Scripts: Rear Window (final draft, 01/Dec/1953) - part 3
FADE IN:
EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT
The CAMERA makes a short sweep around the neighborhood showing
that some of the rooms are now with their lights on.
The CAMERA PULLS BACK into Jeff's apartment until his head
fills the screen. He is asleep. A shadow of some other person
creeps over his face. His eyes start to open. He looks up.
INT. JEFF'S APARTMENT - SUNSET - CLOSEUP
The screen is filled with the eyes, nose and mouth of a woman
coming nearer and nearer to the CAMERA to kiss Jeff. The
face is more or less in shadow, a faint light coming onto
the profile from the window. It moves down until the lips
move out of her bottom of her screen, and just the remain
for fill the screen.
INT. JEFF'S APARTMENT - SUNSET - CLOSEUP
The two big profiles filling the screen. The girl kisses
Jeff firmly, but not passionately. Then her head moves back
an inch or two. She speaks.
LISA
(Softly)
How's your leg?
JEFF
Mmmm -- hurts a little.
LISA
And your stomach?
JEFF
Empty as a football.
LISA
And you love life?
JEFF
Not too active.
LISA
Anything else bothering you?
JEFF
Uh-huh.
She gives a low. Warm laugh, and the CAMERA PULLS BACK to
show that Lisa has been bending over Jeff's wheelchair from
the side. As she straightens up, it PANS her swiftly over to
the corner of the room, keeping her in big closeup. She turns
on a low, hanging light.
We see her full facial beauty for the first time. It is a
warm, intelligent face.
LISA
(As she moves)
Reading from top to bottom --
(Light on)
Lisa --
The CAMERA FOLLOWS HER quickly to another lamp. She gets a
little farther away from us so that we now see her down to
her waist. She turns on the second lamp and the light shows
us that her beauty is not alone in her face.
LISA
Carol --
The CAMERA PANS HER over to a third lamp which she turns on.
She is now full figure, beautifully groomed and flawless.
Her dress is high-style fashion and dramatic evening wear.
LISA
Fremont.
INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP
Jeff looks across the room at her.
JEFF
The Lisa Fremont who never wears the
same dress twice?
INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT
LISA
Only because it's expected of her.
She does a professional model's turn in the dress showing
off its features.
LISA
Right off the Paris plane. Think it
will sell?
INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP
Jeff replies:
JEFF
Depends on the quote. Let's see --
there's the plane tickets over, import
duties, hidden taxes, profit markups --
LISA
-- A steal at eleven hundred dollars.
JEFF
(A low whistle)
That dress should be listed on the
stock exchange.
LISA
We sell a dozen a day in this price
range.
JEFF
Who buys them? Tax collectors?
INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT
She laughs pleasantly.
LISA
Even if I had to pay, it would be
worth it -- just for the occasion.
She looks down at the long mahogany table beside her which
is littered with a number of his personal effects.
Her own handbag is also on the table. As she talks her eyes
scan the table as if she's looking for something specific.
JEFF
(Off -- puzzled)
Something big going on somewhere?
LISA
(Looking up from the
table)
Going on right here. It's a big night.
JEFF
(Off)
It's just a run-of-the-mill Monday.
The calendar's loaded with them.
Lisa finds what she has been looking for. Picks up an old
and cracked cigarette box, examines it as she talks.
LISA
It's opening night of the last
depressing week of L. B. Jefferies
in a cast.
JEFF
(Off)
Hasn't been any big demand for
tickets.
She turns to look at him, and moves toward him, carrying the
cigarette box.
LISA
(Smiling)
That's because I bought out the house.
This cigarette box has seen better
days.
INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT
Lisa facing Jeff in the chair.
JEFF
Picked it up in Shanghai -- which
has also seen better days.
LISA
It's cracked -- and you never use
it. And it's too ornate. I'm sending
up a plain, flat silver one -- with
just your initials engraved.
JEFF
Now that's no way to spend your hard-
earned money!
LISA
I wanted to, Jeff.
(A sudden intake of
breath)
Oh!
She turns around quickly and dashes to the door, dropping
the cigarette box on the table as she passes, THE CAMERA
PANNING with her. She goes up the two steps, stops, turns
back to Jeff.
LISA
What would you think of starting off
with dinner at the "21"?
INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP
JEFF
You have, perhaps, an ambulance
outside?
INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT
She reaches for the doorknob, turns it:
LISA
(Simply)
Better than that. The "21."
She swings open the door and stands to one side. Framed in
the doorway is middle-aged waiter wearing a white linen pea
jacket with a red collar. He's carrying in one hand a large
portable warming oven, and in the other hand an ice bucket
containing a bottle of wine covered with a napkin.
INT. JEFF'S APARTMENT - SUNSET - CLOSEUP
His reaction is one of tender amusement.
INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT
LISA
Thank you for waiting Carl.
He smiles, nods enters. He goes down the stairs, as she
follows. THE CAMERA GOES with both of them.
LISA
Kitchen's on the left. I'll take the
wine.
He hands her the wine bucket and she places it on the table.
He moves toward the kitchen.
CARL
Good evening, Mr Jefferies.
JEFF
Hello.
Carl goes into the kitchen.
LISA
(Up, to Carl)
Just put everything right in the
oven Carl. On "low."
CARL
(Off)
Yes ma'am.
LISA
(Enthusiastically)
Let's open the wine now. It's a
Montrachet.
JEFF
(Appreciatively)
A big glassful.
She moves to a small bar set in the wall cabinet.
Produces two glasses, hold them up.
LISA
Big enough?
JEFF
Fine. Corkscrew's on the right.
She finds it. Puts the glasses on the table, uncovers the
wine, and begins screwing in the corkscrew.
LISA
I couldn't think of anything more
boring and tiresome than what you've
been through. And the last week must
be the hardest.
JEFF
Yeah -- I want to get this thing off
and get moving.
LISA
(Struggling with cork)
Well, I'm going to make this a week
you'll never forget.
Carl comes out of the kitchen carrying the empty warming
oven. He sets it down he sees Lisa struggling with the
corkscrew.
CARL
Let me, madam.
She does. He takes out his own professional corkscrew, quickly
inserts it and levers the cork out. He deftly wraps the napkin
around the bottle and pours the wine, replacing the bottle
in the wine bucket. Lisa has opened her purse to produce
some money, in bills. She hands it to the waiter.
LISA
This will take care of the taxi as
well.
Carl, without looking at the money, puts it in his pocket.
CARL
Thank you, Miss Fremont.
He picks up the warning oven.
CARL
Have a pleasant dinner, Mr. Jefferies.
JEFF
Thank you.
Carl goes up the stairs and out the door, while THE CAMERA
REMAINS on Lisa and Jeff. She picks up both glasses of wine
and walks toward Jeff. She seats herself on the windowsill
as she hands him his glass. We notice that the outside is
considerably darker by now, and the lights are beginning to
come on in the various apartments outside. They raise their
glasses in a silent toast, and sip the wine. THE CAMERA CLOSES
IN until they are both in a tight TOW SHOT.
LISA
What a day I've had!
JEFF
Tired?
LISA
Not a bit. I was all morning in a
sales meeting. Then over to the
Waldorf for a quick drink with Madame
Dufresne -- just over from Paris.
With some spy reports. Back to the
"21" for lunch with the Harper's
Bazaar people -- that's when I ordered
dinner. Then two Fall showings --
twenty blocks apart. Then I had to
have a cocktail with Leland and Slim
Hayward -- we're trying to get his
next show.
(Softly, looking up
to him)
Then I had to dash back and change.
JEFF
(Mock seriousness --
one girl to another)
Tell me -- what was Slim Hayward
wearing?
LISA
(Seriously)
She looked very cool. She had on a
mint green --
She breaks off with a little laugh, and a slight reproachful
look at Jeff. She sips her drink then says:
LISA
And to think, I planted three nice
items about you in the columns today.
Jeff's opinion of that is a short chuckle.
LISA
You can't buy that kind of publicity.
JEFF
That's good news.
LISA
Someday you might want to open up
your own studio here.
JEFF
How could I run it from say --
Pakistan?
She puts down her glass and slides along the window seat
nearer to him, THE CAMERA CLOSING IN. She looks up at him
with a serious frankness.
LISA
Jeff -- isn't it time you came home?
You could pick your assignment.
JEFF
I wish there was one I wanted.
LISA
Make the one you want.
JEFF
(As if he can't believe
her)
You mean leave the magazine?
LISA
Yes.
JEFF
For what?
LISA
For yourself -- and me.
(She adds eagerly)
I could get you a dozen assignments
tomorrow... fashion, portraits --
Jeff interrupts her with soft laughter.
