INESYou can't see France.

PEPEWell, there's no harm in trying.

INESIt's too far away.

PEPE{bored, pointsup at the sky)

You can see the sun, and it's farther away••.

IllES(puzzled, squints'>p at the sun)

Yes, but the sun is on fire.

PEPE(glances up casually,as if surprised)

Yes ••• so it lsi

He returns to his contemolation. Ioes waits for a while.Then she inquires a~aln.-

(CONTINUED )

, 171. (cont.)

INESPepa •• what are you looking at?

PEPEA ship ••

INESDoesn't it make you seasick tolook at boats?

PEPEDoesn't it give you a headache toask so many questions?

INESNc •••why? Have you a headache?

PEPE( shrugs)

No ••. I'm thinking •.•

INESThat's sure to give you a headache ••

PEPE(laughs, rising)

I don't think with my haad -- butwi th my heart I

lie turns away. She follows him, worried.

INESThen you'd better tell me •••

PEPEIt's nothing•••

INES(insistantly)

If it's nothing, you'd better tellme •••

Turning on her, angrily.

PEPEI'll get angry if you go on likethis ...

INESI want you to be angry -- shoutat me hurt me -- but don't treatme as if I'm not here •••

PEPE~ I know you I re here •..

(CONTINUED )

64.

65.

171. (cant. 1)

INESNo, you don't •••

Pepe turns away with an angry gesture, as if he has hadabout all he can stand. Ines studt-es him a moment, thenshe speaks quietly, with an intuitive understanding.

INESYou're dreaming about something ••with your eyes wide open -- I wishyou'd dream about me •••

PEPE(turns to her,gently)

Ioes, you've always lived In theCasbah••

(she nods, lookingat him gravely)

For you, there's nothing outside ••

The Casbah is

Not for mea grave.

Pepe to

INESbig enough••

PEPEit's like being in

INES

Can't

PEPE(moodily, disregarding her)

stand much more of it.

INESIf you want to go away, 1 1 11 gowith you.

PEPEThanks.

INESWon't you take me?

PEPE(gently)

I wish I could.

INESYou don't mean that

PEPEParis is a long way off --

(CONTINUED)

J

In. (cont. 2)

INESI don't care

PEPEAnd it's different there

INES(with the same heartfelt simpl1ci ty)

I'd be with youl

PEPEWeIll see.

INESI know how it is ~ the womenwear fur around their necks,and hats with feathers, andjewels allover them

PEPE(laughs)

All right, yOU'll have ringson all your fingers end allyour to,as I too

INES(deadly earnest,hurt)

Couldn't you be happy with me1n Paris?

He makes a careless gesture, turns away.

17~. CLOSE UP - lNES

Her heart breaking.

INESYou think I'd look funny inParis?

(a pause. She isdeeply hurt andangry - her voiceis harsh)

Answer me --

66.

173. TWO SHOT - PEPE AND INES

PEPE(annoyed b:y herinsistence)

But it's not you, InesJ It'sthe Casbah••• you're part of it,you belong here. You don't understand the way I feel.


Choking back her tears.

PEPE'S' VOICE(continuing)

I've stood it for two years. Atime comes when you can't standany more.

67.

I\.


PEPEMorning, noon, and nlght ••• thesame people and the same things •••I'm fed up, I've had enough --

INESYou're tired of me --

PEPEIt has nothing to do with you.r want to get away --

INESOh••• that has nothing to do withme?

Do youaway?

(with sudden violenceof emotion)know when you're goingNever I

PEPE

(CONTIllUED )

You'll see •••

INES(with increasing hysteria)

You can't do it, never••• I'm theCasbah -- I'll keep you -- try toget away and you'll find out. It'stunny for the police to come In andtry to arrest you -- you're 1n prisonalready -- youfre 1n the Casbah with"e wall around you ,',.

No!

Are

r

(

68.

175. (cont.)

PEPE(shaking har,violently)

Stop it •••

INES(wildly)

There's nothing else, you'llnever have anything else •••

PEPE(still shaking her,his voice hoarsewith fury)

Stop, I tell you •.••

INESI'm glad ~- there's no Francefor you -- no Faris, no boulevards •.•

PEPE(coldly, holdingher in iron grip)

you through?

INES(screams)

(suddenly shecollapses, sobbinghelplessly in hisarms)

I love youl

DISSOLVE TO:

176. EXT. STREET - NIGHT

Crowds 1n street as usual. Sounds of singing andmusic. Alchs, worried, hurries through the crowd.

1'77. CLOSER ANGLE ON AICHA

As she enters Chani's.

178. INT. CHANI'SMEDIUM SHOT - GROUP AT CARD GAME

Peps 1n foreground; Grandpere, Carlos,and one or two

(CONTINUED )

69.

178. (cont.)

people pl.ying c.rds.ground. Aloha enters

Pepe's gu.rds lounging in b.ckscene, hurries forward to Pepa.

AICHAFepa .• I don ' t know what to do ••Pierrot •• I can't find him•• Iwent to Mother Tache's, theAlgeri.n~ .nd The Ali-B.b••••everywhere ... ale .. yaie •. yale ••yale .•• He ought to have comeb.ck by now.

PEPE(sh.rply)

B.ck?

AICHAFrom the Rue de l'Abreuvolr.

PEPERue de -- why did he go intotown?

AICHATo see his mother.

PEPEWhat do you mean? To see hismother?

AICHAHe got a letter from her. L'Arblbrought it. Then he went downwith Regis, .nd -- then Regiscame back, but Pierret -- Ilm stillw.iting for him -- that's .11 •••

PEPEThat's all. Wherefs Regis?

AICHAAt the Algerian's.

Pepe and gU.rds st.rt off. Aicha follows.

WIPE TO:

179. INT. ALGERIAN'SIlEDIUM SHOT

Regis in foreground, intent on watching a game of cards.He looks off, sees Pepa and the others entering in background, and starts to leave.

(CONTINUED)

,,

,

70.

179. (cont.)

REGISSee you later.

180. TwO SHOT - REGI S ANL PEPE

As Regis tries to get to the door, and Pepa interceptshim.

PEPE(genially)

Hello, Regis, what's yourhurry?

REGISOh , I'm In no hurry.

PEPEGood - then come along withme. I'm waiting for Pierrot.We c~n wait for him together.

CAMERA MOVES UTH THEM as Pepe forces Regis along, Regisprotesting, trying to pull away.

REGISBut, Pepa, listen ...•

PEPEWhat's the matter? Vlhat makesyou so nervous?

REGISMe? Nervous? ~Ihy should I benervous?

".-"

PEPEThat's just it -- why?

REGIS(trying to explain,so frightened thathe gets all mixed up)

It's only that usually you hardlysay hello to me when you do sayit so I don't expect it when youdon't - 1 1m 8 little surprisedwhen you do because you don't •.•

PEPEWell, you see I haven't appreciatedyou at your real value, that's thetrouble. So -- I made a mistake _Shall we go?

(CONTINUED )

r,

71.

180. (cont.)

Pepe is continually pushing and pulling Regis along withhim.

REGIS••.Where'?

PEPEOh, any ~ulet corner where we cantalk. I ve been hearing greatstories about your courage.

REGISMy courage?

PEPEYou're surprised?

REGISNo.

PEPEI even hear you've proved it.

REGISMe?

PEPEYou.

REGISWell, it's possible, one can bebrave without knowing it.

PEPEOf course.

REGISHow -- how did I prove it?

Why, by goingwi th Pierrot.Not everybody

Oh ••• yes ....

PEPEdown into the town

Oh .. oh - oh -would have done that!

REGIS

PEPEAnd you came back here - that wasa brave thing!

REGISYes.

(CONTINUED )

r

72.

180. (cont. 1)

Pepa pushes him rather roughly into adjoining room.

181. INT. ROOM IN ALGERIAN'SMEDIUM SHOT

As they enter, the room is dark.

PEPE•• Now you see why I've completely changed my ideas aboutyou. You're all right.

182. CLOSER ANGLE

As Pepa forces Regis down on B couch. Pepa reaches overand turns on a light.

REGISI was helping the boy out nothing more.

PEPEOf course ••. tell me, where didyou leave Pierrot?

REGISOh, somewhere ••• l don't quiteremember.

PEPEThe Rue de llAbreuvolr.

REGISThatls it.

PEPEYou don1t mind if I refreshyour memory?

REGIShe went to see his poor oldmother.

PEPgHow was she?

REG:SI dldn 1 t see her.

PEPEWhy not?

(CONUNUED )

182. (cont.)

REGISShe was In bed .•. sick•.. he didn'twant to disturb her.

. PEPEIt must have been a shock to Pierrot,he thought she was In France.

REGISI think he got a +etter.

PEPEDid you see it?

REGISI ••• just a glimpse •••

PEPESo you left him and came backalone.

REGISHe wanted to stay with her.That's natural.

PEPEYes - it's very natural.

REGISExactly.

PEPEOf course.


Looking off, increasingly terrified.

CAMERA PANS OVER to door,

As one of the guards 1s enteringHe squats down beside the door.strolls 1n, squats. Then Carlos

CARLOSWant me?

184. WIDER ANGLE ON GROUP

with stick andThen the oU~er

appears Be the

ball.guarddoor.

PEPE(casually)

No, no - we're just talking. Sitdown.

(CONTINUED)

,

74.

184. (cont.)

Grandpere also enters, as Carlos comes forward and sitsbehind Regis.

PEPERegis did a fine thing today.He went down into town withFierrot.

CARLOS(impressed)

Finel

Grandpere also sits} behind Regis. The two guards havealso appeared, remaining 1n background by the door.

GRANDPE;REAnd now you're waiting for poorPierrot.

PEPEVlhy "poor Pierrot "?

GRANDPEREBecause he went down with Regis.

PEPEWhat of it?

GRANDPEREOh, of course, Pepa - I shouldhave said you're waiting forPierrot with poor Regis.

They laugh, Regis makes a lamentable effort to join In.

185. MEDIUM CLOSE UP OF GUARDS

By door. One of them 1s playing the harmonica.


Sweating profusely, simply out of his mind with fear.

(CONTINUED)

(,

75.

186. (cont.)

Pepa enters scene.

PEPE~hat's the matter? Hot?

REGISI -- I -- I've got to haveair.

PEPEJust relax. Take it easy. Weunderstand how anxious you areabout Fierrot --- here.

187. WIDER ANGLE

As Pepa gets glass of water.

PEPEHere •••• take this ---

'-


Looking at the glass of water held out to him, tremblingwith terror.

PEPE'S VOICEGo ahead ••drink - don't take abite out of it.

REGISI don't know what's the m8ttp.~

with me.

CAMERA PULLS BACK TO SHOW Pepe, leaning over himsympathetically.

PEPEYOU'll get over it; in an houryOU'll feel much better.

(CONTINED )

,\

76.

188. (cont.)

Regis drinks. He looks around and screams hysterically.

REGIS•..•.• Let me go, Pepe - letme go l

He tries to get up, but is forced down again by Carlosand Grandpere.

CARLOSNow, nowJ


~8tching him, amused.

PEPEWith a fever like that, youmustn I t think of exerting your-'self.

190. MEDIUM CLOSE UP - REGIS

Grandpere and Carlos holding him.

PEPE'S VOICECigarette?

REGISNo thanks.

Carlos shoves cigarette into R~ols' mouth.

CARLOSDon't make such a fuss - go aheadand smoke. Settle your nerves.

Carlos studies the back of Regis' head with affection.

CARLOSSay, Pepa, his hair is getting alittle long here on his neck. Don'tyou think we ought to cut it for him?

