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 1.
FADE IN:
1 INT. JEFFERIES' APARTMENT - (DAY) - LONG SHOT 1
Although we do not see the foreground window frame, we see
the whole background of a Greenwich Village street.
We can see the rear of a number of assorted houses and
small apartment buildings whose fronts face on the next
crosstown street, sharply etched by the morning sun.
Some are two stories high; others three; some have peaked
roofs, others are flat. There is a mixture of brick and
wood and wrought iron in the construction.
The apartment buildings have fire escapes, the others do
not.
The neighborhood is not a prosperous one, but neither is it
poor. It is a practical, conventional dwelling place for
people living on marginal incomes, luck - or hope and
careful planning.
The summer air is motionless and heavy with humid heat.
It has opened windows wide, pushed back curtains, lifted
blinds and generally brought the neighborhood life into a
sweltering intimacy. Yet, people born and bred to life
within earshot and eyeglance of a score of neighbors have
learned to preserve their own private worlds by uniformly
ignoring each other, except on direct invitation.
THE CAMERA PULLS BACK until a large sleeping profile of a
man fills the screen. It is so large that we do not see any
features, but merely the temple and side of the cheek down
which a stream of sweat is running.
THE CAMERA PANS OFF this to the right hand side of the
window, and MOVES TO a thermometer which is hanging on the
wall just outside the window. It registers 84.
THE CAMERA MOVES ON into the open, and brings nearer to us
a room with a large studio window. We are able to see
inside this room. A short, balding man is standing near the
window, shaving, using a small bowl of water and a portable
mirror which he has set up on a shelf.
To the right of him is a battered upright piano. On top of
the piano is a radio. The music selection coming from the
radio stops, and the announcer is heard.
2.
ANNOUNCER
The time - 7:15 A.M., WOR, New
York. The temperature, outside, 84
--- Friends - is your life worth
one dollar?
The man shaving quickly puts down his razor, hurries to the
radio, and changes the station, moving past a number of
commercial voices until he again finds some music.
Contented, he returns to his shaving.
THE CAMERA MOVES ON AND OVER to a far building. It passes
over the face of this building until it comes to fire
escapes. It goes up and near enough to one which has become
the outdoor bedroom of a couple. We are near enough to see
an alarm clock hanging from the rail which is now ringing
vigorously. A man rises lazily to a sitting position. He
gropes to switch the alarm off.
We see that his pajamas are stained with sweat. In his
sitting position he leans forward and shakes somebody
beside him. To our surprise, the head of this other person
- a woman - rises where his feet are. They have been
sleeping in opposite directions. They sit limply looking at
each other with bedraggled and weary expressions which show
they enjoyed very little sleep in the heat of the night.
THE CAMERA NOW MOVES DOWN toward the left onto another low
building. It MOVES IN A LITTLE to a living room window.
Just inside the windowsill, a small fan is oscillating. The
fan sits on the right side of the table, and to the left of
it is an automatic toaster.
Behind the toaster stands a full-bodied young woman,
apparently wearing only a pair of black panties. Her
stomach, navel, and the lower part of her chest are naked.
Just below her breasts, the curtain, partly drawn, has
thrown a deep shadow which extends upward, hiding her
breasts, shoulders and head. Two pieces of toast pop up in
the toaster. She takes them out, butters them. Then she
turns around and bends over another table on which stands
an automatic coffee-maker.
She picks up the coffee-maker, and swings back to the table
to sit down. She does this so deftly that her breasts are
never exposed, but hidden by the fan as she sits down. The
fan moves back and forth as she pours coffee, far enough to
reveal that she wears no bra, but not far enough to fulfill
the exciting promise of her lack of clothes.
3.
THE CAMERA MOVES ON to a distant street corner seen between
two buildings. The traffic is very light at this hour, but
a Sanitation Department truck moves through the
intersection spraying water out behind it to cool the
pavement and keep the dust down. Three little kids in
bathing suits run behind the truck, playing in the water.
THE CAMERA MOVES OFF and around to some buildings at the
side. As it skims this building, we see a hand emerge from
one of the windows, and remove the cover from a birdcage
which is hanging from a hook on the wall outside. In the
cage are two lovebirds - arguing.
THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the
open window back into Jefferies' apartment. We now see more
of the sleeping man. THE CAMERA GOES IN far enough to show
a head and shoulders of him.
He is L. B. JEFFERIES. A tall, lean, energetic thirtyfive,
his face long and serious-looking at rest, is in other
circumstances capable of humor, passion, naive wonder and
the kind of intensity that bespeaks inner convictions of
moral strength and basic honesty.
He is sitting in an Everest and Jennings wheelchair.
THE CAMERA PANS along his right leg. It is encased in a
plaster of Paris spica from his waistline to the base of
his toes. Along the white cast someone has written "Here
lie the broken bones of L. B. Jefferies."
THE CAMERA PANS to a nearby table on which rests a
shattered and twisted Speed Graphic Camera, the kind used
by fast-action news photographers.