LISA
(Offended)
Don't laugh. -- I could do it!
JEFF
That's what I'm afraid of.
(He gazes into space)
Could you see me -- driving down to
the fashion salon in a jeep -- wearing
combat boots and a three day beard?
(He chuckles at the
thought)
LISA
I could see you looking handsome and
successful in a dark blue flannel
suit.
JEFF
(Looking directly at
her)
Let's not talk any more nonsense,
huh?
She stands up. THE CAMERA PULLS BACK.
LISA
I'd better start setting up for
dinner.
She moves away behind him, into the kitchen.
INT. JEFF'S APARTMENT NIGHT - SEMI-CLOSEUP
Jeff gives a sigh of relief, exhaling his breath, then looks
down toward his legs in thought. He holds this attitude for
just a moment, then seems to shake off his concern to lift
his head and turn his attention to what might be happening
in his neighborhood beyond his window.
Behind him we see the vague form of Lisa bringing in a card
table, which she proceeds to unfold.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
Jeff's attention is concentrated on an apartment we have not
seen before. This belongs to a single woman, about forty
years of age. She lives alone. Her apartment is below that
of the salesman with the invalid wife.
INT. JEFF'S APARTMENT - NIGHT - CLOSEUP
Jeff leans forward with increased interest. Behind him we
get vague figure of Lisa laying a cloth over the card table.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
A nearer view show us a more intimate picture of the woman
Jeff is concentrating on. She is thin and unattractive. At
the moment, she is putting on her make-up in front of the
bedroom mirror. She gives a half turn and picks up a pair of
horn-rimmed glasses, which she puts on, and leans nearer to
her mirror. She picks up a lipstick and proceeds to paint
her lips carefully.
Having completed her make-up, she takes off her glasses and
surveys her face in the mirror. She stands up, swings the
skirt of her dress around, admires herself in the mirror.
She is quite flat-chested, and the dress hangs unattractively.
She lifts her chin, gives one last look, and turns toward
her living room. As if she's preparing to meet someone.
INT. JEFF'S APARTMENT - NIGHT - CLOSEUP
Without taking his eyes from the scene, Jeff picks up his
wineglass and drinks. As he drinks, his eyes move slightly
over.
EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT
THE CAMERA HAS PANNED slightly to the woman's living room
window. A small, candle-lit table is set up, with dinner for
two. The spinster sweeps into the room, smiling. She goes to
the door, opens it, and in pantomime admits an imaginary
caller. She pretends to kiss him lightly, take his hat, and
place the hat on a chair. Then she shows him to a seat at
the table, disappears into an unseen kitchen and returns
with a bottle and two glasses. She sits down, pours two
drinks. She lifts her drink in a toast to the imaginary man
opposite her.
INT. JEFF'S APARTMENT - NIGHT - CLOSEUP
Jeff gives a faint, sympathetic smile, and subconsciously
raises his glass in response. In the background, Lisa, having
just placed a pair of candlesticks on the table, is returning
to the kitchen.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
Having finished her drink, the lonesome woman pours herself
another one. Then she starts to take a sip, smiling across
the table at her imaginary guest. She lowers the glass onto
the table. The smile fades from her face as her head drops.
Suddenly she buries her head in her arms over the table and
starts to sob.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff, his glass in hand, looks out sympathetically. He is
unaware that Lisa is standing behind him, and is also watching
this little drama.
LISA
That's what is know as "manless
melancholia."
JEFF
(Nods agreement)
Miss Lonely Hearts. At least that's
something you'll never have to worry
about.
LISA
Oh? You can see my apartment all the
way up on 63rd street?
JEFF
Not exactly -- but we have a little
apartment here that's probably about
as popular as yours.
(He points)
You, of course, remember Miss Torso.
Both of them swing their eyes a little to the left.
EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT
The kitchen-lining room combination of the ballet dancer's
apartment has now been made more presentable.
The ice box is now skillfully concealed by a large Chinese
screen. All kitchen utensils have been put away, replaced by
more attractive effects, and lamp light softens the
surroundings.