,

191. ~IDER ANGLE ON GROUP

77.

Pepe wipes theagain tries to

perspiration off Regis' face.get uP, but Carlos forces him

RegisdOl/me

PEPEYou were fond of Pierrot, weren'tyou?

Oh, I

I am

REGISwas ...

(hastily correctinghimself )

fond of him.

'llhen you don t the gets back.he's detained

Yes.

PEPEwant to leave beforeYou want to know why

- don't you?

REGIS

(

,

PEPEOh, la, la, la, 18!

(he feels Regis' face)You must have a fever - 1 1m worriedabout you.

GRANDPEREHe I s burning up 1 1

'm afraid he'll

sizzle before long 1

REGIS(wildly)

Let me go 1 I don't know anythingabout Pierretl Peps, Pepa, you knowme •.. you know I'm all right ••. lastnight, I was the one that came towarn you •..

PEPEYes - you were the one.

f.EGISLet me go 1

P;;:PEHels delirious.

Regis falls back against the wall. Carlos fans him.

CARLOSThis is terrible, he may not lastthe next round.

(CONTINUED )

,

'.

..'


191 (cont.)CARLOS

(producing raggedpack of cards)

How about a little game w~11ewelre waiting? '

PEPEOkay.

GRANDPERE . '.,..It I S r"ally alarming. If l' -1:' ~ .... '.:say so, hel·s not at his best ... , '",.·- .H" must stay right wh"r" he is '-- ..e~'t be too careful.

19~~A' MEDIUM SHOT - TOWARD DOOR

Inea-,enters,

lNESWhat are you doing?

78., .

, ..

;

'.

.' :'

.·'.,i91-B .. TWO SHOT " PEPE AND INES.. ' ... " ....

" - .'

.. . ..~, ":.'.

PEPEInes,> go down to the Rue de I'Abrl>Uvoir -- se" if you can findout anything about Pi"rrot -- tryto find him and bring him back -quick -- he w"nt down with Regis_~ if you bring him back, Regi"may reoover •• ~ ••

,INES

All right.,

She -exits. Pepa turns back to the others.ground, they are b"g1nning to play a card

.• _ '4...1.:' . ~,,"'; '.. ,

\ .., -'. ..l\.!,,:.:.,:..•...

. ::"'.~" ·"·Y.". ~

;Y;.'., ..

.,"-'>, ' ~.-

",': ;.• ..,. • l;:"

In th" backgame...

. <

..

Cut

CARLOS'(off"ring cards)

j;hem, a"g1s •

,'..


As he cuts,hlscut th" J;lack.

fing"rs trembling so that he can hardlyHe holds up the ace of spades.

,IE FE LE MOKO - Changes - 4/11/38

193. MEDIUM CLOSE UP - GROUP

CARLOSOohl The b1ackspot. That's bad.

:-

194. EXT. LONG SHOTSTREET IN CASBAH - NIG~f

As SUmlU)e, with Gaby, and her friends, move through thecrowded street.

195. CLOSE UP - lUES

At corner, watching them pass·.

'.

196. WIDER ANGLE

At street corner as S11mane and his friends are passin~.

/

'GABY(to SUmane)

~uppose you. can't find him?

,.

(CONTINUED )

)

, . J:~ -:,~."...

. .

,.~ . ......

(\

79.

196 (Cont.)SLBIANE

Dontt ~orry. One moment.

The group atop at the corner, as Slimans turns to apicturesque-looking native and talks to him 1n Algerian.

197. TWO SHOT - SLIMANE AND NATIVE

Speaking in Algerian. The words "pepa Ie Moko ll are theonly intelligible part of a very brief conversation.


Standing buck in shadow, in n corner of the ~all of abuilding, watching sharply. CAMERA PANS TO Gaby, who islooking around with interest. Slimane rejoins Gaby.

GABYThe women look so mysterious.

SLHiANENo doubt these women say the sameabout you, .•

199, MEDIUM CLOSE UP - INES

Standing back tensely in shudow, watching them like afrightened animal, as they move past - Gaby coming soclose to her that the jewels glitter near her eyes andGaby's perfume trails behind her. Gaby is laughing asshe ps.sees.


As she turns to follow them.

201, MEDIUM SHOT NZAR ENTRANCE TO CAFE

As SI1mans and the others enter. Ines follows, hesitatesat the entrance.


At entrance. She looks in, starts to enter, changesher mind.

,

80.

203. INT. UPSTAIRS ROOM IN CAFE

Group playing cards. Regis plays a card.

PEPE(to rlegis)

Trump? But you've got a heart.

REGIS(putting down theother card)

I don't know what's the matterwith me. I'm not myself.

CARLOSWhat kind of a game is this?Concentrate 1

GRANDPEREHels thinking of Pierrot.

PEPEOf course.

GRANDPEREWorry for a friend can cause un·utterable anguish In a sensitivenature ...

CARLOSYou mean it makes him sweat •••

GRANDPEREA certain exudation, proceeding fromthe emotional stimulation•••

CARLOS(pointing to Regis)

You don I t mean him 1

A waitress has entered and whispered to Pepa who rises.

He leaves.

Dee:l me out.Never go back1n trouble.

PEPETake care of Regis.on a friend when he's

,204. MEDIUM CLOSE UP AT DOOR AT HEAD OF STAIRS

As Pepa comes out, he confronts Alcha, waiting patiently.

(CONTINUED)

81.

204 (Cant.)PEPE

(as he passes her)Still waiting, little one?

She nods dismally.

205. EXT. STREETMEDI"M SHOT - CAFE

Showing wooden lattice across front of cafe, as Inesstands in front of lattice looking in.

206. CAFE SEEN THROUGH LATTICE

Ines in foreground of shot, watching tensely as Pepagreets Gaby and the others.


~atchlng tensely, her face showing the inner strugglebetween pain and anger which she 1s undergoing.

208. INT. CAFEMEDIUM SHOT - GROUP AT TABLE

SLIMANE(to Pepe)

We had some trouble in finding you •••

PEPE(eyes on Gaby)

Sorry.

SLIMANEA little anisette?

Pepe nods. Hertier is looking around with stupid delight.

BERTIERDo you kno~ what this place remindsme af? A little place in New Yorkon Forty-Second Street 1 That'sthe thing about traveling - italways reminds you of something else.When I was in Corsica, I thought Iwas 1n Turkey - remember the timewe were on the Nile and I thoughtit was Venice?

(CONTINUED)

82.

208 (Cont.)MARIE

(to Slimane)Do they have native music?

SLlMANE(nods - with polite cynicism)

On the phonograph l

209. MEDIUM CLOSE UP - TOWARD BAR

As Bertler and Marie enter scene, and go to small phonograph.

MARIE(picks up a record, reads it)

Chaca-tetma.

BEnTlERI never heard ot it.

She puts on the record.

210. CLOSE UP - SLIMANE

At table, a little apart from Gaby and Pepe, watchimg them.

211. TWO SHOT - PEPE AND GASY

Looking at one another, both embarrassed.

PEPESo you thought you'd take anotherlook at the strange, wild animal?

GABYStrange, but not so very wild.

PEPEWhat do you th1nk of my cage?

GABYI don't know -- yet •••

PEPEYou like Algiers?

GABYI don't like traveling, it makesme homesick.

(CONTINUED )

all (Cont.)PEPE

Does it?

GABYIf I can't see Paris when I openmy eyes in the morning, I want togo right back to sleep. Do youknow Paris?

PEPE(astonished)

Do I •.. ?(he 1s speechlessfor a second)

The Rue St. Martin••.


GABYThe Champs Elysees •••


PEPEThe Gare du Nord•••

214. CLOSE UP - GADY

GABYThe Opera,," the Boulevard desCapuclnes •.•


PEPEBarbes ... La Chapelle .••


GADYRue Montmartre •••

217. CLOSE UP •. PEPE

PEPEBoulevard Rochechouart •••

83.

84.

218. CLOSE UP - GASY

GASYThe Rue Fontaine •.•


They both speak at once.

GASY & PEPEThe Place Blanche 1

They laugh.

PEPEWhat a small. world 1

Gaby offers him a cigarette.

PEPEThanks - got a light?

She lights his cigarette with her lighter.

GASY(looks around)

We're a long way from home •••

BEPE(With an expres ...sive shrug)

Huh I

220. MEDIUM SHOT - ROOM

Carlos in foreground, lounging by the door. He coughsto attract Pepe's attention.


He looks off, rises~

PEPEExcuse me.

H.e leaves.

222. CLOSE UP - GASY

Looking after him.

223. CLOSE SfiOT - CARLOS

As Pepa comes into scene.

PEPEWell ?

CARLOS(a llttla grlmly)

He stll1 thinks he's playlng hislast card.

(glanclng towardGaby)

Not bad!

PEPE(amused, but sllghtly defenslve)

I'll tell her you said so.

CARLOSI mean the rocks she's wearing:if it was me, lId get 'em firstand do the fancy stuff afterward•••

PEPEShut up•••

CARLOSYou can't talk to me 11ke that.

PEPEYou heard me" shut up 1

CARLOSOkay.

Pepa turns back to Gaby.

224. TWO SHOT - GABY AND PEPE

As he resumes his seat.

GABYHe was talking about me?

PEPEWorried about you.

She looks at him, surprised.

GABY: About me?

(CONTINUED)

85.

224 (Cont.)PEPE

(indicates jewels,grinning)

All that stuff you have on.

GABYThat's nice of him.

PEPEAren't you worried yourself?

GABYNot while 1 'm with you I

PEPE(laughs)

Right 1(he takes her arm)

Thi s 15 something 1

GABY(takes off bracelet,han~ing it to him)

And it hardly weighs anything.


As he weighs it appraisingly.

PEPEHm•.• at least twenty thousandfrancs •.•

226. TWO SHOT - PEPE AND GABY

GABYAdd another zero,

PEPEBut I mean what ~ ssl1 it for.

They both laugh. He holds it out to her.

PEPEPut it on.

GABY, Put it on for me.

He gives her a look and does so.

86.

/227,

87.

CI (L:<: U:' OF GABY'S HAtm

As his hand finishes adjusting bracelet. P.ts handcloses over hers, as she tries to pull her hend away.

228. CL00E UP - GABY

Lool'ing at him, startled by the intensity of theircontact.

229. Tr:O SHOT - FSPE AND GABY

His hand holding hers, as she relaxes a little.

230. CLOSE uP - SLIMANE

·-"etching, taking in the situation.

231. T'."!O mlOT - ?;if); AND GABY

A couple dancing in the background.

P;';PEV!ant to dance?

They get up to dance.

232. T'"O SHOT - PEPE AND GABY

Dancing.

PEPE~h8tls your name?

GABYGabrielle,.,they call me Gaby.

PEPEMarried?

GABYNo.

PEPEiHdow?

GABYNo.

( CONTINUED)

88.

F

232 (Cont.)

~hy not?

My fiance.

PEPEWho are you with?

GASY

(CONTINUED)

PEPEWhat's he like?

GASYJealous.

PhPEStopping at a hotel?

GASYArletti's.

(she laughs)

PEPEWhat are you laughing at?

GASYNothing.

PhPEToo bad.

GASYToo bad?

PEPEToo bad I don't know you better.

GASYWhy?

PEPEBecause lid slap your face. WLenpeople laugh around me, I want toknow why.

For a moment, they continue dancing. Then he swings heraround wildly, and she ends up exhausted, leaningagainst 8 pillar as he releases her.

233. CLOSt UP - GASY

Leaning against a pillar, excited by the dancing.

