Scripts: Rear Window (final draft, 01/Dec/1953) - part 7
INT. JEFF'S APARTMENT - DAY - CLOSEUP
Jeff's attention is drawn to something in the yard below.
EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT
The little dog is busily scratching away at Thorwald's pet
flower bed.
INT. JEFF'S APARTMENT - DAY - CLOSEUP
Jeff smiles mischievously. Suddenly his face changes as he
sees:
EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT
Thorwald coming out of his basement door, carrying a watering
can. He fills it from a nearby faucet. He does not notice
the little dog's destructive activities.
When the watering can is filled, he straightens up, turns
toward the flower bed. He stops for the briefest moment,
when he sees the dog. He walks to the dog, gently lifts him
out of the garden, and giving him a friendly little pat,
sends him off. He proceeds to patiently brush back the
disturbed earth, and then begins his watering.
INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP
Jeff is frankly puzzled by the salesman's friendly attitude
toward the dog. He looks off in another direction, as he
catches of:
EXT. NEIGHBORHOOD - DAY - LONG SHOT
Doyle, who has appeared, at the street opening. The detective
is surveying the front of the apartment building where
Thorwald lives. A paper seller behind him offers to sell him
a paper. Doyle isn't interested.
As Doyle saunters forward toward the salesman house, the
scene:
LAP DISSOLVES TO:
INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT
Doyle is nonchalantly leaning up against the side board,
with a highball in one hand. Jeff has turned his chair around
from the window to face him.
DOYLE
He has a six months lease, and has
used up a little over five and a
half months of it.
(Takes a sip of drink)
Quiet. Drinks, but not to drunkenness.
Pays his bill promptly, with money
earned as a consume jewelry salesman --
wholesale. Keeps to himself, and
none of the neighbors got close to
him, or his wife.
JEFF
I think they missed their chance
with her.
DOYLE
(Studies drink)
She never left the apartment --
JEFF
(Interrupting)
Then where is she -- in the ice box?
DOYLE
(Continues)
-- until yesterday morning.
JEFF
(Alert)
What time?
DOYLE
Six ayem.
Jeff looks thoughtful a moment, and then says, with a touch
of discouragement:
JEFF
I think that's about the time I fell
asleep.
DOYLE
Too bad. The Thorwalds were just
leaving the apartment house at that
time.
He puts down his drink, and strolls toward the window, looking
out. THE CAMERA MOVES IN slightly to tighten the shot.
DOYLE
Feel a little foolish?
JEFF
Not yet.
Doyle becomes interested in watching something out the window.
Unconsciously he smooths out his coat and tie.
He even smiles somewhat secretly to himself at what he sees.
EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT
Miss Torso, in ballet costume, practicing her dance on the
outside balcony. She is exciting and desirable.
INT. JEFF'S APARTMENT - DAY - TIGHT TWO SHOT
Jeff notices Doyle's interest.
JEFF
How's your wife?
Startled at being observed, Doyle moves quickly away from
the window, affecting nonchalance. THE CAMERA MOVES BACK as
Doyle returns to his drink. Jeff smiles at catching Doyle
enjoying Miss Torso.
DOYLE
Oh -- oh, she's fine.
(Not too convincing)
Just fine.
He tosses off the rest of the drink, and his movement is
almost a comment. Jeff's face grows serious.
JEFF
Who said they left then?
DOYLE
Who left -- where?
JEFF
The Thorwalds -- at six in the
morning?
Doyle quickly collects his thoughts, and gets back to the
case at hand.
DOYLE
The building superintendent, and two
tenants. Flat statements -- no
hesitation. And they all jibed to
the letter. The Thorwalds were leaving
for the railroad station.
JEFF
Now how could anybody guess that?
They had, perhaps, signs on their
luggage, "Grand Central Or Bust!"?
DOYLE
(Sighs)
The superintendent met Thorwald coming
back. He said Thorwald told him he
had just put his wife on the train
for the country.
JEFF
A very convenient guy -- this
superintendent. Have you checked his
bank deposits lately?
DOYLE
Jeff -- huh?
JEFF
(Sharply)
Well -- what good is his
information?!! It's a second-hand
version of an unsupported statement
by the murderer himself -- Thorwald!
Anybody actually see the wife get on
the train?