On the same table, the CAMERA PANS to an eight by ten
glossy photo print. It shows a dirt track auto racing
speedway, taken from a point dangerously near the center of
the track. A racing car is skidding toward the camera, out
of control, spewing a cloud of dust behind it. A rear wheel
has come off the car, and the wheel is bounding at top
speed directly into the camera lens.
THE CAMERA MOVES UP to a framed photograph on the wall.
4.
It is a fourteen by ten print, an essay in violence, having
caught on film the exploding semi-second when a heavy
artillery shell arches into a front-line Korean battle
outpost. Men and equipment erupt into the air suspended in
a solution of blasted rock, dust and screeching shrapnel.
That the photographer was not a casualty is evident, but
surprising when the short distance between the camera and
the explosion is estimated. A signature in the lower right
hand corner of the picture reads -- "L. B. Jefferies."
THE CAMERA PANS to a second photograph of a picket line at
an aircraft plant strike. Strikers, non-strikers and police
are embroiled in a bitter and confused riot.
Clubs, fists and truncheons swing, blood flows, faces twist
with emotion and fallen victims struggle to regain their
feet. The picture represents no distant, cautions
photographic observation, but rather an intimate report, so
immediate and real that the viewer has the nervous feeling
the fight surrounds him and he had best defend himself. The
same signature, "L. B. Jefferies," is in the corner.
THE CAMERA PANS TO another framed picture, this one a
beautiful and awesome shot of an atomic explosion at
Frenchman's Flat, Nevada. It is the cul-de-sac of violence.
The picture taken at a distant observation point, shows
some spectators in the foreground watching the explosion
through binoculars.
THE CAMERA MOVES ON to a shelf containing a number of
cameras, photographic film, etc. It then PAN ACROSS a large
viewer on which is resting a negative of a woman's head.
From this, THE CAMERA MOVES ON to a magazine cover, and
although we do not see the name of the magazine, we can see
the head on the cover is the positive of the negative we
have just passed.
THE CAMERA FINALLY COMES TO REST ON a pile of magazines -
perhaps a hundred or so. They are all of the same
publication.
LAP DISSOLVE TO:
2 INT. GUNNISON'S OFFICE - (DAY) - CLOSE UP 2
5.
The screen is filled with the top of a desk. In addition to
the usual telephones, blotting pad, etc., the most
prominent feature is the number of glossy photo prints, and
even larger-sized mat prints. Some of them have slips
pasted over with descriptions. The center of the desk is
occupied by a large layout of photographs on one magazine
page. Behind this we hear the murmur of two voices of men
who can be vaguely seen beyond the desk.
THE CAMERA PANS UP and we are now face to face with IVAR
GUNNISON and JACK BRYCE. Gunnison is sitting on a window-
ledge, and beyond him we realize we are high above the New
York streets. Bryce leans against a wall at right angles to
him.
Gunnison is holding a cablegram in his hand. Bryce has a
cigarette in his mouth. He scratches a match, and is about
to light it, when he notices that Gunnison, still reading
the cable, has reached into an inside shirt pocket, and
produced a cigarette. Quickly, Bryce moves over to light
Gunnison's cigarette. Then he settles back to light his
own. Gunnison doesn't even bother to thank him.
GUNNISON
(Looks up)
Indo-China - Jeff predicted it
would go sky-high.
BRYCE
From the looks of Davidson's cable,
it might even go higher than that.
And we haven't even got a camera
over there.
GUNNISON
(Stands)
This could go off in a month - or
an hour.
BRYCE
I'll pull somebody out of Japan.
GUNNISON
(Heads for his phone)
Bryce, the only man for this job is
sitting right here in town.
(Picks up phone)
Get me L. B. Jefferies.
BRYCE
(Puzzled)
Jefferies?
6.
GUNNISON
(To Bryce; still holding
phone)
Name me a better photographer.
BRYCE
(He can't)
But his leg!
GUNNISON
Don't worry - it comes off today.
Bryce gives Gunnison a startled look.
GUNNISON
I mean the cast.
(To phone)
3 INT. JEFF'S APARTMENT - DAY - SEMI CLOSEUP 3
Shooting through the open window, onto Jeff. He is shaving
himself with an electric razor as the phone rings. He shuts
off the shaver, picks up the phone.
JEFF
Jefferies.
GUNNISON
(On filter)
Congratulations, Jeff.
JEFF
For what?
GUNNISON
For getting rid of that cast.
JEFF
Who said I was getting rid of it?
At this moment, his attention is drawn to something across
the way. He looks up, expectantly. There is almost a touch
of eagerness in his expression.
4 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 4
7.
While Jeff is continuing his phone conversation, we see the
object of his look. Two pretty girls have appeared on the
distant roof. They are smiling and talking, although we
cannot hear their dialogue. Each wears a terrycloth robe.
With their backs to the CAMERA, they take off the robes,
slipping them down over their shoulders slowly. Then,
seductively, they turn - revealing the full beauty of their
tanned and bathing-suited bodies. It is almost as if they
want to be noticed, the center of neighborhood attention.
They at least have all of Jeff's attention. Then they
spread the robes in front of them, and lie down on the
roof, and out of sight. Jeff seems a little disappointed.