GASYAh, this reminds me ... when I wasa kid. We used to dance 1n thestreets on holidays •.. New Year's •..first of May •••.

(

•

233 (Cont.)

CAMERA PANS TO INCLUDE PEPE.

PEPEFourteenth of JUly.

GABYHow do you know?

PEPEWhat do you think I was doing?

GABYToo bad you weren't in my neigh-borhood in the Rue du Tour J we •..

PEPEThe Rue du Tour ...

GABYThat's where I lived ..•

PEPEI went to school on the hill •••

GABYThat was almost next door to me •••

PEPENo •••

He tries to kiss her. She holds him away.

PEPELet's go out.

He leads her off.

234. INT. ALCOVE WITH DOOH TO TERRACETWO SHOT - PEPE AND GABY

GABYV.here to?

PEPEOut on the terrace.

GABYCan you see the harbor?

(CONTINUED )

89.

90.

234 (Cont.)

PEPE .(laughs)

You can see bontmartre ••.

GABYAnd the Madeleine •••

PEPEAnd the Place Blanche •••

GABY(laughs)

I love the Place Blanche •.•(pulls back,half frightened)

I can't I can't leave myfriends -- but I'll come back.

PEPEWhen?

GABYAs soon as I can •••

PEPEVIhen?

GABYTomorrow •..

PliPEHow can I.be sure?

GABYLook at me •••

They look into one another's eyes, an electric currentbetween them.

GABYI never break B promise.

For a moment, he holds her against him, both powerlessto resist the attraction between them. Both speak breathlessly, almost gasping with the intensity of their feeling.

GABYLet me go.

PEPE(smiles, holdingher closer)

Vlhy should I?(CONTINUED)

\ ..

91.

234. (cont. 1)

GABYBecause I ask you --

PEPESay please - ...

GABYYou're rude --

PEPEHow do you like it?

He releases her. For a second, they are still held by theelectric attraction between them.

PEPETomorrow ...

They turn back toward the others.

,235. TWO SHOT - PEPE AND GABY

TRUCKING WITH THK~

PEPEI'll be expecting you •••

She glances at him, nods.

PEPEHere.


Right near where they are passing, standing back, dumb andanguished, in shadow.

237. nIDER ANGLE

As Pepe and Gsby pass in foreground.

GABY(laughing, tryingto shake off herexci ted mood)

It would be nicer if we couldmeet at the Place Blanche.

Pepa sees Ines.

"

"

•


238. MEDIUM CLOSE UP INESSHOOTING OVER GABY'SAND ·PEPE' S SHOULDERS

Ines staring at them jealously. Pepe turns to Ines.

239. OUT.


PEPEWhat about Pierrot?

J:NESI don't know.

PEPEDidn't you go down to find him?

..INESI didn't want, to leave you a'lone.

PEPEI"m not alone - I'in \'ll. th Madame'

Pierret staggers in.

"

•

, ,.,

92.

.- '.

" !->

...;;. .. , ', ,

"i' ".', '

,

•f

93 •

241. CLOSE UP - INBS

She looks off toward the group, looks at Pepe.

INESI won't leave you with themthey'll take you away from me --

She looks off, suddenly frozen with horror.

242. ~EDIUM SHOT - PIERROT ~TERING

Fierrot comes in, half bent over, clutching the bloodywound in his side, moving toward C8mera~ He half fallsagainst 8 pillar for support. Pepe hurries to him.

PEPEPierrot.

243. CLOShR ANGLE ON GROUP

Pepe supporting Fierrot, holding him.

PIERROTWhere is he?

PEPEWho?

PIERROTRegis. Where is he?

PEPECome on.

CAMERA MOVES --ITH THEM as they cross to stairs.

PIERROTI was wrong, Pepe ..• You wereright ••• I didn't listen to you.

PEPECome on, I'll help you.

Pierrot takes his gun out as they move up the stairs. Inbackground, we see Slimane ushering Gaby end her friendsout of the room.

94.

244. INT. UPSTAIRS ROCMi.'EDIUM CLOSE SHOT - GROUP PLAYING CARDS

Alcha in bac~ground, standing against wall. CAMBRA MOVESIN to CLOSE UP of Regis. He is so nervous that he can'thold his cards, his hands trembling, sweat pouring offhis face. His face lights up for a moment as he looks offand sees Pierret. Then his expression changes to insanefeer; he begins sobbing hysterically, crawling backward.

CAMERA MOVES with Regis, as he backs up, crouching incorner a~alnst wall by the mechanical piano.

REGIS(screaming)

No - no - no •.•


Pierrot with drawn gun, supported by Pepa and Carlos,crossing slowly toward Regis. Aloha tries to cling toFierrot, but she Is pulled away_

246. CLOSB UP - REGIS

Struggling madly to get to his feet, he sets off the mechanIcal piano.

SOUND: BLARING MUSIC FROM MECHANICAL PIANO.

247. MED. CLOSE SHOT - FROM SIDEREG"S, PIERROT, PEPE AND CARLOS

Regis tries to get up and run, but Is thrown back byCarlos.

248. CL03E UP - GUARD

Smiling.

249. CLOSE UF - FIERROT, PEPE AND CARLOS

Pepa and Carlos supporting Pierrot - gun pointing to Regis,not in scene. Pierrot's hand drops, and he sags, dying.Carlos raises hand, holding the gun in it and fires several times.

,-

95.

250. CLOSE SHOTGRAND PERL , OTHER GUARD, INES

~ll three watchingo

251. CLOSE eliOT - SMILING GUARD

His expressicn becomes serlou8 o

252. CLOSE SHOT - PIERROT, CARLOS, PEPE

As Peps and Carlos lower Pierrot to the floor~ The gun 1sclutched so closely in Pierrot's hand that Carlos has toforce the fingers open to release it.


Be strokes Pierrot's hair tenderly. Then he rises.

254. WIDER ANGL£ ON ROOM

Pepe walks away from the group around the dead boy. Hewalks blindly, anxious to be alone, to get away from theothers. He exits toward stairs.

255. INT. STAIRWAYCLOSE UP - PEPE

He takes a step down, stops, staring down.

256. REVERSE ANGLE

Showing Ines staring up at him, waiting humbly. A pause.

257. TWO SHOT - INES AN~ PEPE

As he moves slowly closer to her.

(CONTINUED)

96.

257. (cont.)

INESPi e"L'I'ot?

Pepe nods.

PEPE(bitterly, tryingto express histerrible frustration)

There's no sense to it.

INESThat's what they said.

PEPEThey~

INESThose people ••• They were frightened. They said they'd never comeback ..•

The two look at each other fixedly. ,Above we hear the distant sound of the mechanical piano hammering away at itsidiotic tune.

FADE OUT.

258.


FADE IN

EXT. STREET - DAY

97.

INT. CAFE - MEDIUM SHOTPEPE, CARLOS A~D GaANDPERE

The usual busy crowd of natives, passing, talking, etc.Pepsls guards enter cafe.

-~----------------

@Guards enter and take their places in background. Peps 1sseated a little apart from the others; he 1s drinking, ~d

it is evident that he has been drinking a gocddeal. Grandpere is talking in his customary grandiose manner.

GRANDPEREPierrot, say what you Will, was aninteresting boy.. One could hardlycall him a person of great intellectual attainments, but, of course,henever had the opportunities thatsome of us have had. But he had agood heart M he was gentle and loyal .•••

CARLOS,You ought to be preaching down atthe funeral•....

GRANDPElEI aSBure you, nothing but my distastefor the police could ~eep me away ..•.

Ines enters in background, anxiously watahing Pepe.

260. CLOSE UP PEPE

Reacting to, foregoing dialogue. He finishes his drink andrises. CAMERA PANS \IITIl HIM to bar against wall. Ae hepours a drink at bar, voices continue:"

GRANDPERE'S VOICEI was fond of Pierrot -- I regardedhim almost as a son•• ~ ••

CARLOS' VOICEWell, he's closed his umbrella.

Ines enters to .Pepa.

INESPepe, there's no use in thinkingabout Pierrot ••••••

(CONTINUED)


260. (cont.)

PEPE(brushing her aside

-wearily)So now you're telling me what tothink --

261. ~IDER ANGLE ON SCENEFAVORING PEPE

As he cornea forward.

GRANDPEREIt'. a sad thing •••

PEPE(interrupting)

Are you through?

GRANDPEREI beg your pardon •••

PEPEIt's very sad -- you were fondof him - that I s enough •..•

CARLOSCanlt a man talk?

98.

We hear sound of quarreling and loud voices off scene onstreet, evidently a group of natives are having B raucousfight about something. Pepe is irritated by tha noi.e.He downs his drink at one gulp, starts for street.

262. MEDIUM CLOSE SHOTGRANDPERE AND CARLOS

Reacting to hi. departure..also reacting; and' then toin ~lth a weary smile.

2.63. EXT. STREETMED ruM SHOT - CAFE

CAMERA PANS TOSllmane .. who 1s

SHOW guard.taking it all

k .;,.!Pepa cornea out a~grl1y, moves 1n direction of fighting.


264. REVERSE ANGLE

99.

As Pepa plunges into quarreling group of natives, knockingdown one of the noisiest, mixing angrily in the fight.Guards appear, separate the contestants.

265. MEDIUM SHOT - STREET

As Pepa and guards disburse crowd. Pepa crosses back tocafe. As he Is about to enter, he meets SI1mane •.

265A. EXT. CAFECLOSE SHOT AT DOOR

Pepa and S11mans.

.Well'?

PEPE(questioningly)

SLIMANEWell •.• it' s finished.

They enter cafe.

266. INT. CAFEMEDIUM SHOT

SLIMANEI did everything you would havedone, Pepa.

267. TWO SHOT - PEPE AND. SLIMANE

As Pepa turns to him questioningly.

SLIMANEI was all alone at the cemetery.I followe.d the custom of yourpeople: a handful of' earth onthe body•• •and flowers, ...


Tortured by what Slimane is saying.

SLIMANE'S VOICE(continuing)

To make him feel at home In sucha strange placet

Pepa, moved, covers his face with his hands.

269.

PEPE LE MOKO - Changes - 4/11/3B

CLOSE UP - SLIMANESHOOTING OVER PEPE'S SHOULDER

SLIMANEIt's hard not to be able to godown to say goodbye to your friend (

on his last journey••.••. "

orr scene, we hear the voice of a beggar, monotonouslybegging for alms •.

,Reacting to the crazy monotone of the beggar's voice.

270. CLOSE UP PEPE

. ,271. . MEDIUM CLOSE' SHOT - BEGGAR

IN DOORdAY

\

! -

Hawears dirty turban around his. head and raGged nativecos,turne. He continues his' sing-song plea for alms.

'..~.',- ,

to'· bea'r this a moment" longeIt', drinks.' TheHe pioks ul? a pieoe of pottery, throws· it., ':

272.•, CLOSE UP - PEPE;

Irritated, unablevoice continues.

. -~-'-. " ,

'. ,.J

273. MEDIUM' SHOT CAFE· , .,

1". _

As pottery shatters against wall-beside the beggar. Bodyguards quiokly oross to beggar, arid'hustle him out of th~c'a£i3.

. '

. ' . "274. MEDIUM CLOSE SHOT AT B~

Pepa 8tan~lng at tha'b~r~ as' Sll~ane walks into scene,

~ "

,-'-SLIMANE

r'm your fr.lend, Pepa. I know how you"feel. You're like a prisoner 1n theCasbah •••• But a day will come whenth~ wontt be able to prevent 'yourlea~ing -- yOU'll go out of the Casbah in'spite of them all ....

