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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