DOYLE
I hate to remind you -- but this all
started because you said she was
murdered. Now did anyone, including
you, actually see her murdered?
JEFF
Doyle -- are you interested in solving
a case, or making me look foolish?
DOYLE
If possible -- both.
JEFF
Well then do a good job of it! Get
over there, and search Thorwald's
apartment! It must be knee-deep in
evidence.
DOYLE
I can't do that.
JEFF
I mean when he goes out for a paper,
or a drink, or something. What he
doesn't know won't hurt him.
DOYLE
I can't do it even if he's gone.
JEFF
(With sarcasm)
What's the matter? Does he have a
courtesy card from the police
department?
DOYLE
Now don't get me mad! Even a detective
can't walk in anybody's apartment
and search it. If I were ever caught
in there, I'd lose my badge inside
of ten minutes!
JEFF
Just make sure you're not caught. If
you find something, you've got a
murderer and nobody will care about
a couple of house rules. If you find
nothing -- he's clear.
DOYLE
At the risk of sounding stuffy, Jeff --
I'll remind you of the Constitution,
and the phrase "search warrant" issued
by a judge who knows the Bill of
Rights verbatim. He must ask for
evidence.
JEFF
Give him evidence.
DOYLE
I can hear myself starting out. "Your
Honor -- I have a friend who's an
amateur sleuth, an one night, after
a heavy supper --"
(He shakes his head
"no")
He'd throw the New York State Penal
Code right in my face. -- And it's
six volumes.
JEFF
By morning there might not be anything
left to find in his apartment.
DOYLE
(Looking out window)
A detective's nightmare.
JEFF
What do you need before you can search --
bloody footsteps leading up to the
door?
DOYLE
(Looking out window)
One thing I don't need is heckling!
You called and asked me for help --
and now you're acting like a taxpayer!
DOYLE
(Turns and look at
Jeff)
How did we ever stand each other in
that same plane for three years?
JEFF
You know, every day for three years
I asked myself that same question?
DOYLE
Ever get an answer?
JEFF
Yeah -- frequently -- it ran something
like this: "Your request for transfer
turned down --"
He can't help smiling, and neither can Doyle.
DOYLE
Sorry I had to turn it down.
(He checks his watch)
I'm going over to the railroad station
and check Thorwald's story.
He moves to the sideboard, picks up a felt hat.
JEFF
Forget the story -- find the trunk.
Mrs. Thorwald's in it!
DOYLE
Oh -- I almost forgot!
He pulls a slip of paper out of his pocket. Jeff watches him
intently.
DOYLE
(Looking at Jeff)
There was a postcard in Thorwald's
mailbox.
(Refers to paper)
Mailed yesterday afternoon, three-
thirty P.M. from Merritsville --
(Looks up, speaks pleasantly)
-- That's eighty miles north of here.
(Back to paper)
The message read "Arrived O.K. Already
feeling better. Love, Anna."
He looks at Jeff with some smugness.
JEFF
(Slowly)
Is -- is Anna -- who I think it is?
DOYLE
(Nods "yes")
Mrs. Thorwald.
He puts on his hat, and goes toward the door.
DOYLE
(Maliciously)
Anything you need?
INT. JEFF'S APARTMENT - DAY - CLOSEUP
Jeff is sober.
JEFF
Yeah. A good detective.
LAP DISSOLVE TO:
INT. JEFF'S APARTMENT - DUSK - CLOSEUP
The sun has just set. THE CAMERA is concentrating on the
long-focus lens camera which fills the screen. Just beyond,
there is a plate on which a solitary sandwich.
Jeff's hand comes in, picks it up. We PAN US with the sandwich
until Jeff's head fills the screen. (Except for a small light
in the kitchen, Jeff's apartment is in darkness.) As he
munches, he keeps his attention on the neighborhood.
EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT
Thorwald's apartment is darkness. THE CAMERA PANS slightly
to the left, as we see the dog being lowered in its basket.
We follow the basket down to the yard which brings Miss Lonely
Heart's apartment into view. She is wearing a Kelly Green
suit, and is seated at her dressing table. She seems to be
putting on the final touches of her make-up, prior to going
out.
INT. JEFF'S APARTMENT - DUSK - CLOSEUP
Jeff looks down, he smiles to himself. He turns, and we see
him raise the long-focus camera to his eye.
EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT
The long-focus lens brings Miss Lonely Hearts into an enlarged
picture which reveals details we have not previously noticed.
A pair of ill-fitting, horn-rimmed reading glasses rest half
way down her nose, and she has to tilt her head back slightly
as she applies lip-stick, with their aid.
Satisfied, she takes off the glasses, and examines her face
as a whole, through squinting eyes. She has faded good looks,
has fairly nice clothes, but is badly in need of advice on
hair dressing. Her hair-do makes her seem middle-aged. She
reaches for a tall glass of liquor next to her, and takes a
long drink. Putting the glass down, she squints to see if
she has disturbed the lipstick. Unable to see clearly, she
puts on the glasses again, looks, and touches up her lips
slightly.
She puts her glasses in a handbag, then stands to put out
the lights. She walks into the living room, finishing the
drink. The long-focus lens moves with her. She goes straight
for a bottle of liquor, and pours out a final neat slug, and
tosses it off. Then she leaves the apartment, with a show of
determination.
She turns out the lights behind her.
INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP
Jeff lowers the long-focus lens, and turns his head to the
right as he hears the first notes of the songwriter's melody
which we have heard him trying to complete.
EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT
The songwriter is at the piano, poking out his melody, slowly,
note by note. He is in black tie, and from the looks of the
apartment he is preparing for guests. An attractive girl is
setting out trays of canapés, glasses, ice and liquor. She
pauses as she crosses the room carrying a tray of food. She
listens a moment to the songwriter's melody. Her expression
shows that it pleases her, and moves her romantically. She
comments on it to the songwriter, who starts from the
beginning again, playing it more fully.
INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP
A new source of music comes in to interfere with the piano
playing. It is orchestral ballet music, in a modern style.
Jeff's head turns in this new direction.
EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT
Miss Torso, and a male partner whom we have not seen before,
are practicing a pas a deux. He is a tall flowing-haired
young man, lithe and graceful beyond normal masculine
capacity.
They stop, at one point, to listen to a word of comment from
a woman who is watching. By her gestures, she is obviously a
professional choreographer.
THE CAMERA PANS from this to the street beyond.
Standing there, on the sidewalk, looking up and down the
street is a Kelly Green clad figure.
INT. JEFF'S APARTMENT - DUSK - CLOSEUP
He quickly raises his long-focus camera to his eye.
EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT
We are now given a waist-high shot as the focus is adjustment
by Jeff. The figure is that of Miss Lonely Hearts. She seems
to be trying to figure out what to do, or where to go. She
nervously looks at a couple of men passers by. Getting no
reaction, she crosses the street, and seats herself at an
empty table in front of the cafe. She orders a drink.
She is suddenly blotted out by a figure of a man who enters
the picture from the left side. He is much nearer the lens,
because he is on this side of the street. He is, therefore,
slightly out of focus. The lens suddenly sharpens. It is
Thorwald, carrying a light-weight cardboard box under his
arm. THE CAMERA PANS him over to the right until he is lost
behind the building.
INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP
He lowers the lens, and we see Jeff's eyes travel across the
screen, as he imagines Thorwald's progression. Then sharpening
his look, he picks up the long-focus lens, and easing himself
back cautiously, begins watching Thorwald.
EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT
Thorwald comes up the corridor, and stands unlocking his
door. As he hesitates, we are able to see the cardboard box
he is carrying has the name of a laundry on it. He enters
the apartment turns on the living room lights.
He proceeds to the bedroom, and the lights go on there.
A number of suits and top coats are lying on an orderly pile
on the bed. He takes the laundry out of the box and puts in
on the bed next to the suits. Then he goes to the dresser,
and instead of putting the laundry away,
he proceeds to take out the contents of the drawers --
pajamas, shirts, sox, etc. He piles these on the beds.
INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP
Jeff lowers the camera quickly. He picks up the phone and
dials a number, still keeping his eyes on Thorwald.
The phone buzzes on filter, then is picked up and answered
by a woman:
MRS. DOYLE
(Filter)
Hello.
JEFF
Mrs. Doyle?
MRS. DOYLE
Yes.
JEFF
Jeff again.
(A note of urgency)
Has Tom come in yet?
MRS. DOYLE
Not yet, Jeff.
JEFF
You haven't even heard from him?
MRS. DOYLE
Not a word.
For a moment, Jeff looks desperate. He doesn't know what to
say.