/

I'll get outPEPE

whenever I wi sh•..•

(CONTINUED)

274 (cont.)

FEPE LE MOKO - Changes - 4/11/38

SLIMANEWhen you go, you'll go quietly -the way Pierrot went, feet first ....Be patient, when the time comes,th~'ll taka off their hats andlet you pass.... "

PEPE(furiously)

PH go out 81i val

SLIMANEI dbn't think YO\.l.' re as fooll sh as·that.

101.

,

,During the latter part of Sl1mans's speech, phonograph musich~s started off Scene. Pepa reacts to the whining cheapsound of the machine, another unbearable lrrlta~lon to hisfrayed nerves.

275. CLOSE UP - GUARD

Playing phonograph.PEPE'S VOICE

Stop thatl I've had enough•.••••

The ~ard takes the needle off the record.

276. TWO SHOT 1- PEPE AND SLIMANE

Slimane looks at him shrewd~y.

. PEPEMuslc•.•• slnglng.~.•. ~lbberlBh•. ~~

SLIMANEI'm sorry for you.

FEPEHow-is s.he?

SLIMANEShe?·

PEPE'You know.

(CONTINUiill )

I'mTheforthe

SLIMANEafraid you won't see her again.last visit was a little too muchher. She got a bad impression ofCasbah••..•

PEPE LE MOKO - Changes - 4/11/38 \0)"

276 (cont.)

lnes appears in background, listening jealous

SLlMANEIt's a pity.

PEPE(tryin3 to be casual,but finding it difficultto control his feelings)

Why should it be a pity?

.SLlMANEFor your sakst Since it seems tomean so much to you•...•.


Reacting to this,_ jealou,s and disturbed."

INESSo that"s what you're so sorry about •.. ?"

,278. INT. CAFE, MEDIUM S,HOT

\ " '

",

.As Pepa turns to Ioea•.

Go along•••Won t-t you do

PEPELet me alone•••. Why are you stand"lrig here staring at me?

As sh.e simply stares and makes no mOve to .go, he takes holdof her, pushing her toward door •.

.. "EFEas I ask you.

279...

CLOSER ANGLE AT roOR

As Ines goes, Pepe turns angrily to Gil.

,

PEPEYou~ too ~- get out •••• I've hadenough .... :.•

He forces hl~ to leave, turns to the other guard.

, Both

You, to~o

at you•.guards 1 eav,e.

PEPEII~ sick of looking

103.PEPE LE MOKO - Changes - 4/11/38

280. CLOSE UP - SLI~UillE

Stending by bar, wat ching.. CAMERA PULLS BACK as Pepe returnsto the bar, picks up drink again.

SLlMANEYou seem to be sick cr everythingl

,

All .right.PEPE

.. . '.

SLlMANE(comes' closer to Pepe) ,

I'd bring her up to see you again ifit were possible, but there's no chance ..••

Carlos has come into scene, overhearing SI1mans's last remark.

. CARLOS(to Pepe)

So she's not com~ng back. Tha~'G. final

,. ....

•PEPE

CARLOSthat. swell jewelryl. You had it·in the palm cr your hand.

What?(.

Aliall

" PEPE.That's enough••••

, ')

CARLOS(disgustedly).

These people that look as ir theycan.tear down everything - and whena woman looks at them, they get assoft as' butter ••.•

, ,

PEPEGet Qut •. ~ '••.•

. ,,

CARLOS(belligerently)

I'm not made-of ~tter not me .•.•,

, ' .Get ou.t.PEPE , '.

CARLOS(giving up)

,Okay.

Carlos exits.

281.

PEPE LE MOKO - Cia nges - 4/11/38

ME.DIUM CLOSE UP - GRANDPEJ1E

Coming forward, wagging his head sadly.

GRANDPEREYour friends have no tact, my dearPepa. They have no respect forthe beauty of your anguish. Iknow how it pains you to live amongthis cattle•. ·.. Let.me assure you ....

104.

\

/

,

282. WIDER ANGLEFAVORING PEPE

As he interrupts with hysterical fury.

PEPE •I'm free to go ~- I'm sick of you all of you -- I'm 8ick of listeningto you - and I'm srck of looking atyou '•• I"l1 get out when I feel likeit -- I'll do1t now' .- none of youcan stop me...... ~

GRANDPERE ,(really frightened)

Pepa - listen to me ••.•

PEPE,r don't need your advice -- none ofyou .- 1 l m\tree to do w~t I please.FreeJ Do you hear that?J-

283. CLOSE UP - 'SLlMANE

Watching. Grandpere and Pepa steak almost at once, as theold man tries to hold him back.

GRANDPERE'S VOICEYou're walking, into a trap, you knowbetter .....•

PEPE's VOICE(at same time ~

They oan't touch me•••

284. WIDER ANGLE ON SCENE./,PEPE

I'm going down -- Get out of the way -let me go •••••• When I please, Isaid -- and when I please is now•....

, ,


MEDIUM CLOSE UFNEAR DOOR

As Pepa pushes Grandpere violently away,I

PEPEGet out, of my way•••..•

He rushes out••. ./

206. EXT. STREETMEDIUM CLOSE. UP AT DOOR OF CAFE

Ines waiting at door. She tries to stop Pepe as'hepasses.

..,'

Pel?el, ., INES

He goes on,,' pay.ing"'no attent,1on to her. -Graridpere appears.•

287.

'GRANDPEJRE. ,( to Ines) ,

He r8 gone mad -- he I s' going down· ,'.to bae tc;>wn -- he won't listen •. , ...

Ines~turns to follow P.epe~

EXT. STREETMEDIUM SHOTTRUCKING WITH PEPE

As he rushes through oro"ded bazaar-a,

>.

,/,

" .: -,'. " ....:

.",

"

105.

288. LONG SHOT - STEPS

As Pepa comes down the steps.

289. /;EDIUM SHOT

roes following desperately.

290. INT. POLICE HEADQUARTERSCLOSE UP - PHONE

As it rings, and a hand picks up the receiver. PULL BACKCPMERA to show Louvaln as he answers phone, and anofficial standing at desk beside him.

LOUVAINHello -- good -- I'll attend toit.

(he rings off, looksup briskly at theman at desk beside him)

Inspector Sllmaoe -- he says PepaIe Moko is coming out •••

291. EXT. STREETMEDIUM CLOSE SHOT

Pepe running through narrow Winding streets, shovingnatives right and left.

292. EXT. STREETMEDIUM CLOSE SHOT

Ines, running - pushing way through natives.

293. EXT. STREETMEDIUM SHOT

Pepe running - pushing way through natives.

294. EXT. STREETCLOSE SHOT - INES

Running after Pepe through same street.

106.

295. ~~T. STREETLONG SHOT

Pepa running through street, from b~ckground, underarches, toward camera, At top of 8 flight of steps, hestumbles and falls.

296. EXT. ENTRANCE TO CAS~~H

MillIUI.\ SHOT

8uslosd of police getting out of bus. They start towardCasbah.

297. EXT. STREETCLOSE SHOT - PEPE

At head of steps where he has fallen. Ioes appears, runsto him, as he gets to his feet.

Pepe Imadl

INESPepa J Don I t go I You're

298.

299.

He breaks from her and goes blindly on. She rushes afterhim•

• EDImt. CLOSE UP - IN NARROW STREET•

As Pepa rushes forward, stops suddenly looking down atthe fatal steps leading out of the Casbah which confronthim. The reality of what he is facing suddenly loomsbefore him. As he starts ~rlmly to go 00, Ioes reacheshim.

INESPepal Don't go -- please don'tgo -- I didn't want to tell youthis, but shets up there nowat your own house -- waiting foryo" I

He turns back toward the Casbah.

DISSOLVE TO:

INT. PEPE'S HOUSE - DAY

As he enters, looking around for Gaby. He goes to theterrace I then returns to the interior.

,,


~atching him, terrif1ed.

301. ~iDER ANGLE

PEPE1(nere 15 she?

302. MEDIUM CLOSE UP - INES

PEPE'S VOICE(repeats)

Where is she?

Peps enters scene.

PEPESo you lied to me -- didn't you?

(he takes holdof her shoulders,shaking her) .

Answer me! Didn't you?

INESIt was the only way to keep youfrom going.

303. CLOSE UP - INES' FACE

hS she continues with utterly simple sincerity.

INESIf I'd asked you not to go forme, you wouldn't have listenedto me -- so ...


SUddenly he lets her go, ashamed of himself.

PEPEYou ought to be fed up with afellow like me ••.

(with a shrug, acknowledging his ownfault)

Oh -- la-la-la •••

He turns away from her.

107.

(

,

108.

305. ~IDER ANGLE - FAVORING INES

PEPEI didn't know I could make suchB fool of myself.

He sits down on steps. She follows, sits beside him.


Sitting on steps.

PEPEYou deserve something better thanthis.

INESIt's not what you deservei it'swhat you want.

PEPEWhy do you worry about me? It'sno good.


She holds up her hand with the ring on it - her fingerscrossed over it.

INESI have- a charm that brings me luck.


PEPEYou brought us both luck this time.

INESAll the time I was running, I keptmy hands so •••

She indicates the way she held the ring.

PEPE(laughs)

Yet you caught me •••

INES(also laughs)

I didn't know you could run sofast ...

(CONTINUED)

,

109.

308 (Cont.)PEPE

You forget -- lIve had practice -- But nobody ever caughtme before!

She sml1es~ He pats her hand.

PEPENext time, give me a head start.

INES(worried)

Next time?

PEPEDon't worry not till I get mybrae the ..

(he picks up waterjug, shakes it)

I'm thirsty ...

INES(reaching for jug)

I'll get it ...

PEPENo, you won't •••

He pinches her cheek affectionately, turns away.


Lying back on steps, relaxed, smiling, contented.

310. EXT. STREETLONG SHOT

Arabs and others passing. As Pepe comes out of doorwayin foreground, stops a water-vendor who is passing.water-vendor has bar With two earthen jugs swung acro~s

shoulders.

311. CLOSE SHOT - PEPE AND WATER V~OR

As Pepa drinks, he looks off, sees something whichstartles him. He holds the cup motionless, not drinking.

312. EXT. STREETSHOOTING PAST WATER VENDOR

ShOWing Gaby in background, at top of steps.

110.

313. REVERSE ANGLE

Gaby 1n foreground, her back to camera.narrow street, Pepe and water vendor, asforward to Gaby.

314. CLOSE SHOT - PEPE AND GASY

At other end ofPeps runs

Running toward each other, meeting. They embrace.Native stall and natives 1n view. Pepa pulls her underarchway.

Here IWell?seen a

GASYamI I .eid I'd be here.You look as though you'dgho.t.

PEPECome on.

They go off.

315. EXT. NARROW STREETMEDIUM SHOT

Typical scene, SI1mane threading his way through natives.CAMERA PANS him to corner where he stands and looksaround.

316. EXT. STREETLOIlG SHOT

Pepe and Gaby walking.

317. CLOSE SHOT - SLlMANE

Looking after Pepe and GBby.

318. CLOSE UP AT DOORl"/AY

Pepe and Ga~ enter doorway. CAMERA HOLDS on shot a.Slimans walks up to doorway.

319. ~EVERSE ANGLE - ON SLlMANE

Gazing off through doorway. He turns, smiles, exits.

lo'ADE OUT.

.r

Ill.

FADE IN •

320. VlT. PRIVATE ROOM nr CAFE - NIGHTT.W ~HOT - PEPE A:'Iv G"BY

On couch or mattress on floor. Gaby leaning back on cushions. Pepa 51 ttlng beside her.

