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