5 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 5
During the whole of this previous action, the conversation
between Jeff and Gunnison has gone on as follows:
GUNNISON
(With logical proof)
This is Wednesday.
JEFF
Gunnison - how did you get to be
such a big editor - with such a
small memory?
GUNNISON
Wrong day?
JEFF
Wrong week. Next Wednesday I emerge
from this plaster cocoon.
GUNNISON
That's too bad, Jeff. Well, I guess
I can't be lucky every day. Forget
I called.
JEFF
Yeah. I sure feel sorry for you,
Gunnison. Must be rough on you
thinking of me wearing this cast
another whole week.
6 INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP 6
Gunnison is now seated at his desk, with the phone receiver
to his ear. His assistant, Bryce, can be seen vaguely in
the background.
8.
GUNNISON
That one week is going to cost me
my best photographer - and you a
big assignment.
7 INT. JEFF'S APARTMENT - DAY - CLOSE-UP 7
Jeff asks, eagerly and alertly.
JEFF
Where?
We hear Gunnison's reply.
GUNNISON
There's no point in even talking
about it.
Jeff's eyes become set upon something else in the
neighborhood he sees.
8 EXT. NEIGHBORHOOD - DAY - LONG SHOT 8
Jeff's attention is now drawn to another feature of his
backyard entertainment. THE CAMERA IS NOW FOCUSED on the
window of the small building where we earlier saw the girl
behind the oscillating fan. Loud ballet music is pouring
from her open window. The girl, now dressed
in dark and revealing leotard, and ballet slippers, has
just turned away from a portable record player. She begins
the first graceful movement of a modern ballet
interpretation.
She gracefully moves across the room to the rhythm of the
music and dance, toward the ice box. With her feet still
moving, she throws open the door, and then rhythmically
moving back to the center of the room, gnaws the chicken
bone, occasionally waving it in the air as part of the
choreography. She now twirls over toward a table at the
other side of the room on which is an open package of bread
slices, some butter nearby.
With swaying body, she puts down the chicken leg, and
gracefully and rhythmically butters a slice of bread.
She picks up both bread and chicken leg and continues her
interpretive dance, alternately munching the bread and
butter and chicken leg.
9.
9 INT. APARTMENT - DAY - CLOSEUP 9
Jeff's eyes drop from the ballet dancer's room to the one
underneath.
10 EXT. NEIGHBORHOOD - DAY - LONG SHOT 10
THE CAMERA PANS from the window of the dancing girl, to the
window below. Someone is reading the New York Harald
Tribune. The paper lowers, and we see an elderly lady, in
her late sixties. She is a faded, refined type. She looks
up in the direction of the music and in a calm routine
fashion adjusts the volume of her hearing aid. She resumes
her reading.
11 INT. JEFF'S APARTMENT - DAY - CLOSEUP 11
Jeff is amused by what he sees, but continues his
conversation with Gunnison, which has gone on through all
the scenes with the ballet dancer.
JEFF
(Insistent)
Where?
GUNNISON
(Filter)
Indo-China. Got a code tip from the
bureau chief this morning. The
place is about to go up in smoke.
JEFF
(Pleased; excited)
Didn't I tell you! Didn't I tell
you it was the next place to watch?
GUNNISON
You did.
JEFF
(On filter)
Okay. When do I leave? Half-hour?
An hour?
GUNNISON
With that cast on - you don't.
JEFF
(On filter)
10.
Stop sounding stuffy. I'll take
pictures from a jeep. From a water
buffalo if necessary.
GUNNISON
You're too valuable to the magazine
for us to play around with. I'll
send Morgan or Lambert.
JEFF
Swell. I get myself half-killed for
you - and you reward me by stealing
my assignments.
GUNNISON
I didn't ask you to stand in the
middle of that automobile race
track.
JEFF
(A little angry)
You asked for something
dramatically different! You got it!
GUNNISON
(Quietly)
So did you. Goodbye, Jeff.
JEFF
(Won't let him hang up)
You've got to get me out of here!
Six weeks - sitting in a two-room
apartment with nothing to do but
look out the window at the
neighbors!
At this moment we hear the sounds of a piano playing.
It is a simple, but broken, melody as if someone was
just learning to play the piano, or carefully composing a
song. It clashes abruptly with the music from the ballet
dancer's apartment. It irritates Jeff as he looks in the
direction of the new music.
JEFF
It's worse than the Chinese water
torture.
12 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 12
11.
We now see the source of the piano music. It comes from the
apartment with the studio window which we saw earlier where
the man was shaving and listening to the radio. The short,
balding man sits at the piano playing a few notes, then
transferring them by pencil to notepaper on the piano rack.
He continues this process, fighting the interference of the
ballet music. The opening bars of his melody are beautiful
and ear-catching. It is slow, hard work, and the ballet
music finally becomes such an interference that he gives up
and walks to the window to look down toward the dancer's
apartment.
He stands by a table at the window which is littered with
records, the morning coffee cup, unwashed, the remains of
breakfast, old newspapers, song sheets, etc.
He takes a cigarette out of his mouth, looks for an ash
tray, and ends up putting it out in the coffee cup. He then
returns to the piano and begins picking out the melody the
dancer is playing on her record player.