(

PElliYou're beau.tiful ... thatls easyto say -- maybe somebody told youbut what l'm telling you 1 s dlfferent -- for me, you're more thanthat -- for two years I've beenlost - 11ke walklng ln my sleep.Suddenly I wake up -- that'syou -- I don I t know how I wenton all that time waiting for youend not knowlng It ••.• you knowwhat you are to me? Paris! That'syoul - The whole town! A springmorning 1n Parlsl You're lovely

you're marvelous!(leaning toward her,his voice caressinglysoft)

Do you kno1il ~ihat you remind me of?The subwayJ

321. CLOSE UP GABY'S FACE

•

She smiles. He leans C1036 to her - his face againsthers.

PEPEShut your eyes ••. llstenl You canhear HI

That's

GABY(softly)my heart beatlng.

PEPEDoes it go like a subway trstn?

GABYFaster ••.•

322. T'lO SHOT - GABY AiID PEP;;'

PEPE.You're all silk ••. and you jinglewhen you ~alk•..•

(CvWfI*1iill )

322 (cont.)

He taps her earrings - she laughs.

PEPEWith all that chi-chi, you makeme think of the 3.lbway. Thet I •

funny .•.• And potato chip•••••coffee on the boulevard ••• that'~youJ What did you do before?

GABYBefore what?

PEPE'S VOICEBefore the jewels.

GABYI wanted them.

PEPEAnd what do you want now?

As he starts to kiss her, she rises.

112.

(\ 323. WIDER ANGLE

GABYIt's late -- I must go.

PEPESuppose you don't come tomorrow1

GABYSuppose I don't. Can't you everget away from the Casben?

PEPEWhy do you ask?

GABYCan't you?

324. CLO~E UP PEPE

He speaks quietly.

PEPENo. Ilm caught here like a bearin a hole. Dogs barking, huntersall around~ No way out of it.

~.

,,

325. TilO SHOT - PEPE ANlJ GASY

PEPEDo you like that?

Gaby shakes her head.

PEPEMaybe it's lucky for you.

GABY(with deep feeling)

I don't like it - and it's notlucky.

PEPEYou're right. If you don't corneback I might do anything•.••••come down to the hotel to getyou.

GABYTomorrow, Pepe ...•.

PEPE(urgently, afraidthat she might notcorne)

Tomorrow••••

GABYI never break a promise.

He holds her clos6, kissing her hair.

PEPEYou smell good.

GABYThe sUbway.

PEPEIn flrs,t class .....

They go out.

113.

326. EXT. BALCONY - NIGHT

As they walk along balcony and dOW1 Some steps, Carlosappears at another doorway. Carlos comes toward camera,looks over balcony railing.

327.

114.

EXT. NARRO,I STREETMEDIUM SHOT

As Pepe andbackground.a low voice.

Gaby enter. Pepe calls to aAs the native runs to them,

nat iva in thePepa speaks 1n

,

PEPETomorrow •.••. at fiv~ o'clock.

(to Native)Take Madame to the Rue Marengo.

Native nods, exits with Gaby. Pepa stands alone, watching her go.

328. CLOSER ANGLE ON PEPE

As Carlos comes into soene.

CARLOSYou got tern?

PEPEl'Iha t?

CARLOSThe hardware.

Pepa shrugs and turns away.

CARLOSWhat's the matter with you? Ifyou didn't get the jewelS, you'vesimply been wasting your time.What were you doing 1n there?

PEPEWhere?

CARLOSThere.

PEPEYou're m!dtaken w we weren'tthere.

CARLOSSay that again.

PEPEWe were in Paris.

(CONTINUED )

115.

328 (cont.)

What?

Okay.

Pepe walks away.

CARLOS

(giving up)

,

329. EXT. NARROW STREEr .

Native and Gaby walk toward camera from background andpass.

CAMERA PANS to show Sllmane in foreground, loungingagainst wall, watching Gaby go. He glances at his wristwatch.

FADE OUT.

116.

FADE DT.

330. EXT. CASoAHSHOOTING OVE:, ROOFS

A native woman and child seated on roof.

NATIVE WOMAN~to child)

It's Pepa Ie Mako

SOUND: PEPE LE MOKO'S SONG

The song continues throughout following scenes.

331. LONG SHOT OF CITY ROOFS

332. MEDIUM SHOT OF \IOMEN ON ROOFS

Harbor in background.

333. MEDIUM CLOSE SHOT - NATIVE WOMAN

Calling from edge of roof.

NATIVE WOMAN(shouting and laughing)

Ai •••.• Pepe Ie Moko.

334. NARROW S'fREET

Lined with native women, looking up 1n the direction ofthe song.

335. CLOSE ur - NATIVE WO~~N

Laughing and keeping time to song.

336. FLASHES OF PEOPLE337.338. Reacting to Pepe1s song, women sifting meal and keeping time339. to music; others looking up toward roof; a shoemaker pound-340. ing sale of shoe 1n time to music; gypsy women dancing, etc.

117.

341. MSDIUM SHOT STREET

Pepe's bodyguards listening.

342. MEDIUM CLOSE UP OF DOORWAY

Tania sltti~g in doorway, grinning, as Carlos appears atthe door, looking up toward the direction of the singing.

343. CLOSE UP SLIMANE

SLIMANE(looking up - smiling)

H'm... quite a changeJ

SOUND: PEPE LE MOKO'S SONG - continues through above.

344. LONG SHOT - PEPE'S TERRACE

Pep e singing and dancing, wild wi th energy.

345. CLOSER ANGLE ON PEPE

He looks off and waves at someone, continuing to sing.

346. CLOSE UP INES

At a window, smiling, delighted with his happiness, wavingto him. The song continues on sound track.

347. LONG SHOT OF TERRACE

A~ Pepa crosses from one roof to another, singing as he goes.

348. INT. ROOM IN INES' HOUSEMEDIUM SHOT OF MIRtlO RS

Ref'le cting Pep a as he enters singing. Ines walks intoscene, looking at Pepe's reflection 1n the mirror.


INESWhat I s happened?

(CONTINUED )

,118.

349 (cont.)PEPE

I'm like a bird -- when the suncomes up, I singJ

350. CLOSE UP PEPE

Doing a few steps, exuberantly gay.

PEPEAnd when I sing, I dance -- andwhen I dance, I go madJ


As he grabs Ines andgling and screaming.cushions on couch.

352. MEDIUM CLOSE UP INES

swings herShe falls

around wildly.back In a heap

She isamong

gig-

On couch, as Pepe comes into scene and kneels on the couchbeside her.

INESBut why, Pepe?

PEPEWhyl Because it's Sunday andeveryone takes a holiday•...

INESBut it's not Sunday .....

PEPEIf I say so, 1 tIs S·,loday.

UESIt's Thursday.

•PEPEThat's the trouble with you - youalways think it's Thursday •••

INESI didn't think so yesterday••.•

PEPE-Just as a favor, let it be Sunday,so I can stroll on the boulevard ••••see the crowds, everyone laughing••..

Re turJ"ls away.

119.

353 MEDIUm SHOT

As Pepe turns at the doorway.

PllPEI have a date at the Place Blanche.

He exits.

354. CLOSE UP INES

Suddenly all the laughter goes out of her face. She understands what lI a date at the Place Blanche ll means, havingheRrd Pepe say it to Gaby. She rises, bitter, determined.

355. EXT. STREET AT P~PE'S DOORMEDIUM SHOT

Gusrds playing game, Tania, Carlos, Sllmane in background,as Pepe appe~rs, waves at everybody cheerfully.

PEPEHello, everybody .... how do youlike my singing?

CARLOSWhat's the good of it?

PEPEYou oUght to appreciate the finerthings of lifel

TANIA(offering a derisive grunt)

Huhl Himl

Carlos 1s about to take a swing at her. Pepa stops him.

PEPEUhuh... when you feel like that, sing!

(as he turns away)It quiets the nervesl

Sllmane joins Pepa as he walks dovm the street.

356. THUCKING SHOT -VIITH PEPE ANi! SLU;ANE

SLIMANEYou seem pleased.

357.

358.

CLOSE UP INES

In doorway, watching Pepe and Slimane.

TRUCKING SHOT - WITH PEP~ AND SLlMANE

SLlMANEYou've seen her again.

PEPEWouldn't you like to know?

SLlMANEOh, if you don't want to confidein me .....•

120.

359. CLOSER ANGLE - SLIMANE AND PEPE

As they stop, Peps takes off Slimane's fez, examines theback of his head.

PEPEWhy, our Inspector has got himself a haircut.

SLlMANEDid, she come back?

PEPE(surveying him, amused)

A regular RomeoJ You ought to geta permanent waveJ

SLIMANEYou're expecting her again today?

PEPE(laUghs)

The trouble with you, Inspector,is that you do too much inspecting•••Now don't breathe a word of whatI've just told you••••• it's just between ourselves.

He tweaks Slimane's nose, and walks off cheerfully.

360. WIDER &~GLE ON STREET

Slimane sees Ines standing discreetly in shadow of doorway.He observes her with interest.

361.

362.

CLOSL UP INES

In doorway,watching.

CO&CLUDE THE PEPE-SLIMANE SCEl~

Pepc leaves. SIlmane looks off thoughtfully.

121.

r

363. CLOSE UP OF INES

Standing back in archway of doorway. She looks fixedly atSlimane, makes a motion of her hand.

364. WIDER ANGLE ON SCffi,E

As Slimane approaches the doorway.

365. CLOSE UP AT DOOR

Ines goes inside, Slimane follows her. From close shot ofdoor closing, we -

DISSOLVE TO:

366. INT. SUITE IN Hd'r.oL - LIVING ROOMMEDIUM ,HOT

Slimane waiting. Giraux enters from another room,

GIMUXInspector•...•

SLIMANEGood morning•...

367. INT. SUITE IN HOTEL - LIVING ROOMCLOSE;; SHOT SLIMANE AN"" GIMUX

GIMUXI was puzzled when you phoned.

SLIMANE(bows)

My mission is abut necessary.

.)rather delicate one ...I merely wish to

(CONTINUED)

I

122.

367 (cant.)SLIMANE (cant.)

suggest ••.. that your fiancee is alittle too fond of the .- shall wesay, the local color .•.. of the Casbahl

368. CL0SE UP GIRAUX

Puzzled and annoyed, as Sllmane continues.

GIRAUXWhat's all this?

369. CLOSE UP SLIMANE

Sizing up the other man carefully, as he continues:

SLI~~NE

The Casbah is hardly the placefor a woman alone ..•

(wlth subtle emphasis)She attracts too much attentionexcites too much desire. We naturally wish to protect her •..•

370. CLOS~ UP GIRAUX

As Slimane1s ally apologetic voice goes on.

SLIMANE'S VOICE••.•. from any embarrassmentJ

GIRAUXYou amaze me.


SLIMANESo I seeJ Further embarrassmentcan very easily be avoided -- shemust not return to the Casbah!

Glraux turns sharply away - turns to another door and knocks.

(NOTE: This door 1s on opposite side of living room fromthat through which Giraux entered.)

I,

372. CLOS~ UP ;LIMANE

Watching with a smile of satisfaction.

373. I~T. SUITE IN HOTEL - GABY'S BEDROOMMEDIUM SHOT

Gaby at dressing table, wearing afternoon frock, ready togo out, putting finishing touches on her toilette.

GABYCome in.

Giraux enters.

GIHAUXSorry to disturb you.

She passes him, going to wardrobe to get jacket.

GIHAUXYou're going out?

GABYIt looks that way.

GIHAUXWhere are you going?

GABYA \'lalk.

GIHAUXBut where?