MRS. DOYLE
It is something really important,
Jeff?
JEFF
I'm afraid it is, Tess.
MRS. DOYLE
I'll have him call the moment I hear
from him.
JEFF
Tell him not to waste time calling.
To get over here soon as he can. I
think Thorwald's pulling out tonight.
MRS. DOYLE
Who's Thorwald?
JEFF
He knows.
(As an after-thought)
Don't worry, Tess. It's a man.
MRS. DOYLE
(She laughs)
Goodnight, you idiot.
JEFF
(A slight smile)
Goodnight, Mrs Doyle.
He hangs up. Then, his brows knit a little, as if he's puzzled
about something he sees across the neighborhood.
He lifts up the long-focus lens.
EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT
Early night. In the dresser Thorwald finds an alligator
handbag. He holds it up thoughtfully. We have previously
seen this handbag hanging from the bedpost when Mrs. Thorwald
was in bed. Thorwald takes the bag into the living room,
where he picks up the phone and dials.
JEFF
Long distance again.
Thorwald reaches his party. As he talks, thoughtfully, he
takes some jewelry from the handbag -- a couple of rings,
diamond wristwatch, brooch, pearls, etc. He discusses each
piece, apparently trying to make some decision. Then,
seemingly satisfied, he replaces them in the bag and hangs
up.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff lowers his camera lens and edges his chair forward in
an effort to hear what Thorwald is saying. But a sudden rise
in the SOUND coming from the song-writer's apartment, causes
him to turn his head toward the studio with exasperation.
EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT
The first four of the song-writer's guests come through the
door, admitted by the song-writer's girl friend.
There is a squeal from the woman who great each other, and
hearty "helloes" from the men. The song-writer dashes off a
LOUD VAMP of greeting on the piano, then gets up to offer
drinks.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff turns his attention back to Thorwald, but gives up any
attempt at listening. He lift the long-focus lens up to his
eyes again.
EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT
Having completed his call, Thorwald returns to the bedroom
carrying the handbag. He goes to a pile of coats lying on
the bed. He lifts the top two coats slightly, and slides the
handbag under them and out of sight.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
There is the SOUND of footsteps coming down the corridor to
Jeff's apartment. He lowers the camera lens, and turns his
attention to his door.
INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT
The door opens, and Lisa stands silhouetted in the entrance,
black-lighted by the corridor lights. It's an attractive
picture.
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff's head is turned toward her, his back more toward the
neighborhood.
JEFF
Quick. Take a look. Thorwald's getting
ready to pull out for good!
INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP
Jeff abruptly turns back to the window, as Lisa dashes into
the picture behind him, and looks out. Jeff's expression
changes a little, as they see:
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
The lights are out in Thorwald's bedroom, and Thorwald is in
the act of pouring himself out a drink in the living room.
He comes to the window, glass in hand, and looks down into
the garden, nonchalantly. Over this, we HEAR Lisa's voice,
questioningly:
LISA
It doesn't seem to be in any hurry.
JEFF
(Stares out the window,
exasperated)
He was just laying all his things
out on one of the beds! Coats, suits,
shirts, sox, even his wife's --
INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT
He stops, turns to her quickly.
JEFF
That alligator bag his wife had on
the bedpost --
LISA
What about it?
JEFF
He had it hidden in the dresser!
Well, at least it was in there. He
took it out, went to the phone and
called somebody long distance. --
His wife's jewelry was in the handbag.
And something about it worried him.
He was asking somebody advice over
the phone.
LISA
Someone not his wife?
JEFF
I never saw him ask her for advise
before.
(Smiles)
But she volunteered plenty.
Jeff turns back to the window.
EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT
Thorwald is standing at the window with his drink in his
hand. Then he turns, puts his unfinished drink down on a
table, and goes to the door. He puts the light out in the
living room and goes out the door. He walks briskly down the
corridor.
LISA
I wonder where he's going now?
JEFF
I don't know.
LISA
Suppose he doesn't come back again?
JEFF
He will. All his things are still
piled on the bed.
INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT
Lisa moves toward a nearby lamp.
LISA
Well, I guess it's safe to put on
some lights now.
JEFF
(Looking to left)
Not yet!
He picks up the long-focus lens and trains it on the street
intersection, as Lisa moves back to him.
...continue to part 8