13 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 13
Jeff frowns at the double sound, and raises his voice a
little. He continues the conversation which has been heard
all through the previous scene.
GUNNISON
Read some good books.
JEFF
I've been taking pictures so long I
don't know how to read anymore.
GUNNISON
I'll send you some comic books.
JEFF
(Low, tense)
Listen - if you don't pull me out
of this swamp of boredom - I'll do
something drastic.
GUNNISON
Like what?
JEFF
(On filter)
I'll - I'll get married. Then I'll
never be able to go anywhere.
GUNNISON
12.
It's about time you got married -
before you turn into a lonesome and
bitter old man.
JEFF
Can you see me - rushing home to a
hot apartment every night to listen
to the automatic laundry, the
electric dishwasher, the garbage
disposal and a nagging wife.
GUNNISON
Jeff - wives don't nag anymore --
they discuss.
Jefferies glances out across to the other apartments as he
sees:
14 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 14
We see a three-storied, flat-roofed apartment house.
The brick is weatherworn and faded. Each apartment has
three windows facing the back, one showing a hallway, one a
living room, and the window on the right opening into a
bedroom.
On the second floor, a man has entered the living room from
a hallway door. He carries a large aluminum sample case
common to salesmen. He sets down the case heavily, removes
his hat, and slowly wipes his brow with the back of his
right hand. He takes off his coat and tie. His shirt is
stained with sweat underneath. He rolls up his sleeves, and
his well-muscled arms heavy with hair confirm his dark,
husky build.
15 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 15
With his eyes still focused on the distant apartments, Jeff
continues talking with Gunnison.
JEFF
Yeah? Maybe in the high rent
districts they discuss - but in my
neighborhood, they still nag.
GUNNISON
Well - you know best. Call you
later, Jeff.
JEFF
13.
Next time, have some good news.
He hangs up and resumes his attention on the apartment of
the salesman.
16 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 16
The salesman looks toward the bedroom door, hesitates, then
reluctantly walks toward it. For a moment he is hidden by
the wall.
17 INT. JEFF'S APARTMENT - DAY - CLOSEUP 17
Jeff shifts his look more to the right.
18 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 18
The man enters the bedroom. We can see a woman lying on the
far bed. Near her, a small table is covered with medicine
bottles, spoons, boxes of pills, a water pitcher and the
other impedimenta of the chronically ill. The woman sits up
as the man enters. She takes a wet cloth off her forehead.
Before the man even reaches her, she begins talking,
somewhat vigorously. Pointing to a wristwatch, she seems to
be saying something such as "You should have been home two
hours ago! I could be lying here dying for all you'd know -
or care!" The man stops short of the bed, makes gestures of
trying to placate her, but she goes on scolding. His
attitude changes to weary patience, then irritation, then
anger.
He shouts back at her, turns and goes out of the room.
Back in the living room, he picks up his hat, throws it
against the wall in anger, and leaves the apartment,
slamming the door behind him.
19 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 19
Jeff's attention is suddenly diverted to himself. His leg,
under the cast, begins itching. He squirms, tries
14.
to move the leg a little. It gives no relief. He scratches
the outside of the cast, but the itch gets worse. He
reaches for a long, Chinese back-scratcher lying on the
windowsill. Carefully, and with considerable ingenuity, he
works it under the cast. He scratches, and a look of
sublime relief comes over his face. Satisfied, he takes the
scratcher out. As he replaces it on the windowsill, his
attention is drawn back to the scene outside the window.
20 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 20
We see the man who left his apartment in anger come out of
the doorway into the backyard. He is easy to identify
through the color of his garish necktie. In one hand the
man carries a small garden hoe and rake, and in the other a
pair of trimming shears. He goes to a small patch of
flowers, perhaps three feet square.
They are beautiful, multi-colored three foot high zinnias.
He kneels down, inspects them, touches them affectionately
and with some pride. His anger seems to have left him,
replaced by the kind of peace that flowers bring many
people. He stands up, carefully hoes the ground, them rakes
it. Then he snips a few leaves off the lower parts of the
plant. Finally, he waters them.
21 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 21
Jeff's attention is turned to something else of interest.
22 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 22
Into the next door yard we see emerging from the apartment
below the ballet dancer, the elderly lady.
She wear a broad sun hat, dark glasses, and a sunsuit
consisting of pink shorts and halter. She carries a copy of
the Herald Tribune, and still wears her hearing aid. She
settles into a folding, canvas deck chair.
Her skin is dead white, and her body is thin to the point
of emaciation. No sooner has she settled into her chair,
than she is attracted by the sound of the salesman working
in his garden. She gets up, walks to the fence, and looks
over. He notices her, but doesn't speak. She begins
gesturing to him how to take care of his flowers. He
listens for a moment, then looks directly at her. The
strong movements of his mouth show us that he objects
vigorously to the annoyance of her comments. She moves away
from the fence, started and a little shocked.
15.
23 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 23
Jeff is seated in the foreground, in a waist shot.
Behind him, the entrance door to his apartment opens.