GABY(lightly)

In the Bois de Boulognel

GIHAUXMay I ask you to give me a sensibleanswer?

GABYThen ask me a sensible question.Where could I go? I don't knowanyone in Algiers. I just walkstraight ahead.

GIHAUXStraight ahead? And where doesthat take you?

GABYI'll know whEn I get there.

(CONTINUED)

124. ,

373 (cont. )GIRAUX

No, you won't •••..

She looks at him, startled by his tone.

GIRAUXBecause you're not going.

GABYOh, no, my dear•.... your hotelbores me. The headwaiter lookslike an undertaker •.• end everytime I step into this apartment -it looks more like a funeral par-lor. Goodbye, darling.

She turns away_

374. TWO SHOT NEAR DOOR OF BEDROOMGABY AND C:IRAUX

As 'Glraux stops Gaby.GIRAUX

I know where you're going.

GABYOh?

GIRAUXYou're going to the Casbah.

GABYSo?

GIRAUXYou go there every day.

GABYDo I?

GIRAUXTo meet Pepe 1e Moko.

GABYAhl So now you're spying on me.

She turns back to center of room.

375. MEDIUM CLOSE SHUT

Gaby with back to camera. She turns, facing camera asGlraux enters scene.

(CONTINUED)

125.

375 (cont.)GlRAUX

You're going to be my wife.

GASYYou don't make it a very pleasant prospect.

GlRAUXI won't allow you to behave likethis.

GA;,'YI'm 31ad you told me.

GlRAUXWhat does that mean?

GABYWe've got to be honest ••..

376. CLOSE UP GABY

Determined to be honest, speaking quietly, but with deepsincerity.

GABYWhy do you think I'm marrying you?Look at yourself - and then lookat mel

377. TWO SHOT - GABY AND GlRAUX

As she continues:GABY

I've never lied to you: You knewI didn't love you When I promisedto marry you, and you thOUght itwas all right. Until we're married,I t l1 do as I please. That's fairenough....

She turns to go, but he stops her again.

GlRAUXI forbid you to go •••

GABYIt's a waste of time•...•

,

GlRAUXIf you go now, there'llin your coming back.

be no use

(CONTlNUclJ )

126.

377 (cont.)GABY

You've thouGht it all out prettythoroughly, haven1t you?

GIRAUXI advise you to do the same•....

All

GABY(definitely)

right ...• goodbye ••..•

378. CLOSE UP GlRAUX

Miserable, shocked at her going.

GlRAUXDon't do it, Gaby•...don't •....

The door slams.

379. INT. LIVING ROOM OF 3UITEMEDIUM SHOT

As she crosses the room, Slimane confronts her.

SLlMANENo.

GABYWhat?

380. TWO SHOT - GABY AIiD SLIMANE

SLIMANEYou can't go to the Casbah.

GABY(starting to pustpast him)

But really.....

But Sllmane detains her, speaks rapidly, with impressiveseriousness.

SLIMANEYour fiance was trying to spare you.He didn't want to tell you the truthas I'd told it to him. An attemptwas made to capture Pep a Ie Mako 1nthe Casbah this afternoon. In a sense,it was successful ...•

(CONTlNUZJ)

127.

380 (cont.)GABY

He was taken?

SLIMANE(shakes his heed)

Not allve••. he was killed.

381. CLOSE UP OF GABY

stunned, leaning against mantelpiece for support. CAMERAPANS to CLOSE UP OF CLOCK which shows hanis at 4 :35.

DISSOLVE TO:

382. CLOSE UP CLOCKINT. ROOM IN CASBAH

~Vhere Pepe is waiting in vain for Gaby. The clock haspassed seven.

, 383. INT. PRIVATE ROOM IN CAFECLOSE UP PEPE

Looking at clock, hopelessly discouraged. A knock qn thedoor. CAMERA PANS as Pepa crosses the room and opens thedoor.

384. CLOSE UP INES

Standing 1n doorway.

385. MEDIUM SHOT - FROM INES' ANGLE

The table set for two, fruit, wine bottles, etc.

386. CLOSE UP INES

The table in foreground, as she comes slowly forward, looksdown at the preparations.

387. TWO SHOT - INES AND PEPEINES

I just came to t ell you it'sThursday. (CONTINUED)

(,

128.

387 (cont.)PEPE

I know.

INES(her voice almost breaklng hysterlcally, struggllng to control herjangling nerves)

I was rlght all the tlme. -- Yousee, I'm not such a fool as youthink -- so thls ls the PlaceBlanche! It's not much fun onThursday, is it - it doesn't seem11k. Parls ••••

388. WIDER ANGLE

Without a word, Pepe strides out of the room. She looksafter him despalrlngly.

389. EXT. BALCONYMEDIUM SHOT

As Pepe walks along balcony, passing Tania and Carlos. Hepays no attention to them.

CARLOSWhat's got into him?

TANIA. W13re you ever disappointed in love?

Carlos comes close to her, doubles his fist significantly.

CARLOSyes .... badlyl

TANIAI try to please you.

CARLOSI'm like Pe~e - I like lem with diamonds -- Now he's missed his chance,so 1 111 have to go down town and givemy personal attention to MadamelshardwB[' e •••.••

390. INT. SUITE IN HOTEL - LIVING ROOMMEDIUM SlDT

Gaby seated in foreground, Glraux in bg. at telephone.

(CONTINUED )

c

129.

390 (cant.)GIRAUX

(at phone)What steamer? The Ville d'Qranat ten o'clock. Good - make thereservations.

(he puts hand overphone, turns to Gaby)

Are you leaving?

She is silent.

GIRAUXI suppose you won't stay for thefuneral?

She remains silent.

GIRAUXFour - first-class. And send upsome whiskey and soda.

He rings off, turns to Gsby.

GIRAUX(kindly)

You'll have a drink -- just ashort one -- make you feel. better.

391. INT. NATIVE CAFEMEDIUM SHOT

Pepa in f.g., seated moodily at table. Carlos enters scene.

CARLOSAnything wrong?

Pepa shrugs, annoyed.

CARLOSWhy don't you sing?

PEPE~Yhy don't you mind your own business.

CARLOSI am. I just thought you might beinterested. I'm going down town.

392. CLOSER ANGLE - PEPE AND CARL0SFAVOR! NO PEPE

Looking at Carlos sharply.(CONl'INUED)

,392 (cont.)

PEPEWhat !'or?

CARLOSI'm like you -- I'm bored.

PEPEHave you got anything in mind?

CARLOSJust look things over.

PEPEWhen are you going?

CARLOSNow - no need to see a lawyerabout it.

PEFEDo me a favor?

CARLOSSure•.

PEPEI want you to deliver a letter.•.•

CARLOSI'll take anything, as long as it'snot loaded•••. Okay, I get theidea -- maybe I don't look likecupid, but Itll manage•.••

PEPE(calls)

Chani -- pen and paper ••..

DISSOLVE TO:

393. EXT. STR:lETMEDIUM SHOT

Carlos and Pepe come to an archway.

130.

PEPEGo to the servant's entrance.Give some one a good tip and tell'em you've got to have an answer.

,(nods)

Don1t worry -empty handed.

CARLOS

I wontt come back

( CONTINUED)

131.

393 (cant.)PEPE

I'll wait for you at your house.Don't want to go home.

CARLOS1 ' 11 be back in two hours. TellTania.

They shake hands.

PEPELuck.

They separate - Carlos going down steps, and Pepe returning up the hill.

FADE OUT.

132.

FADE IN

3g4. INT. CARLOS' ROOM - DAYMEDIUM SHOT

Peps lying on 8 couch. He wakes up, rubbing his eyessleepily, looks at Tania.

PEPEWhat t1me 1s it?

TANIANine o'clock.

PEPEIs that all?

TANIAIn the morning. The sunts out.

PEPEI slept all that time?

TANIAYou snored.

PEPECarlos?

TANIAHe hasn't come back.

PEPE(sits up, rubbingeyes)

Hasn't come back?

TANIAI sat up all night.

PEPEHe can take care of himself.

TANIAI'd like to see him back - withwhat I've got to tell him. Thistime, I'd make him listen to me •••

PEPE(bored)

Oh , la-Ie-Ie -- it's always thesame ....

TANIAWhat is? Life?

(CONTINUED)

133.

394 (Cont.)PEPE

There are times when I don'tcare what happens,

TANIAI know - do you know what I dowhen I feel that way?

CAMERA PANS her to phonograph, puts on record.

395. CLOSE UP - TANIA'S HAND

Winding the handle of phonograph.

TANIA'S VOICEI turn back the clock.

PEPE'S VOICEWhat's the clock got to do with it?

TANIA'S VOICEI turn back to an old picture •••

CAMERA PANS TO ·PICTURE on wall beside phonograph, ofTania looking luscious 1n picture-hat and costume ofthe early nineteen hundreds.

TANIA'S VOICEOf mel And I pretend I'm looking1n tEe mirror.

CAMERA PANS BACK to CLOSE UP OF TANIA'S HAND as sheplaces needle on record.

TANIA'S VOICE(continuing)

I put on one of the old records,when I was a hit at the Scala,Boulevard de Strasbourg - a hushcame over the crowded theatre the stage was dark, a red spotlight on my pale face •••

CAMERA PULLS BACK as the old phonograph starts to play.Tania seated at table, as her voice comes from themachine, the voice of her youth.


Listening.

397. CLOSE UP - T~NIA

Listening to the voico. Then she joins 1n the song.


398. MEDIUM SHOT

134.

The song comes to a close. A pause, as Tania crosses.Then Ioes rushes in, followed by L'Arb1.

INES,- Is Pepe here?'

Tania indicates the bunk on which Pepe i. lying.

, ,PEPEWhat do you want?

CAMERA PANS TO BUNK a., Ines crosses to bunk, followed byL'Arbi.-

INESWe've been looking for you everywhere. Why weren't you at home?

, . PEPE~.Because· lim" "here}

(seeing L'Arbisuspiciously)

What do you want. L' Arbi,? _. - ,

c

.. ,, ,

, -'

I must"', ',- L'ARBIspeak to you 'alone.

,

'Ivllat's, '

.. we, got

TANIAthe matte~ ,with us?smallpox?

Have

.,~' '/.,.-.,- '>

" ~': " '. --\.

.. '

, ,

"

PEPE(to. I,iArbi)

. It" • "all right - you can talk.

L'ARBIPepej It~ as~ed of myself ••••

.. PEPEWhat's new !,bout that ?

'.. ..' "

.-~ J

.. ,

I doubt 1.t;

-.. -

"PEPE'

," " .', ,

..L'ARBI

Itis WO~p'e'than you .think•••••-,' ..\ : .. ',' .

~ r .,

L'ARBIGo ahead and insult me - I deserve it.

PEPE.You flatter yourself.

(CONTINUED)

f..1, '

398' (cent. )......~.../

, (


L'ARBIIt's about the letter from Pierrot'smother. I brought it and gave it toAicha, but I didn't know it was fromthe police. If I'd known the letterwas written by Reg15~ I wouldn't havedone it -- never •••••

PEPE(puzzled, interested)

'Go on.....

L'ARBIIt was really a woman who gave-methe latter. If I'd known the truth,I wouldn't have touched It,-- I'man informer, but i wQuldn t't havedone a thing like that.......

. '. PEPE . .Oh, you're" just half an informer.••

. the other half is all ri ght ....

135.

,

"

, L'ARBII couldn't stand it any longer.forgiva me, Pepe.~••••

,L'ARBII fm here.

c.- .

. That'. why

For what?

,, PEPE ,,

PEPEAll rightl Don't grovel so much.It makes me s1ok.