Miss Torso is now wearing a cocktail dress, which shows off
her figure to great advantage, especially when she leans
toward three assorted men to offer them a plate of hors d'
oeuvres. She is the perfect hostess, animated, charming, and
with an added personal touch for each guest. She is behaving
with a sophistication which was not apparent when we first
saw her in the morning. Her every movement is followed
admiringly by the eyes of the three men -- one wearing black
tie, with a touch of grey in his hair, a Long Island socialite --
a young rather handsome, actor in grey flannel suit -- and
last, a bright, pleasant, young man who might possibly be
from Wall street, wearing a blue-pin-striped suit. The latter
two are engaged in an animated conversation. The young man
in the grey suit is showing the other young man some newspaper
cuttings he's taken from his pocket.
Miss Torso sees that the cocktail glass of the third man is
empty. She takes it over to the window, and starts to fill
it. The man in the tuxedo follows her over, with a casual
glance toward the other two. He stands beside her as she
makes the drink. He looks at his watch with some impatience,
and makes a side comment to her as to the lateness of the
time. She turns, gives him a light kiss on his cheek, as if
she's telling him to be patient. Instead of pacifying him,
it makes him more amorous, and he puts an arm around her
shoulder an plants a heavy kiss on her cheek. She turns to
face him, they look into each other's eyes a moment, and she
allows herself to be kissed on the lips -- but only long
enough so as to attract the attention of the other two men.
With a little admonishing look, she moves away from him, and
makes him rejoin the other two.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff turns and looks up to Lisa with a grin.
JEFF
Well, she picked the most prosperous
looking one.
LISA
She's not in love with him -- or any
of them.
JEFF
How can you tell that -- from here?
LISA
You said it resembled my apartment,
didn't you?
She moves away with a significant look to him. THE CAMERA
MOVES IN until Jeff is in semi-closeup, alone.
He ponders over her last remark, then changes his look to
another direction.
EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT
The newlyweds's apartment has the shades still drawn.
Although there's a light burning inside.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
There is a slight, but warm, smile on Jeff's face as he looks
at the drawn shade. His eyes move away from the newlyweds'
apartment, and slowly explore the neighborhood to his right.
He finds something of interest, and stops to stare at it.
His face sobers at what he sees.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
The salesman's apartment. We see both the living room and
the bedroom. The salesman has prepared a dinner tray, and is
carrying it from the kitchen, through the lining room, into
the bedroom. He places it on the lap of his wife, sitting up
in bed. He puts a couple of pillows behind her back to make
her more comfortable.
She doesn't bother to thank him, but is busy examining the
content of the tray. Her attitude shows her dissatisfaction.
Nothing is right. It's not what she wanted, and it's badly
prepared. She begins criticizing him. He starts to answer
her back, but decides better of it, and instead, leaves the
room. He goes to the kitchen reaches up to a wall cabinet,
takes down a bottle and pours himself a drink. Then he returns
to the lining room, listens a moment. The wife is grudging
beginning to eat the dinner. The husband quietly lifts a
phone from the cradle, and dials a number.
INT. JEFF'S APARTMENT - NIGHT - CLOSEUP
Jeff becomes completely absorbed with he sees. He leans
forward a little.
EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT
We get a better view of the salesman waiting while his
connection is being made. Whoever he has called answers. And
instantly there is a marked change in his attitude. He
relaxes, smiles, is warm. He talks softly, perhaps guardedly,
with an occasional glance at the bedroom door. In the bedroom,
his wife has become aware of the call.
Quietly she moves the tray, gets out of bed, and goes to the
bedroom door to listen. The wall hides her from our view.
Then suddenly, she apparently opens the door, because the
living room, we see her arm suddenly appear, pointing at the
man and the telephone. He speaks quickly into the phone, and
hangs up. His face is flushed and angry as he goes toward
the bedroom. In the bedroom his wife appears walking back to
the bed, followed by the husband. She is laughing, and he is
answering her in angry tones. She climbs in bed laughing.
The more she laughs, the more angry he gets, and the harder
she laughs. Finally, he leaves the room, goes into the living
room, back into the kitchen and has another drink. He stands
there, controlling an outburst of emotion, and seems almost
to be crushing the shot glass in his clenched fist.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
While Jeff has been engaged in watching this little drama,
the SOUND of a piano has started. He now diverts his attention
from the salesman's apartment to the source of the piano
music. He turns his eyes in the direction of the composer's
apartment.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
Through the studio window of the song-writer's apartment we
see the man at work again on his original melody, and he is
farther along the line of the melody than before.
It is beginning to take some shape, and give promise of its
full beauty.
...continue to part 4
