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Scripts: Rear Window (final draft, 01/Dec/1953) - part 4

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff, listening to the composer. His head turns as Lisa's 
    voice comes over:

                          LISA
                   (Emerging from kitchen)
              Where's that music coming from?

    THE CAMERA QUICKLY PULL BACK as Jeff swings his chair around. 
    Lisa is emerging from the kitchen, carrying the serving dish 
    of their lobster thermidor.

                          JEFF
              Oh... some songwriter. In the studio 
              apartment. Lives alone. Probably had 
              an unhappy marriage.

                          LISA
                   (Putting down the food)
              I think it's enchanting.

    She pulls up a chair and seats herself at the card table. We 
    now observe that two small lit candles adorn the table, and 
    the rest of the room lights are out.

                          LISA
              Almost as if it were being written 
              especially for us.

                          JEFF
                   (Pleasantly)
              No wonder he's having so much trouble 
              with it.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    A faint shade of disappointment is seen on Lisa's face; but 
    she quickly recovers and looks down at the table.

                          LISA
              Well, at least you can't say the 
              dinner isn't right.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff looks at her soberly.

                          JEFF
              Lisa, it's perfect
                   (Looks down at the 
                   food, without enthusiasm)
              As always.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    The brightness drains from Lisa's face, and she lowers her 
    eyes slowly toward the table.

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa slowly helping Jeff to lobster from the main dish.

                                                LAP DISSOLVE TO:

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Shooting over Jeff's shoulder we see beyond him the divan-
    bed upon which Lisa is stretched out. There is one light 
    burning, behind Lisa's head. A fierce discussion is in 
    progress. Lisa gesticulates with her hands, body and legs.

                          LISA
              There can't be that much difference 
              between people and the way they live! 
              We all eat, talk, drink, laugh, sleep, 
              wear clothes --

    Jeff raises both his hands.

                          JEFF
              Well now, look --

    Lisa draws back one leg, and points a finger challengingly.

                          LISA
              If you're saying all this just because 
              you don't want to tell me the truth, 
              because you're hiding something from 
              me, then maybe I can understand --

                          JEFF
              There's nothing I'm hiding. It's 
              just that --

                          LISA
                   (Won't let him break in)
              It doesn't make sense to me. What's 
              so different about it here from over 
              there, or any place you go, that one 
              person couldn't live in both places 
              just as easily?

                          JEFF
              Some people can. Now if you'll let 
              me explain --

                          LISA
                   (Ignores him)
              What is it but traveling from one 
              place to another, taking pictures? 
              It's just like being a tourist on an 
              endless vacation.

                          JEFF
              All right. That's your opinion. You're 
              entitled to it, but --

                          LISA
              It's ridiculous for you to say that 
              it can only be done by a special, 
              private little group of anointed 
              people.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff begin to get desperate.

                          JEFF
              I made a simple, but true statement 
              and I'll back it up, if you'll just 
              shut up for a minute!

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa, stretched out on the divan. She looks at him for a 
    moment without speaking. Then:

                          LISA
              If your opinion is as rude as your 
              manner, I'm not sure I want to hear 
              it.

    We see Jeff's hand coming to the foreground with a restraining 
    gesture.

                          JEFF
                   (Soothing her)
              Lisa, simmer down -- will you?

                          LISA
                   (Something starts her up again)
              You can't fit in here -- I can't fit 
              in there. According to you, people 
              should be born, live an die on the 
              same --

                          JEFF
                   (Loud, sharp)
              Lisa! Shut up!

    Lisa turns on her side, and stares into the room, angrily.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    After a moment of silence, Jeff says earnestly:

                          JEFF
              Did you ever eat fish heads and rice?

                          LISA
              Of course not.

                          JEFF
              You might have to, if you went with 
              me. Ever try to keep warm in a C-54, 
              at fifteen thousand feet, at twenty 
              below zero?

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Lisa, still looking out into the room, and without turning, 
    says:

                          LISA
              Oh, I do that all the time. Whenever 
              I have a few minutes after lunch.

