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Scripts: Rear Window (final draft, 01/Dec/1953) - part 5

    FADE IN:

    INT. JEFF'S APARTMENT - DAWN - CLOSEUP

    A big head of Jeff. He is still in his wheelchair, sound 
    asleep. The CAMERA PANS off his face, out through the window. 
    The rain has stopped, and the general light of dawn is coming 
    up. The CAMERA COMES TO REST on the salesman's apartment and 
    corridor, which is still dimly lit by the electric lights. 

    We see the salesman emerge into the corridor, pause a moment 
    to allow a woman to proceed him. Her back is to the CAMERA 
    and we do not see her face. They move away, down the corridor. 
    The CAMERA PANS BACK into Jeff's sleeping face.

                                                       FADE OUT:

    FADE IN:

    EXT. NEIGHBORHOOD - DAY - LONG SHOT

    It is now mid-morning. The sun is shining. Miss Torso is 
    practicing her dance to the sound of ballet music.

    We can hear the song-writer at work, but the thing that 
    attracts our attention mostly, is some action that emanates 
    from the fire escape where the couple sleep at night. On a 
    long rope, the woman is lowering an open wicker basket in 
    which sits a small dog. When is reaches the yard below, the 
    CAMERA PANNING DOWN, the dog steps out and runs off to explore 
    the yard. The woman pulls up the basket, and leaves it on 
    the fire escape. The CAMERA PULL BACK into Jeff's apartment 
    where Stella is busy massaging Jeff's back at he lies face 
    down on the divan.

                          STELLA
              You'd think the rain would have cooled 
              things off. All it did was make the 
              heat wet.

    Stella hits a sore muscle in Jeff's back. He jumps.

                          JEFF
              That's a stiff one.

    INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

    A low camera has Jeff's head on the foreground, with Stella 
    just behind him, at work on his back. She attacks the sore 
    muscle vigorously.

                          STELLA
              The insurance Company would be a lot 
              happier if you slept in your bed, 
              not the wheelchair.

                          JEFF
                   (Between clenched 
                   teeth)
              How did you know!

                          STELLA
              Eyes bloodshot. Must have been staring 
              out the window for hours.

                          JEFF
              I was.

                          STELLA
                   (Massaging harder)
              What'll you do if one of them catches 
              you?

                          JEFF
              Depends one which one.

    She stops massaging, reaches for the oil.

                          JEFF
              Now Miss Torso, for example --

    Stella hits his back with a palmful of cold oil. It takes 
    his breath.

                          STELLA
              Keep your mind off her.

                          JEFF
              She's real eat, drink and be merry 
              girl.

                          STELLA
              And she'll end up fat, alcoholic and 
              miserable.

                          JEFF
              Speaking of misery, Miss Lonely Hearts 
              drank herself to sleep again. Alone.

                          STELLA
              Poor girl. Someday she'll find her 
              happiness.

                          JEFF
              And some man will lose his.

                          STELLA
              Isn't there anyone in the neighborhood 
              who might cast an eye in her 
              direction?

                          JEFF
              Well, the salesman could be available 
              soon.

                          STELLA
                   (Interested in the 
                   scandal)
              He and his wife splitting up?

                          JEFF
              It's hard to figure. He went out 
              several time last night, in the rain 
              carrying his sample case.

                          STELLA
                   (So?)
              Isn't he a salesman?

                          JEFF
              Now what could he sell at three in 
              the morning?

                          STELLA
                   (Shrugs)
              Flashlights. Luminous dials for 
              watches. House numbers that light 
              up.

                          JEFF
              He was taking something out of the 
              apartment. I'm certain.

    She helps him to a sitting position.

                          STELLA
              His personal effects. He's probably 
              running away -- the coward.

                          JEFF
              Sometimes it's worse to stay than it 
              is to run.

                          STELLA
                   (Looks at him)
              But it takes a particularly low type 
              of man to do it.

    Jeff turns his head away for a moment. She helps him into 
    the chair. Hands him his shirt, which he proceeds to put on. 
    The back of his chair is to the window.

                          STELLA
                   (Putting oil and power 
                   away)
              What about this morning? Any 
              developments?

                          JEFF
              No. The shades are still drawn in 
              their apartment.

                          STELLA
                   (stops)
              In this heat?
                   (Turns, looks over 
                   his shoulder)
              They're up now.

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

    He quickly turns his wheelchair around to the window until 
    he is in profile.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    The salesman, having just raised the shades in the living 
    room, is now looking out the window. It is not a casual look, 
    but a long, careful, searching appraisal of all the apartment 
    house windows in his neighborhood, starting from his left to 
    his right. His eyes move closer toward Jeff's apartment.

    INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

    Jeff in his chair, facing the window, Stella beside him. 
    Jeff nearly knocks the startled Stella off her feet with his 
    arm.

                          JEFF
              Get back! Out of sight! Quick!

    He propels his chair backward quickly, and Stella moves to 
    the side with surprising agility. They are both in shadow.

                          STELLA
                   (A startled whisper)
              What is it? What's the matter?

    Jeff keeps his eyes trained on the window.

                          JEFF
                   (Quietly)
              The salesman's looking out his window.

    Stella relaxes, gives Jeff a disgusted look, and starts to 
    move out of the shadows.

                          STELLA
              A Federal offense.

                          JEFF
                   (Sharply)
              Get back there! He'll see you!

    She moves back into the shadows.

                          STELLA
              I'm not shy. I've been looked at 
              before.

                          JEFF
                   (Still peering toward 
                   window)
              It's not an ordinary look. It's the 
              kind of look a man gives when he's 
              afraid somebody might be watching 
              him.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    The salesman completes his searching glance at the 
    neighborhood. Then something directly below his window catches 
    his attention. He looks sharply downward, his body visibly 
    tensing.

    INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

    Jeff, with a restraining hand to Stella, begins to edge his 
    chair cautiously forward so that he can see what the salesman 
    is looking at.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    THE CAMERA MOVES FORWARD, and as it reaches the edge of the 
    window, PANS DOWN and shows us what the salesman is looking 
    at. The little dog that was lowered in the basket is sniffing 
    at the salesman's personal flower bed.

    INT. JEFF'S APARTMENT - DAY - CLOSEUP

    Jeff's eyes move up quickly to look at the salesman.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    The salesman leans forward and grips the window sill as he 
    watches the dog. The CAMERA PANS DOWN and we now see that 
    the old lady with the hearing aid is leaning over the fence 
    admonishing the dog. We can faintly hear her voice saying 
    something to the effect that he'll get into trouble. The dog 
    turns to glance at her and apparently taking heed, moves 
    away. The old lady is wearing a faded house-robe.

    INT. JEFF'S APARTMENT - DAY - CLOSEUP

    Jeff is amused at the dog incident. Behind him, Stella moves 
    to the center of the room, saying:

                          STELLA
              Goodbye, Mr. Jefferies. I'll see you 
              tomorrow.

                          JEFF
                   (Grunts)
              Uh-huh.

    She begins putting her equipment back into her black bag. 
    Jeff's eyes lift to the salesman's apartment, and the 
    amusement drains from his face. He leans forward a little, 
    tensely.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    The salesman has his aluminum case on the table near the 
    center of the room. He is carefully wiping out the interior 
    with dust cloth.

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

    Jeff watching intently. Stella putting the last of her things 
    into her bag.

                          STELLA
              And don't sleep in the chair again.

    Jeff continues to what the salesman, his face showing a great 
    concentration of thought.

                          JEFF
              Uh-huh.

    Stella picks up her bag, stares at Jeff's back a moment, 
    then starts for the door.

                          STELLA
              Uh-huh. Uh-huh. Great 
              conversationalist.

    Jeff swings half-way around in his chair just as Stella 
    reaches the top of the steps.

                          JEFF
              Stella. 

    She turns around. Jeff points to a coat-stand near the door.

                          JEFF
                   (Goes on quickly)
              Will you take those binoculars out 
              of the case and bring them to me.

    She puts down her bag, reaches for the binoculars, takes 
    them out the case. She comes down the stairs, brings them to 
    him. He immediately swings to the window, and lifts them to 
    his eyes. Stella sniffs, then goes to the door, as she says:

                          STELLA
              Trouble. I cam smell it. I'll be 
              glad when they crack that cast, and 
              I get out of here.

    As Stella goes out the door, the CAMERA MOVES IN until Jeff's 
    head, and the binoculars, are filling the screen.

    EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

    The salesman has completed his cleaning of the case. He is 
    in the act of placing it on the floor. He turns and again 
    glances out of the window.

    INT. JEFF'S APARTMENT - DAY - CLOSEUP

    Jeff quickly lowers the binoculars and edges back a few 
    inches. He watches a moment, then cautiously lifts the 
    binoculars again.

    EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY)

    The man is now moving out of the living room, and the 
    binoculars PAN him though to the small kitchen which is seen 
    through a side window.

    The man starts to busy himself in this kitchen with his back 
    to us, but the image is very unsatisfactory.

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

    Jeff lowers the binoculars and there is an expression of 
    exasperation on his face. He throws the binoculars down, and 
    then looks about him. He backs his chair up quickly toward 
    the main cabinet on his left. He leans down, opens a cupboard 
    door and takes out a long-focus lens. Then from a shelf above 
    he takes a small Exacta camera. He quickly takes off the 
    existing lens and puts on the telephoto lens in its place. 
    He wheels himself back to the window and raises the camera 
    to his eye.