STELLA McGAFFERY comes in. She is a husky, unhandsome,
dark-haired woman who is dressed like a district nurse,
with dark coat, dark felt hat, with a white uniform showing
underneath the coat. She carries a small black bag.
Stella pauses on the landing to watch Jeff. He doesn't
appear to notice her entrance.
STELLA
(Loud)
The New York State sentence for a
peeping Tom is six months in the
workhouse!
He doesn't turn.
JEFF
Hello Stella.
As she comes down the stairs of the landing, holding on the
wrought iron railing with one hand:
STELLA
And there aren't any windows in the
workhouse.
She puts her bag down on a table. It is worn, and looks as
if it belongs more to a fighter than a nurse. She takes off
her hat coat, and hangs them on a chair.
STELLA
Years ago, they used to put out
your eyes with a hot poker. Is one
of those bikini bombshells you
always watch worth a hot poker?
He doesn't answer. She opens the bag, takes out some
medical supplies: a thermometer, a stop watch, a bottle of
rubbing oil, a can of powder, a towel. She talks as she
works.
STELLA
We've grown to be a race of peeping
Toms. What people should do is
stand outside their own houses and
look in once in a while.
16.
STELLA
(She looks up at him)
What do you think of that for
homespun philosophy?
A look at his face shows he doesn't think much of it.
JEFF
Readers' Digest, April, 1939.
STELLA
Well, I only quote from the best.
She takes the thermometer out of its case, shakes it down.
Looks at it. Satisfied, she walks to Jeff.
She swings the wheelchair around abruptly to face her.
24 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 24
Jeff starts to protest.
JEFF
Now look, Stella --
She shoves the thermometer into his mouth.
STELLA
See it you can break a hundred.
As she leaves him holding the thermometer THE CAMERA PULLS
BACK as she crosses to a divan. She takes a sheet from
underneath, and covers the divan with it. Talking, all the
time.
STELLA
I shoulda been a Gypsy fortune
teller, instead of an insurance
company nurse. I got a nose for
trouble - can smell it ten miles
away.
(Stops, looks at him)
You heard of the stock market crash
in '29?
Jeff nods a bored "yes."
STELLA
I predicted it.
JEFF
(Around thermometer)
17.
How?
25 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 25
Stella stops for a moment, and looks at Jeff challengingly.
STELLA
Simple. I was nursing a director of
General Motors. Kidney ailment they
said. Nerves, I said. Then I asked
myself - what's General Motors got
to be nervous about?
(Snaps her fingers)
Overproduction. Collapse, I
answered. When General Motors has
to go to the bathroom ten times a
day - the whole country's ready to
let go.
26 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 26
A patient, suffering look comes over his face. He takes out
the thermometer.
JEFF
Stella - in economics, a kidney
ailment has no relationship to the
stock market. Absolutely none.
STELLA
It crashed, didn't it?
Jeff has no answer. Defeated, he puts the thermometer back
into his mouth.
27 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 27
Stella goes on with her work.
STELLA
18.
I can smell trouble right in this
apartment. You broke your leg. You
look out the window. You see things
you shouldn't. Trouble. I can see
you now, in front of the judge,
flanked by lawyers in blue double-
breasted suits. You're pleading,
"Judge, it was only innocent fun. I
love my neighbors like a father." -
The Judge answers,
"Congratulations. You just gave
birth to three years in Dannemora."
THE CAMERA PANS HER over to him. She takes out the
thermometer, looks at it.
JEFF
Right now I'd even welcome trouble.
STELLA
(Flatly)
You've got a hormone deficiency.
JEFF
How can you tell that from a
thermometer!
STELLA
Those sultry sun-worshipers you
watch haven't raised your
temperature one degree in four
weeks.
She gets down the thermometer. Sterilizes it with a piece
of alcohol-soaked cotton in her other hand.
She gets behind the wheelchair the CAMERA PULLS back as she
pushes it over to the divan. She puts the thermometer away
in its case. Then she helps him off with his pajama top.
She helps him stand on one foot.
He hops one step, then she lowers him, face down, on the
divan. She gets a bottle of rubbing oil.
28 INT. JEFF'S APARTMENT - (DAY) - CLOSE SHOT 28
The CAMERA is very low at one end of the divan. Jeff's
head, half-buried in the sheet, is large in the fore-
ground. Beyond him Stella looms large and powerful-looking.
JEFF
19.
I think you're right. There is
going to be some trouble around
here.
Stella takes a handful of oil, slaps it on his back. He
winces.
STELLA
I knew it!
JEFF
Don't you ever heat that stuff up.
STELLA
Gives your circulation something to
fight.
STELLA
(Begins massaging his
back)
What kind of trouble?
JEFF
Lisa Fremont.
STELLA
You must be kidding. A beautiful
young woman, and you a reasonably
healthy specimen of manhood.
JEFF
She expects me to marry her.
STELLA
That's normal.
JEFF
I don't want to.
STELLA
(Slaps cold oils on him)
That's abnormal.
JEFF
(Wincing)
I'm not ready for marriage.
STELLA
Nonsense. A man is always ready for
marriage - with the right girl. And
Lisa Fremont is the right girl for
any man with half a brain, who can
get one eye open.
20.