L'ARBII want you to have a good opinionot me.

PEPESo?

. ,

LOIARBII want you t.o believe me -why I'm here to tell yougot Carlos.

that'sthey

"

vihat?

"

PEPE

. ."',',',' . .~~,:" .,.. ..~.


399. TWO SHOT - TANIA AND L'ARBI

-136.

TANIA

What(excitedly)

about Carlos?

L'ARBIThe police\ took him.

,TANIAHQw much d,.1d.;v.ou: ,s ell him' for?, ,.

L'ARBII 'Wouldn't be here 1f I'd soldhim.

.' ,

.- "., ,

3S9-A CLOSEUP - INES, ,.'.

.'. . .,' lNES, .

. First, Pierrot - then Carlo's' -bad lU9k always' comes in threesyour turn wil;L be next, Peps ...0".. .

:"

"'",

, ... .,, I "

<; •• '

",.', ' .-,C)":.OSE: UP - PEPE;

He

", ""-. . ,.'>j ,', ""', ··i.e:·· . '"

bru.shes her as1qe,·l1ghtly•. ,'. ... "

400.-

.,' PEPE"Don.r,t be so' surel

(he turns to Ltarbi,. " study1ng h1m' S'earch-" --j;ng];y)

So they arrested him? Who did 1t?

CAM.ERA PANS to 'LIArbi and ~anla,. " .

. '. '·I.'ARBI··Inspector Louvaln. ,There" wereabout a dozen off them -- sur-·

.rounded h1m... ~·

... ' ;" l'"

, .. :" ";:' "

. ,

, .

;.' "

."'~,f _. ,. .; ' •• , • TANIA, 'J:." ,- " .':" 'Wa..4 (there- any shooting?'". . '.~ ".-

c. (. ,; ...

.",.< ".,'. - . "."'.'

'. L'ARBIN9, no' --. they managed it", veryqUietly, ~n a'ti!ce way.

Pepa enters ~cene.

',>,.

. /

( CONTINUED)

•

~" ............,"~ .i ~ .• "

"~., , ......-'•." ~..... .,"" ,.' - ~ d- "

PEPE LE MOKO • Changes - 4/12/38

400 (cont.)

PEPEWhat did you have to do with it?

LIARBII was at the police station whenthey brought Carlos in. I had achance to see him 1~ his cell.He ·gave me a le tter - the one·you'd given him -- he told me totake it to the hotel•••••••

Ines enters scene.

137.

(

INFS(indicating L'Arbi)

Every time there's a letter, he'sthe one that brings it -- it looks.funn:y tome••••..

PEPE(sharply, to her)

Be quiet ••..•

UESOh, I'm to be ·quiet while youwrite letters to women.•"....

PEPEN~¥er mind .bout that •••••

INESYou never wrote a letter to me...•.

. PEPE(angrily)

S.top it.(he turns to LtArbi)

Then you went to the hotel withthe letter?

. L'ARBII did it for you, Pepe••••

PEPEDid you get an answer?

L'·ARBIWhat?

PEPEThe answer.

(CONTINUED )

-'I ' ,

- • _ -.('I. " ~ , .,.


400 (cont. 1)

L'ARBIShe wanted to write. but shecOuldn't. She's being.closelywatched. But she expects youthis morning. You can go downwithout any risk -- go·to theback of the hotel -- she'll bew~tch1ng from her window•••••

PEPEIs that all?

137-A

J

, ,

."•

.JS~,',

r

,'.

L'ARBIShe wanted to come up but she

.couldn't get away•••••

'INESYou're not going down, Papa -

. "OU can't ••..•

PEPE(nervous, at theend of his patience)

Let me alone .......(he turn.~to L'Arbi)

Gq on••••, _,.

L'ARBIShe'. wa1~ing for me to bringthe answer. What shall I tellher?

,.

,..

,I

, .

. ,

PEPEOl'!, she's wei ting for it?

LIARBIYes.

PEPEI'll take the answer myself.You wrl there.

:

"

. " 1-,".; ....

,

400-A CLOSE UP •. INES

Reacting to this.

....... ,-., . .

( 401.

,

PEPE LE MOKO • Changes • 4(12(38,

CLOSE,UP - L'ARBI

L'ARBIBut, Pepe. e.••••

PEPE'S VOICEDon't worry, my friends will takegood, c~e of you - till I comeback.

L'ARBIShe expects me.

Pepa walks into shot, looking down at him.

PEPEWhat?

L'ARBI('looks up at Pepe,changes his mind)

Noth1ng -- I'll wait.

l37-B

402. ,MEDIUM SHOT - ROOM

Pepa crosses to ~ouch to get coat.

PEPEWhat about Carlos? Didn't hesay anything elseY,

, 'L'ARBI ",

, ,

Nothing.,

Pepe gets his coat,. turns to L'A,rb1.

DidPEPE

they, search him?

I. "ARBI

T, ,,,

. '

, /

Yes•.

, ,

Then theythousa''ld?

PEPEtook away the fi va,

(CONTINUED)

".1""'.' ..,> "

,.!J"l. 'tr:'~·~,

r...

13B.

402 (Cont.)L'ARBI

Yes.

Pepa puts on his coat as he talks.,PEPE

You're sure he didn't slip thefive thoussnd to you?

L'ARBINo.

PEPEYou're sure?

L'ARBIMy word of honor •••

403. TWO SHOT - PEPE AND L'ARBI

Pepe is beginning to crowd him, backing him up againstthe bunk.

PEPEYour !!h!i?

L'ARBILouvaln took the money. I sawhim put it in his desk.

PEPEYou said Gsby couldn't writebecause she was watched?

L'ARBIYes.

PEPEBut in a little while she'll beable to see me?

L'ARBI(nods)

On the quai back of the hotel.

PEPEHuhJ That's funny •.•

L'ARBIHe's going to be away.

PEPEI see.

(he laughs)But why couldn1t she write me?

(CONTINUED )

403 (Cont.)L'ARBI

He was there.

PEPEThen how could she talk to you?

139.

(

L'Arbl has grown more nervous and worried, as Pepafires questions at him. CAMERA FOLLOWS THEM as Pepeforces him back Bcross the room.

L'ARBIBecause •••

PEPEBecause you don't know ••• Andthere's something else that doesn'tfit 1n your story: how was Louvalnable to take five thousand francsfrom Carlos when Carlos didn'thave a hundred •••

L'ARBII don't know - I saw the fivethousand •••

Pepa grabs L'Arbl by the neck of his shirt, thrOWinghim back rOUghly against wall.

PEPENow something else - do you thinkCarlos 1s so dumb he'd give you myletter? All joking aside •••

L'ARBIBut you wrote a letter •••

PEPEYou think me so stupid as to believe he gave it to you -- hUh,all joking asida?

L'ARBII give you my word •••

PEPEYou wanted to bring her my answer,and then I'd come down and see her•••

L'ARBIYes.

PEPEFor a woman whots being watched, it'sfunny the way she can do things •••

(becoming bitterlymenacing)

Now I've laughed all I want tol Youhear me - I'm through laughing.

(CONTINUED)

(

140.

403 (Cont.l)L'ARBI

(desperately frightened)On the head of my fatherl

PEPEWhat about it? He was gUillotinedlCarlos was arrested. That's true.

·L'ARBI(eagerly)

I told you •••

PEPEYou read my letter, that's true •••

L'ARBIBut I told you•••

PEPEUp to that, it fits -- but afterthat, nothing fits. Now tell mewhat happened?

L'ARBI(desperately)

Nothing.

404. CLOSE SHOT - PEPE AND L'ARBI

Pepe's hands grasp L'Arbl's throat, 8S he pushes himacross to the couch.

PEPEMust I kill you to refresh yourmemory?

405. CLOSE UP - L'ARBI

His head held against couch.escape. Pepa throws him backing to choke him.

L'Arbi tries desperately toroughly on couch, contlnu-

'.406.

L'ARBII'll tell, Pepa •••

CLOSE SHOT - PEPE AND L'ARBI

As Pepa takes a fresh grip on L'Arbi's shirt at the throat.

(CONTINUED)

406 (Cant.)LIARSI

Sl1mane planned it.

PEPEUhuh•••

LI ARBIHe told me to come to you.

PEPEGo on.

LIARBIHe thinks you'll come down.

PEPEThen?

L'ARBIThe hotel's surrounded - they'rewaIting.

PEPEDid you see the girl?

L'ARBINo.

PEPEWhy didn't she come up yesterday?

LIARBIHe told her yould been killedthat's what she thinks •••

PEPEAh!


Looking at L'Arbi.

LIARBI IS VOICEShe's leaving this morning on theVille d'Oran.

408. CLOSE SHOT - PEPE AND LIARBI

Pepe still leaning over him, holding him down.

PEPEThat's all?

(CONTINUED)

141.

•408 (cont.)


' .. ", '

. ~'iJ."'"\' "",' L' ARBI(his voice choked)

Yes•••"••

\\,142. '~

Pepe slaps him, and gets up.

PEPE~anks.,

,409. WIDER ANGLE ON ROOM

As Pepe exits, L1arbi still lying half-dead on' couch.

"

410. INT. PEPE'-5 HOUSECLOSE UP - PEPE ' ,

WIPE,TO:

(

. "\', '.,

.,' ,

Unlocking secre,t drawer, 'taking out billfold bulging "with money, As hs pockets it~ he looks in'mirror besidehim•.

411. CLOSE UP - MIRROR

Pepa sees I'nes in Dlirror.

.. ."

412,.

, '

TWO SHOT ~ PEPE AND INES

As he turns' to .her, she confronts him with passionate.defiance. '

, INESYou' can-t't do it, Pepa -- youc~tt leave me -- what have Idone?

(CONTINUED )

", ,

_. I, "

"

PEPE LE MOKO - Changes - 4/12/38 143.

412 (cont.)

.,'.'

PEPE(want1ng to be k1ndbut anx10us to getaway)

It has nothing to do w1th you, Ines -you'r.e a good kid, but thi. can'tbe helped -- 1t'. not y-our fault.· •••

", ,"

INES(c11ng1ng to him)

I'won't let you do 1t -- I wcn'tlet you -- you'll be killed••••

"

, ,

....

..'- .'

" '

.'..r ", ",

• 'i."

. ·,r"

,.

PEPE .(try1ng to breakaway from her) '. .

Blam~. 1 t .on the Casbahl·

INES(hold1ng him back,w1ldly)

It's for her -- you do~ It careabou~ anythfhg else -- so yo~lre

, t~~"lng !>war your 1ge"., •.•·-, "

.413.' CLOSE UP - PEPE

W1th grim good humor•.

, " .

PEPEIt'. my own 11fel

,>

."- " -'

," ;-..' "'...'

"j "

TWO SHOT - PEPE AND INBS

,: .:.,- .-

,.. lNES

,: :, Donft do '1t,'- Pepe' _ don't go· --'" .1.:1,st,en tome• •.•..••

"

He breaks away .from ner ,o' ex1ts~ .'

.'.. ' ,

INES.Pepel

(she ...reams)

.,

/PEPEI

She. rushes aft er him.

415.

144.

EXT. P~PEIS HOUSECLOS::;: UP - PEPE

As he comes out of the door, stops for a moment, hishand on the knob, looking up and down the street. ICAMERA PANS DOWN to his feet. He starts walking, CAY~A

DOLLYING with him.

r\,

•

416. CLOSE UP - PEPEIS FEET

Walking dovm stairs, CANcBRA DOLLYING with him.

417. CLOSE UP - PEPE'S FE3T

Walking down more atairs, CAMERA DOLLYING with him.