    EXT. NEIGHBORHOOD - DAY - CLOSE SHOT

    Through the view-finder of the camera, we are now brought 
    into close proximity with the salesman in his little kitchen. 
    His back is still to us. He half-turns and takes a used 
    newspaper. He spreads it open, along the drainboard. From 
    the sink he takes out a large butcher's knife, and a long, 
    narrow saw. They disappear from sight as he lays them on the 
    newspaper and proceeds to wrap them up. Having completed his 
    job, he emerges from the kitchen carrying the newspaper-
    wrapped parcel.

    For a moment he is lost behind the wall that separates the 
    kitchen recess from the living room. He does not reappear 
    for a moment.

    INT. JEFF'S APARTMENT - DAY - CLOSEUP

    Jeff lowers the camera for a moment, and watches tensely. 
    Suddenly he puts it up to his eye again.

    EXT. NEIGHBORHOOD - DAY - CLOSE SHOT

    Half of a man's body is now seen in the living room.

    Then the salesman turns and moves to the center of the room. 
    He is not carrying anything. He sits down on a couch, with a 
    display of fatigue. He yawns and stretches out of sight at 
    full length on the couch.

    INT. JEFF'S APARTMENT - DAY - CLOSEUP

    Jeff lowers the camera. He watches the living room for a 
    moment. Then his eye travels briefly back to the kitchen; 
    then return to the living room. His brow knits a little as 
    we:

                                                       FADE OUT:

    FADE IN:

    EXT. NEIGHBORHOOD - NIGHT - CLOSEUP

    The thermometer outside of Jeff's window, registering 83 
    degrees. The CAMERA PANS OFF to the left until it comes to 
    rest on the song-writer's studio. He is dressed only in 
    bathing trunks, and is vigorously cleaning his rug with a 
    carpet sweeper. In the middle of his sweeping, he stops, 
    hurries a step or two to the piano. He plays a couple of 
    notes with one hand, while he stands.

    Listens, plays them again. Decides they are no good, and 
    returns to his carpet sweeping.

    THE CAMERA PANS FARTHER LEFT to the salesman's apartment. 
    There are no lights burning behind the drawn shade of the 
    bedroom, but the living room and the kitchen are lighted. 
    There is no sign of the salesman.

    THE CAMERA CONTINUES ITS PAN to the left, to include the 
    couple who sleep on the fire escape in the hot weather.

    We now get an opportunity to examine these people more 
    closely. The man is balding, and middle-aged. He is wearing 
    striped pajamas. He is in the act of laying out the mattress. 
    His wife is slightly younger, peroxided, faded show girl 
    type. Also wearing pajamas, with a fluffy handkerchief in 
    the left pocket, the wife is leaning over the railing holding 
    onto the rope which leads to the dog's basket now on the 
    floor of the courtyard. Having been a one-time siffleuse, 
    her call to the dog is clarion and melodic.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The little dog emerges reluctantly from the shadows, and 
    steps into the basket. It begins to move upward, and THE 
    CAMERA FOLLOWS it. When the basket reaches the fire escape, 
    THE CAMERA PANS ON to the apartment of Miss Torso. She is in 
    the bathroom brushing her long hair, while her thoughts seem 
    to be far away.

    THE CAMERA DROPS DOWN to the apartment below, occupied by 
    the elderly lady with the hearing aid. For the first time we 
    see something of her activities inside the apartment. She 
    wears a short smock, although her legs are still bare. She 
    is hard at work on a piece of abstract sculpture. It takes 
    the form of a piece of mahogany through which a simple hole 
    has been carved.

    THE CAMERA MOVES ON much farther to the left, and eventually 
    comes to rest on the newly-weds' apartment with the shade 
    still drawn.

    It MOVES ON and at last passes though Jeff's window, and 
    comes to rest on the two bid heads of Jeff and Lisa.

    Her lips are brushing lightly against his cheek as she speaks:

                          LISA
              How far does a girl have to go -- 
              before you notice her?

    Jeff moves his eyes slightly to something outside the window.

                          JEFF
              If she's pretty enough, she doesn't 
              have to go anywhere. She just has to 
              "be".

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    The salesman's apartment, just as we saw it a moment ago. 
    The shades drawn and lights out in the bedroom, the shade up 
    and lights on in the living room and kitchen. Still no one 
    in sight.

                          LISA
              Well, "ain't I?" -- Pay attention to 
              me.

    INT. JEFF'S APARTMENT - NIGHT - TWO SHOT

    We are now able to see that Jeff's apartment is in darkness, 
    only faintly lit from the distant light of the neighbors' 
    window. By her position, Lisa is seated on Jeff's sound knee, 
    her arms around his neck.