JEFF
(Indifferent)
She's all right.
She hits him with some more cold oil. He winces again.
STELLA
Behind every ridiculous statement
is always hidden the true cause.
(Peers at him)
What is it? You have a fight?
JEFF
No.
STELLA
(After a pause)
Her father loading up the shotgun?
JEFF
Stella!
STELLA
It's happened before, you know!
Some of the world's happiest
marriage have started 'under the
gun' you might say.
JEFF
She's just not the girl for me.
STELLA
She's only perfect.
JEFF
Too perfect. Too beautiful, too
talented, too sophisticated, too
everything -- but what I want.
STELLA
(Cautiously)
Is what you want something you can
discuss?
Jeff gives an exasperated look.
JEFF
It's very simple. She belongs in
that rarefied atmosphere of Park
Avenue, expensive restaurants, and
literary cocktail parties.
STELLA
21.
People with sense can belong
wherever they're put.
JEFF
Can you see her tramping around the
world with a camera bum who never
has more than a week's salary in
the bank?
(Almost to himself)
If only she was ordinary.
Stella sprinkles powder on his back, spreads it around.
THE CAMERA PULLS BACK as she helps Jeff to a sitting
position. He buttons on his shirt.
STELLA
You're never going to marry?
JEFF
Probably. But when I do, it'll be
to someone who thinks of life as
more than a new dress, a lobster
dinner, and the latest scandal. I
need a woman who'll go anywhere, do
anything, and love it.
THE CAMERA MOVES IN as she helps him into the wheel-chair,
listening to him with exaggerated attention. He stops as he
notice her attitude. Then he goes on with less conviction:
JEFF
The only honest thing to do is call
it off. Let her look for somebody
else.
STELLA
I can just hear you now. "Get out
of here you perfect, wonderful
woman! You're too good for me!"
JEFF
(After pause)
That's the hard part.
She swings him around in front of the window. He starts to
look out.
STELLA
22.
Look, Mr. Jefferies. I'm not
educated. I'm not even
sophisticated. But I can tell you
this - when a man and a woman see
each other, and like each other -
they should come together - wham
like two taxies on Broadway. Not
sit around studying each other like
specimens in at bottle.
JEFF
There's an intelligent way to
approach marriage.
STELLA
(Scoffing)
Intelligence! Nothing has caused
the human race more trouble. Modern
marriage!
Jeff swings his chair back to look at her.
JEFF
We've progressed emotionally in --
STELLA
(Interrupting)
Baloney! Once it was see somebody,
get excited, get married -- Now,
it's read books, fence with four
syllable words, psychoanalyze each
other until you can't tell a
petting party from a civil service
exam
JEFF
People have different emotional
levels that --
STELLA
(Interrupting again)
Ask for trouble and you get it. Why
there's a good boy in my
neighborhood who went with a nice
girl across the street for three
years. Then he refused to marry
her. Why? - Because she only Scored
sixty-one on a Look Magazine
marriage quiz!
Jeff can't help smiling.
STELLA
23.
When I married Myles, we were both
maladjusted misfits. We still are.
And we've loved every minute of it.
JEFF
That's fine, Stella. Now would you
make me a sandwich?
She relaxes.
STELLA
Okay -- but I'm going to spread
some common sense on the bread.
Lisa Fremont's loaded to her
fingertips with love for you. I'll
give you two words of advice. Marry
her.
JEFF
(Smiles)
She pay you much?
Stella leaves for the kitchen in a huff. Jeff turns his
chair to the window.
29 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 29
Jeff now looks out to see what has happened to the old
lady, and the man with the flowers.
30 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 30
The elderly lady is now asleep in her desk chair, her face
covered with the Herald Tribune. There is no sign of the
man with the flowers.
31 INT. JEFF'S APARTMENT - DAY - CLOSEUP 31
Jeff's eyes travel up to the ballet dancer's window.
32 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 32
She is sitting near the window looking into an upright
mirror. Dreamily, and methodically, she is brushing her
long copper-colored hair.
33 INT. JEFF'S APARTMENT - DAY - CLOSEUP 33
24.
His eyes are suddenly turned in another direction, sharply
to his left.
34 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 34
He is now looking at the windows of the apartments nearest
to him. A shade has gone up, and a man, obviously a
caretaker is raising a window with some effort. Having
accomplished this, he turns back into the room, and we now
see him approach a young man and woman who are standing
just inside the doorway. He hands a key to the young man,
and then obligingly brings in two suitcases which he places
on the floor beside them. He gives them a studied, but
agreeable nod, then departs. We now see that the girl has a
small hat with a veil, and an ornate corsage pinned to her
light blue tailored suit. The boy, who like the girl is
perhaps twenty years old, wears a dark blue serge suit and
a grey felt hat. He takes off the hat, and scales it over
to a nearby chair. Quickly they are in each other's arms,
kissing passionately, crushing the girl's corsage and
pushing her hat back a little. They part, the boy laughs
nervously, and takes a furtive glance out toward the
corridor. He looks back into the room, and beckons her to
come out. She follows him wonderingly. For a moment, both
are lost from sight. When they reappear, he is carrying her
in his arms, over the threshold. He sets her down, closes
the door, and they kiss again.