418. EXT. PEPEIS HOUSELONG SHOT

As Ines comes out of the house, looks up and down thestreet, uncertain what to do. Then she follows Pepe.

419. CLOSE UP - PEPEHEAD-ON - PROCESS SHOT

Walking down street stairs, CAMERA DOLLYING with him.

420. ' CLOSE UP - PEPEBACK TO CAMERA - PROCESt; i:>HOT

As he walks dovm steps, CAI'rnRA DOLLYING.

421. CLOSE UP - PEPESHOOTING INTO HIS FACE

As he walks down steps, CAlrnRA DOLLYING.

422. CLOSE UP - PEPESHOOTING OVER HIS SHOULDER

Walking down steps. BACKGROUND DISSOLVES to ocean wavesbreaking. CAMERA DOLLYING ~ITH HIM.

(CONTINUED)

f

145.

422 (cant.)

As Pepe moves, the background of ocean waves dissolves toseries of flashes, indl~ating the dream of Paris whichfills Pepe's mind:

(a) Eiffel Tower

(b) Boulevards

(c) Champs Elysees, Arc de Triomphframed at the end of it.

(d) A cafe under an awning, peopleat tables, people strolling past.

423. CLOSE UP PEPE'S FEET

Walking - CAMERA DOLLYING with them.

424. ENTRANCE TO CASBAHSHOOTING FROM LOW SET-UP TO GIVE HEIGHT

Pepe e~ters from background at top of high flight of stairs,comes to railing, looks down.

425. CLOSE UP PEPE

He makes his decision to leave the Casbah.

426. EXT. STREET - JUST OUTSIDE CASBAHLONG SHOT TOWARD STREET FROM PEPE'S ANGLE

A car passes.

427. CLOSE UP PEPE

He smiles, starts down stairs, CA~lliRA DOLLYING with him.

,

428. LONG SHOT - STAIRS

Pepe walking do¥m.

DISSOLVli: TO:


429. INT. TAXI

Showing waterfront through window.

DISSOLVE TO:

430. EXT. STREET - STEAMSHIP OFFICEMEDIUM CLOSE UP BY WINDOW

146.

With, mln1ature shot of boat in wl. ndow.' In packground,Pepe gets out of taxi"passes q>ickly past the csmera.'

"

431. EXT. COURTYARD OF HOTEL ARLETTILONG SHOT

,

lnes ant.ere, _.th~ courtyard from the street.,

432. CLOSE UP INESTROCKING WITH HER.

, She moves' toward' door of hotel hesitantly, fee,ling uncom-,fortable in these strange, surroundings, but grimly determined' 'to f-ind Pepe. Suddenly she stops,' looks aroundfrightened"trapped. ~, ,

433. WIDER ANGLE

A~ detectives come forward, £rom ~1ther sid~:o~ Ines,surrounding her. S1:tmane comes' through the group of detec-'t1ves~

-., . '\. ,'r

"

SLIMANE ' .. W'e didn't expect you•••,•••'

,

CLOSE UP,

INES

" ,

435,.

As sh~'tEC~S S11mane.."" , INES. .

He "s not coming· here ..,- he" isgone 1;0 the boat'••••••

CLOSE UP - SLIMANE

studying her.SLIMANE

You expect me to believe that •••••, '

,PEPE LE MOKO - Changes - 4/12/38


INESHe's going away with her ••••

147.

437. TWO SHOT ~ SLlMANE AND lNES"

SLlMANE(bitterly) ,

So you're.the one to betray him -, you couldn't wait to run tQ me ---

, you call it love, but it means you'dkill him before You'd let him gofree ~- that's whut you've done, assure as if you'd held a gun in yourhands..... .

..

INES(despairingly)

I couldn't let him go10 se him.,•••, .-

',r


A troubled, tired smile~

" .. ,~'" SLlMANE

1 thOUght I"cli 'figured all, ,the movee 'but, I miscalculated .- I didn'tthink of: ,lOU._ ••• •"

. ,

" '

"

DETECTIVE'S VOICEThere's just time••••

"

" SLIMANE" (glances at watch)

11'\ 'Ii. few minutes it might have beenout o,t our hands.,

,

439."

,Shehold,

•INES

give him' a chance•••

-CLOSE UP INES

Don't go

As she 'confronts him as he turns to go'with his men.has a wilei' realization of what shu has, done - tries toSllmane back.. ". .

440.

/

441. CLOSE UP - SLlMANECLlMANE

(coldly angry)I did••••••

..

PEPE LE MOKO - Changes - -4/12/38

442. TWO SHOT - INES AND SLlMANE

As he tries to b~sh by her.

lNESYou knew - you planned it thisway, 90 he'd.....

SLlMANE_ (cuts in sharply)

So he'd walk into a trap -- and he'sdone it -- with your help••••

(~urns vigorouslyto his men)

Come on.

443-444-445-446 - OUT

148-149150

.~.

447. LONG SHOT - PIER AND STEAMER

The whistle of the steamer blows.r

448. MEDIUM SHOT GANG PLANK/

'- Peeple giving their tickets am coming on board. The . ,whistle makes them hurry a little -more.

449. CLOSE UP - TICKEr TAKER

Hands come into scene, offering ti·cketil. which he glancesat' and gives back•.

.. .

450. ~DS1 '

Offering tickets. Two sets of ticket s are pa.ssed and re- ...~,turned. The third pair of hands offers a ti"ket. CAMERAPANS DOWN to feet of the p~ssenger. We recognize Pepe'~

shoes, 'as seen in previous s~ts.

451. CLOSE UP - 'HCKET TAKER

As he checks the ticket and hands it back.

,151.

452. EXT. BOA'r DECKMEDlm. CLO~E SHOT - PEPE

1Valklng toward stairway to upper deck.with him. People in background on deck

453. EXT. BOAT DECKj',iEDlm, SHOT

CAMERA DOLLYINGplaying cards.

(

•

Pepe walks along deck. We hear shouts of lIAll ashorethat's going ashore ll

, llAll'ashore that's going aahare ll,

and a gong 1n distance. Pepa reaches window of salonand looks In.

454. INT. SALONCLOSE SHOT - PEPE A'r OPEN \/INIJO'iI

CAMERA PANS to show Gaby, sitting by the window, unawareof Pepa and out of range of his vision.

BERTlER'S VOICEThe pleasant thing about traveling is going back home •••

455. INT. SALONMEDIUM SHOT

Glraux and the Bartiers at the bar, in foreground of shot.

BERTIER(continuing)

•.•• And then going away again,

MARIEI had a good time, didn't you,Etienne?

GIRAUX(with emphasis)

Me? I never laughed so ~uch 1nmy life t

456. CLOSE UP - PEPE AT ~INDOW

He looks do~m.•

•

Extended directly under the open window, her familiar jewels on the wrist and fingers. Pepa's hands come into scene,reaching hesitantly toward her. hand. Then eudden1y hishands stop, and are slowly raised. PAN UP'with Pepe'shands.. as he ruses them' aoove his head, am we see hisface turned to the detectives aroun~ him.

PEPE LE MOKO ~ Changes - 4/12/38

CLOSE UP - GAIlY'S ARM

152.

r

458.

"

,, '

EXT. BOAT' DK:K, <

MEDIUM SHOT NEAR WINDOW

Showing the group Ill' ound Pepe, detectives wi th drawn guns"Sl1mene in f. g. Pepe moves forward to Sl1mane, hands 'raised above head, anxious to get away from the w1ndow~

SLIMANE(quietly)

You s,ae:,., Pep~, we meet at theappointed t~me. To tell the truth.I Qlmost missed the appointment ••••

He is about t,o put handcuffs on Pape; but Pepe glanees toward the open window and speaks pleadingly.

PEPENot' here.

SLIMANEAs you wish -- I c'an't refuse an oldfriend.

,.

,,

<"

, ,". ,

, ,, ,

DISSOLVE TO:

Showing reflection of Algiers. Slimane, Pepe and detectiveswalk into shot. CAMERA MOVES IN to CLOSE SHOT of Sllmaneputting heodcuffs on Pepe's wrists.

459. CLOSE SHOT BOAT WINDOW

'.

460'. LONG, SHOT - GANGgLANK

Detectives taking Pepe off.

461.

,/,

MEDIUM LONG SHOT - ON WHARFSHOOTING OVER INES

Showing her watching.

.'

4~ • tLOSE UP•, HIES

153.

In agony as she watches.

463. MEDIUM LONG SHOT ON WHARF

Group of detectives and Pepa walking away from camera. Thegates are closed Oli them.

464. EXT. WHARF AT GATESCLa~E UP PEll>

Hd turns toward the boat.

PEPE(to S11man.)

I only ask one thing. Let mewait here a minute,

He glances dOl'll at his hands.

465. CLOSE UP PEPE'S HANDCUFFED WRISTS

PEPE'S VOICEI want to see it leave.

466. CLOSE UP PEPE

He smiles, indicating handcuffs.

PEPEIt's safe enough.

467. CLOSE UP S'LIMAlIE

SLIIAANEI know I can trust you.

He makes a gesture, indicating that Pepa can go to the gates.

, 468.,

MEDIUM LONG SHOTSHOOTING TOWARD SHIP

Pepa, in foreground, walks over and stands at gate lookingat ship.

469. CLOSE UP PEPE AT GATES

Looking off toward ahip.

470. INT. SHIP SALOONMEDIUM SHOT

Gaby in background, rises and goes out of room.

471. CLOSE UP PEPE AT GATE

15<1.

Looking toward smp. What he sees moves him deeply. Hetakes hold of iron bars of gate, gripping them tensely.

472. LONG SHOT OF BOATSHOOTING THROUGH GATE FROM PEPE'S ANGLE

Gaby stands at rail looking toward shora.

473. CLOSE UP PEPE

Looking at ship.

474. DECK OF SHIPCLOSE UP GABY

CA~~A MOVES IN for BIG CLOSE UP as she looks off at city.

475. LONG SHOT ALGIERSFROM GASY'S ANGLE

476. CLOSE UP PEPE AT GATE

He shouts at the top of his voice.

PEPEGabyl Gabyl

'- The boat mistle blows simultaneousl. wi th hi scalI.

, 477.

155.

CLOSE UP - G"gy

SOUND: BOAT WHISTLE

(,

Gaby covers her ears to shut out the sound of the whistle.

478. DECK OF BOATWEDIUM LONG SHOT

As Gaby turns and walks toward salon.

479. LONG SHOT TOWARD BOATSHOOTING THROUGH BARS OF GATE

As the boat warps away from the pier and starts moving.

480. REVERSE ANGLE - AT GATE

Pepa at bars, watching, as S11mane taps him on shoulder.

481. MEDIUM CLOSE UP - PEPE

Ines enters, on the other side of the bars.

INESPeps.


INESI did it - you might have gotaway -- I let them know - don'thate me -- I didn't mean to --I was crazy because I love you -listen to me, Pepa - forgive me --


He smiles, his face very gentle.

PEPEYou did what your heart '-ld youSo did II Nothing to be sorryabout I

II;


Watching, touched.


PEPE(glancing at Slimane,poll tely)

The Inspector's been waiting forme two years, I can't keep himwaiting any longer.

(he waves his handto her)

Luck•••

He turns away_

FADE OUT.

THE END

156.

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1-, ,

• .,i". ~.,.~- _" 't,_ ' +00. t· .1.. ·4 • ..

• • • ,.'..,: - •..

-4••.

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•' }a

Algiers (1938 Shooting Script)

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Transcript of Algiers (1938 Shooting Script)