                          JEFF
              I'm not exactly on the other side of 
              the room.

                          LISA
              Your mind is. And when I want a man, 
              I want all of him.

    She starts kissing him.

                          JEFF
              Don't you ever have any problems?

                          LISA
                   (Murmurs, kissing him)
              I have one now.

                          JEFF
              So do I.

                          LISA
                   (Kissing)
              Tell me about it.

                          JEFF
                   (Slight pause)
              Why would a man leave his apartment 
              three times, on a rainy night, with 
              a suitcase? And come back three times?

                          LISA
              He likes the way his wife welcomes 
              him home.

                          JEFF
              Not that salesman's wife. And why 
              didn't he go to work today?

                          LISA
              Homework. It's more interesting.

                          JEFF
              What's interesting about a butcher's 
              knife and a small saw wrapped up in 
              a newspaper?

                          LISA
              Nothing, thank heaven.

                          JEFF
                   (Looking again)
              Why hasn't he gone into his wife's 
              bedroom all day?

                          LISA
              I wouldn't dare answer that.

                          JEFF
                   (After pause)
              Lisa -- there's something terribly 
              wrong.

    She gives up trying to interest him in romance, and moves 
    back from the embrace. THE CAMERA PULL BACK.

                          LISA
              And I'm afraid it's with me.

    Lisa stands, straightens out her dress, stretches a little 
    then she turns to the divan, apparently not too interested 
    in his observation about the salesman's life.

                          JEFF
                   (Looks at Lisa)
              What do you think?

                          LISA
                   (Without returning 
                   his look)
              Something too frightful to utter.

    Jeff is thoughtful for a moment, then he relaxes and smiles 
    a little. He turns to the window to look out again. Lisa 
    exits the picture.

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa stretches herself out on the divan. Her head rest on 
    the cushion at the far end, and she instinctively falls into 
    an attractive pose. However, her expression is disturbed as 
    she watches Jeff.

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

    He stares intently out the window.

                          JEFF
              He went out a few minutes ago -- in 
              his undershirt -- and he hasn't come 
              back yet.

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

    Lisa weighs this information, trying to make some sense out 
    of it.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff turns his eyes from the salesman's apartment, and looks 
    down reflectively. He looks up again, and then his eyes 
    catches sight of something. He leans forward slightly.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    Miss Torso is lying, face down, on her divan bed. The only 
    light in the apartment is from a reading lamp. She is reading 
    a book held in one hand, while eating a sandwich in another.

    Her back is bare, and all she wears is a pair of brief dark 
    blue shorts. At one point, she lifts her torso up slightly 
    to brush crumbs out from beneath her.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    He looks away from Miss Torso, thoughtfully.

                          JEFF
              You know -- that would be terrible 
              job to tackle.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Lisa leans forward and looks out the window to see what Jeff 
    is referring to. She turns back to him with a blank stare.

    INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

    Jeff turns and looks at her, quite unaware of her surprise 
    at his comment.

                          JEFF
              How would you begin to cut up a human 
              body?

    INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

    Lisa sits bolt upright on the divan. She reaches back quickly 
    and pulls on the overhead light. At that moment the songwriter 
    returns to his composing. We can see him over Lisa's shoulder. 
    He is beginning his song again, and it has taken on new 
    fullness and melody.

    Although it is not complete, it is farther along then before, 
    and he plays his theme a number of different ways, trying to 
    move it note by note to its completion.

    Lisa just stares at Jeff for a moment.

                          LISA
              Jeff -- I'll be honest with you -- 
              you're beginning to scare me a little.

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

    Jeff is staring out of the window again. Over this we hear 
    Lisa's voice:

                          LISA
                   (Quietly insistent)
              Jeff -- did you hear what I said? 
              You're beginning to --

    Jeff puts out a restraining hand.

                          JEFF
                   (Interrupting)
              Be quiet! Shhh!
                   (Pause)
              He's coming back!

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    At last the salesman is seen coming along the corridor.

    He does not wear shirt, but only an undershirt. Slung over 
    one shoulder, with his arm through is, is a large coil of 
    sturdy rope. He goes through the living room into the bedroom. 
    He does not put on the bedroom lights.

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

    Jeff reaches quickly for his binoculars, and trains them on 
    the salesman's apartment.

    EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

    As seen though the binoculars, the salesman comes out of the 
    bedroom, to the kitchen, where he gets a carving knife. He 
    turns around and goes back to the bedroom.

    The lights go on behind the draw shades, after a short moment. 
    The dim shadow of the salesman is seen moving around the 
    room.



...continue to part 6