They part, still holding hands and looking into each
other's eyes. Then slowly, and significantly, she looks
toward the open window. He releases her hands, goes to the
window and pull down the shade, as she is reaching upward
with both hands to unpin her hat.
35 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 35
There is a soft, understanding look on Jeff's face, and he
gives an involuntary sigh. He is unaware that Stella is now
standing behind him.
STELLA
(Quietly)
Window shopper
He freezes, turns slowly to look up at her.
FADE OUT.
FADE IN:
25.
36 EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT 36
The CAMERA makes a short sweep around the neighborhood
showing that some of the rooms are now with heir 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.
37 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 37
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.
38 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 38
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.
26.
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.
39 INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP 39
Jeff looks across the room at her.
JEFF
The Lisa Fremont who never wears
the same dress twice?
40 INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT 40
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?
27.
41 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP 41
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?
42 INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT 42
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 mahongany 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)
28.
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.
43 INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT 43
Lisa facing Jeff in the chair.
JEFF
Picked it up in Shangai - which has
also seen better days.
LISA
It's creaked - 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!
29.
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"?
44 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP 44
JEFF
You have, perhaps, an ambulance
outside?
45 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-LONG SHOT 45
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.
46 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 46
His reaction is one of tender amusement.
47 INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT 47
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
30.
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.
31.
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
32.
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?
33.
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.
34.
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.
48 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 48
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.
49 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 49
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.
50 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 50
Jeff leans forward with increased interest. Behind him we
get vague figure of Lisa laying a cloth over the card
table.
51 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 51
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.
35.
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.
52 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 52
Without taking his eyes from the scene, Jeff picks up his
wineglass and drinks. As he drinks, his eyes move slightly
over.
53 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 53
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.
54 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 54
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.
55 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 55
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.
56 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 56
Jeff, his glass in hand, looks out sympathetically. He is
unaware that Lisa is standing behind him, and is also
watching this little drama.
36.
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.
57 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 57
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 tree 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.
37.
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.
58 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 58
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.
59 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 59
The newlyweds's apartment has the shades still drawn.
Although there's a light burning inside.
60 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 60
38.
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.
61 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 61
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.
62 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 62
Jeff becomes completely absorbed with he sees. He leans
forward a little.
63 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 63
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. Ha 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.
39.
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.
64 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 64
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.
65 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 65
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 tis
full beauty.
66 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 66
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
40.
(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 tow 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 is.
67 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 67
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.
68 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 68
Jeff looks at her soberly.
JEFF
Lisa, it's perfect
(Looks down at the food,
without enthusiasm)
As always.
69 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 69
The brightness drains from Lisa's face, and she lowers her
eyes slowly toward the table.
70 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 70
Lisa slowly helping Jeff to lobster from the main dish.
LAP DISSOLVE TO:
71 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 71
41.
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 if 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 travelling 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
42.
It's ridiculous for you to say that
it can only be done by a special,
private little group of anointed
people.
72 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 72
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!
73 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 73
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.
74 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 74
After a moment of silence, Jeff says earnestly:
JEFF
43.
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?
75 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 75
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 hells 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.
44.
76 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 76
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.
77 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 77
Lisa realizes she is getting nowhere.
LISA
You're too stubborn to argue with.
78 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 78
Jeff, getting angry.
JEFF
I'm not stubborn! I'm truthful!
79 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 79
Lisa, with sarcasm.
LISA
45.
I know. A lesser men would have
told me it was one long holiday --
and I would have awakened to a rude
disillusionment.
80 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 80
Jeff is definitely angry.
JEFF
Now if you want to get vicious, I'd
be very happy to accommodate you!
81 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 81
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.
82 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 82
Jeff looks across at her with some concern.
JEFF
It would be the wrong thing.
83 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 83
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.
46.
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.
84 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 84
Jeff starts to say something then thinks better of it, and
remains silent.
85 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 85
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.
86 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 86
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!
47.
87 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 87
Lisa turns in the half-opened door.
JEFF
Can't we just sort of keep things
status quo?
LISA
Without any future?
88 INT. JEFF'S APARTMENT - (NIGHT) - SEMI LONG SHOT 88
Jeff tries to be pleasant, and offhand.
JEFF
Well - when'll I see you again?
89 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 89
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.
90 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 90
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
48.
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.
91 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 91
Jeff returns to the window. He lights a cigarette and
smokes it peacefully, as he contemplates the neighborhood.
92 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 92
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.
93 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 93
49.
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:
94 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 94
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.
95 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 95
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.
96 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 96
Jeff wakens a little more fully as his attentions is drawn
to:
97 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 97
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.
98 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 98
Jeff smiles at the incident, and then lowers his eyes
slightly as something else catches his attention.
50.
99 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 99
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.
100 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 100
Jeff is puzzled. He looks down a moment in thought.
Then he forts his eyes and swings them toward the left.
He looks steadily toward the distant street corner.
101 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 101
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.
102 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 102
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.
103 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 103
More puzzled, allows his eyes to travel from the street to
the apartment corridor.
51.