                          JEFF
              Ever get shot at, run over, sandbagged 
              at night because people got 
              unfavorable publicity from your 
              camera?

    She doesn't answer, obviously annoyed at the unnecessary 
    questions.

                          JEFF
              Those high heels would be a lot of 
              use in the jungle -- and those nylons 
              and six-ounce lingerie --

                          LISA
                   (Quickly)
              Three.

                          JEFF
              Well, they'd be very stylish in 
              Finland -- just before you froze to 
              death. Begin to get the idea?

    She turns at last, and looks across at him.

                          LISA
              If there's one thing I know, it's 
              how to wear the proper clothes.

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff 
    in the chair beyond. Jeff says, as if remembering some old 
    experience:

                          JEFF
              Huh? Try and find a raincoat in 
              Brazil. Even when it isn't raining
                   (Squints at her)
              Lisa, on this job you carry one 
              suitcase. Your home is the available 
              transportation. You sleep rarely, 
              bathe even less, and sometime the 
              food you even look at when they were 
              alive!

                          LISA
              Jeff, you don't have to be 
              deliberately repulsive just to impress 
              me I'm wrong.

                          JEFF
              If anything, I'm making it sound 
              good.
                   (A thoughtful pause)
              Let's face it, Lisa... you aren't 
              made for that kind of a life. Few 
              people are.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Lisa realizes she is getting nowhere.

                          LISA
              You're too stubborn to argue with.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff, getting angry.

                          JEFF
              I'm not stubborn! I'm truthful!

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

     Lisa, with sarcasm.

                          LISA
              I know. A lesser man would have told 
              me it was one long holiday -- and I 
              would have awakened to a rude 
              disillusionment.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff is definitely angry.

                          JEFF
              Now if you want to get vicious, I'd 
              be very happy to accommodate you!

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Lisa starts to rise from the divan, THE CAMERA PANNING UP. 
    She moves away from THE CAMERA into the center of the room, 
    as she says:

                          LISA
                   (Wearily)
              No. I don't particularly want that.
                   (She turns, faces him)
              So that's it. You won't stay here -- 
              I can't go with you.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff looks across at her with some concern.

                          JEFF
              It would be the wrong thing.

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa, from Jeff's viewpoint.

                          LISA
              You don't think either one of us 
              could ever change?

                          JEFF
              Right now, it doesn't seem so.

    Lisa begins to move around the room assembling her possessions 
    preparatory to leaving. She puts a comb, and other effects, 
    into a handbag. She gets her stole.

    All this as she talks.

                          LISA
                   (Simply)
              I'm in love with you. I don't care 
              what you do for a living. Somehow I 
              would just like to be part of it.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff starts to say something then thinks better of it, and 
    remains silent.

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa pauses in the act of gathering her things together.

                          LISA
              And it's deflating to find out that 
              the only way I can be part of it -- 
              is to take out a subscription to 
              your magazine. I guess I'm not the 
              girl I thought I was.

                          JEFF
              There's nothing wrong with you, Lisa. 
              You have the town in the palm of 
              your hand.

                          LISA
                   (Looks at Jeff)
              Not quite -- it seems.
                   (Tosses a stole over 
                   her shoulder)
              Goodbye, Jeff.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

                          JEFF
              You mean "goodnight."

                          LISA
              I mean what I said.

    Jeff's eyes follow her up the steps toward the door. He calls 
    out to her, impulsively, as we HEAR the SOUND of the door 
    opening.

                          JEFF
              Lisa!

    INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT

    Lisa turns in the half-opened door.

                          JEFF
              Can't we just sort of keep things 
              status quo?

                          LISA
              Without any future?

    INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT

    Jeff tries to be pleasant, and offhand.

                          JEFF
              Well -- when'll I see you again?

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Lisa, standing in the open doorway.

                          LISA
              Not for a long time. Not, at least 
              until --
                   (She begins smiling)
              -- tomorrow night.

    Continues smiling as she close the door softly behind her.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    The pleasantness on Jeff's face slowly melts into baffled 
    discouragement. He reaches for a nearby phone picks up the 
    receiver, dials. It buzzes on filter.

    Receiver up on filter.

                          GUNNISON
                   (Filter)
              Hello.

                          JEFF
              Gunnison?

                          GUNNISON
              Yeah. Is that you, Jeff?

                          JEFF
              It's me.

                          GUNNISON
              Something wrong?

                          JEFF
              The word is "everything." Now what 
              time does my plane leave Tuesday?

                          GUNNISON
                   (Unhappy)
              Jeff --

                          JEFF
                   (Won't give him time 
                   to argue)
              I don't care where it goes -- just 
              as long as I'm on it.

                          GUNNISON
                   (Wearily, after pause)
              Okay. Indo-China. Tuesday. We'll 
              pick you up.

                          JEFF
              That's more like it. Goodnight, old 
              buddy.

                          GUNNISON
              Yeah.

    Jeff hangs up, looks up to the door through which Lisa left. 
    He's not particularly happy.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff returns to the window. He lights a cigarette and smokes 
    it peacefully, as he contemplates the neighborhood.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The CAMERA slowly sweeps over the various apartments with an 
    odd window lit here and there. In the distant street there 
    is still some traffic passing, with one or two pedestrians 
    going by. THE CAMERA completes its sweep, and starts to move 
    back again. Somewhere a dog howls. The PANNING CAMERA comes 
    to a sudden halt.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff smiles a little, but as the howl continues, his 
    expressions sobers. His eyes begin to scan the neighborhood, 
    as if looking for the source. He fails to find it, and sits 
    there, puzzled and disturbed. The scene, and the sound of 
    the dog:

                                                       FADE OUT:

    FADE IN:

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff's chair is turned facing the window so that we see the 
    darkened room behind him. There is just one side light 
    burning, which illuminates the side of his face.

    His head nods sleepily as he dozes. He opens his eyes and 
    looks out, as a slight sound of rain starts.

    EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

    From his viewpoint we see the first few drops of rain starting 
    to fall. It is sort, gentle rain, not a downpour. There are 
    still some windows lit in the neighborhood. The apartment 
    house corridors all have small night lights burning.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff wakens a little more fully as his attentions is drawn 
    to:

    EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

    The couple who sleep on the fire escape. The increasing rain 
    cause them to hastily gather their things to retreat inside. 
    The man, hurriedly untying the alarm clock from the railing 
    of the fire escape, lets it slip through his fingers. As if 
    falls to the garden below, the CAMERA FANS SWIFTLY down with 
    it. When the clock hits the ground, the alarm goes off sending 
    a shrill sound through the neighborhood.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff smiles at the incident, and then lowers his eyes slightly 
    as something else catches his attention.

    EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

    Coming out of his apartment into the corridor on the floor 
    below is the salesman with the nagging wife. The shades are 
    drawn in his apartment, but a light burns dimly behind them. 
    The salesman carries a large aluminum suitcase -- the same 
    one we saw him with earlier in the day. The sound of the 
    alarm startles him. He turns toward the window a moment 
    listening. Then reassured that is is nothing important, he 
    turns and moves down the corridor.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff is puzzled. He looks down a moment in thought. Then he 
    darts his eyes and swings them toward the left.

    He looks steadily toward the distant street corner.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The street corner, lighted by a lamp, is deserted. A moment 
    later, the salesman, still carrying the suitcase, moves 
    diagonally across the corner, head down against the rain.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    Jeff looks wonderingly at this nocturnal activity. Then he 
    looks down at his wristwatch.

    INSERT

    Jeff's watch reads 1:55.

                                                 QUICK FADE OUT:

    QUICK FADE IN:

    INSERT

    The watch now reads 2:35.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    More puzzled, allows his eyes to travel from the street to 
    the apartment corridor.

    EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

    The salesman is see coming down the corridor to his apartment, 
    still carrying the aluminum case. He quickly enters his 
    apartment door in a business-like manner.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff starts to assume a thoughtful air, when he is startled 
    by a light which falls across his face from the right. He 
    looks toward the light.

    EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

    The light comes from the song-writer's apartment. His door 
    is open, and he is hanging onto the door frame, his hand 
    still on the light switch. He surveys his apartment. He 
    appears rather drunk. He comes into the apartment, closes 
    the door behind him, and sways a little. He wears a hat, 
    pushed back on his forehead, and no raincoat. His clothes 
    are quite wet. He might have even fallen.

    He looks disgustedly at the piano, then lurches toward it. 
    There is no doubt now as the state of his drunkenness. At 
    the piano he viciously sweeps all the note paper off the 
    music stand. This seems to give him some satisfaction, but 
    he loses his balance, twists sideways, and fall into a nearby 
    chair. He remains there, bleary-eyed and a little sick.

    INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

    What he has observed seems to give Jeff an idea. He moves 
    his wheelchair backward and to the left alongside the side 
    board. Awkwardly, with his left hand, he reaches up for a 
    bottle of whiskey. He cradles the bottle in his lap, and 
    reaches for a tumbler. He then wheels back to the window, 
    and pours himself a good, long drink. He lifts up the glass, 
    starts to drink, but something happening beyond his window 
    startles him and he stops in the middle of his drink, his 
    eyes a little wider then usual.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The salesman is again leaving his apartment with his aluminum 
    suitcase.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff's eyes travel down to the street.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    A brief moment or two. Then the salesman, carrying his 
    aluminum case, crosses the street.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff's face is expressionless. He just stares.

                                                       FADE OUT:

    FADE IN:

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff's head is nodding and dozing again. The side light from 
    the song-writer's apartment is no longer on his face. Jeff's 
    eyes open, then his head comes up quickly, trying to clear 
    the sleep from his mind, as he remembers the object of his 
    vigilance.

    EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

    The salesman's apartment shows the shades drawn and a dim 
    light burning behind them. The CAMERA PANS to the empty 
    corridor.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff's eyes turn sharply in the direction of the street.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The street is deserted. At the right hand side of the screen 
    a light goes on. THE CAMERA PANS OVER and we see that Miss 
    Torso has returned from her date. She is wearing a three-
    quarter length coat over her evening dress. She is inside, 
    with the door two-thirds closed, but she leans out to kiss 
    someone goodnight. Then it takes some coaxing to get the 
    door completely closed.

    She turns the key in the lock. She listens a moment then 
    comes to the center of the room. She takes her coat off and 
    drapes it over chair. She removes the screen in front of the 
    ice box, then opens the ice box.

    She searches it for something to eat; finds a big piece of 
    pumpkin pie. She closes the ice box. She starts to eat the 
    pie as she moves in the direction of the bathroom. Stopping 
    a moment, she puts the piece of pie on a table, and proceeds 
    to take off her dress. Undoing the zippers, she slides it 
    over her head as she passes into the bathroom. The dress is 
    thrown on a nearby chair, and the bare arm picks up a piece 
    of pie. She is now in the bathroom. We see her slip down the 
    brassiere straps, but the window does not permit us to see 
    any lower. As she munches on the pie, she pulls out a few 
    pins holding up her hair, which she proceeds to brush 
    rhythmically. She turns and moves down her bare back.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff's eyes suddenly switch to the street.

    EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT

    We catch a quick glimpse of the salesman, just passing the 
    alleyway, suitcase in hand. The CAMERA PANS across the ballet 
    dancer's apartment, over to the salesman's apartment. It 
    waits, until he appears in the corridor.

    He enters his apartment.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff sits in his wheelchair, looking quietly out at the 
    neighborhood, sleep beginning to take hold on him again.

    EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

    THE CAMERA PANS slightly over the whole of the neighborhood. 
    The lights in Miss Torso's apartment snap out. Only one light 
    remains. It burns behind the drawn shades of the salesman's 
    apartment.

                                                       FADE OUT:


...continue to part 5