104 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 104
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.
105 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 105
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.
106 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 106
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 sideway, and fall into a
nearby chair. He remains there, bleary-eyed and a little
sick.
107 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 107
What he has observed seems to give Jeff an idea. He moves
his wheelchair backward and to the lift 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.
108 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 108
The salesman is again leaving his apartment with his
aluminum suitcase.
109 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 109
52.
Jeff's eyes travel down to the street.
110 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 110
A brief moment or two. Then the salesman, carrying his
aluminum case, crosses the street.
111 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 111
Jeff's face is expressionless. He just stares.
FADE OUT.
FADE IN:
112 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 112
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.
113 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 113
The salesman's apartment shows the shades drawn and a dim
light burning behind them. The CAMERA PANS to the empty
corridor.
114 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 114
Jeff's eyes turn sharply in the direction of the street.
115 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 115
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 closes, but she leans out
to kiss someone goodnight. Then is 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.
53.
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 holding up her hair, which she proceeds to
brush rhythmically. She turns and moves down her bare back.
116 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 116
Jeff's eyes suddenly switch to the street.
117 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT 117
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.
118 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 118
Jeff sits in his wheelchair, looking quietly out at the
neighborhood, sleep beginning to take hold on him again.
119 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT 119
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:
FADE IN:
120 INT. JEFF'S APARTMENT - DAWN - CLOSEUP 120
54.
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:
121 EXT. NEIGHBORHOOD - DAY - LONG SHOT 121
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 dot. 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.
122 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 122
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.
55.
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.
JEFF
Alone.
STELLA
Poor girl. Someday she'll find her
happiness.
JEFF
And some man will lose his.
56.
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.
57.
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.
123 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 123
He quickly turns his wheelchair around to the window until
he is in profile.
124 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 124
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.
125 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 125
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?
58.
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.
126 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 126
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.
127 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 127
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.
128 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 128
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.
59.
129 INT. JEFF'S APARTMENT - DAY - CLOSEUP 129
Jeff's eyes move up quickly to look at the salesman.
130 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 130
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.
131 INT. JEFF'S APARTMENT - CLOSEUP - (DAY) 131
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.
132 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 132
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.
133 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (DAY) 133
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.
60.
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.
134 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 134
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.
135 INT. JEFF'S APARTMENT - CLOSEUP - (DAY) 135
Jeff quickly lowers the binoculars and edges back a few
inches. He watches a moment, then cautiously lifts the
binoculars again.
61.
136 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 136
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.
137 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 137
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 take
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.
138 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT 138
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.
139 INT. JEFF'S APARTMENT - DAY - CLOSEUP 139
Jeff lowers the camera for a moment, and watches tensely.
Suddenly he puts it up to his eye again.
140 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT 140
Half of a man's body is now seen in the living room.
62.
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.
141 INT. JEFF'S APARTMENT - DAY - CLOSEUP 141
Jeff lowers the camera. He watches the living room for a
moment. Then his eye travel briefly back to the kitchen;
then return to the living room. His brow knits a little as
we:
FADE OUT
FADE IN:
142 EXT. NEIGHBORHOOD - (NIGHT) - CLOSEUP 142
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.
143 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 143
63.
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 she 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".
144 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 144
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.
145 INT. JEFF'S APARTMENT - (NIGHT) - TWO SHOT 145
64.
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
65.
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.
146 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 146
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.
147 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 147
He stares intently out the window.
JEFF
66.
He went out a few minutes ago - in
his undershirt - and he hasn't come
back yet.
148 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 148
Lisa weighs this information, trying to make some sense out
of it.
149 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 149
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.
150 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 150
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.
151 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 151
He looks away from Miss Torso, thoughtfully.
JEFF
You know - that would be terrible
job to tackle.
152 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 152
Lisa leans forward and looks out the window to see what
Jeff is referring to. She turns back to him with a blank
stare.
153 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 153
Jeff turns and looks at her, quite unaware of her surprise
at his comment.
JEFF
67.
How would you begin to cut up a
human body?
154 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 154
Lisa sits bolt upright on the divan. She reaches back
quickly and pulls on the overhead light. At that moment the
song writer 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.
155 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 155
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!
156 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 156
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 the bedroom lights.
68.
157 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 157
Jeff reaches quickly for his binoculars, and trains them on
the salesman's apartment.
158 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 158
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.
159 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 159
Lisa, still stretched out on the divan looking at Jeff,
suddenly sits upright and then getting up from the divan,
mover over to Jeff, THE CAMERA GOING WITH her.
In a sudden surprise move, she swings his chair completely
around so that his back is to the window. He drops the
binoculars into his lap in surprise. THE CAMERA MOVES IN as
Lisa leans over Jeff, gripping both sides of his chair
LISA
(sharply)
Jeff - if you could only see
yourself.
JEFF
Now, Lisa --
LISA
(Abruptly)
Sitting around, looking out a
window to kill time, is one thing -
- but doing it the way you are --
(She gestures)
-- with, with binoculars, and with
wild opinions about every little
movement you see - is, is diseased!
JEFF
Do you think I consider this
recreation?
LISA
69.
I don't know what you consider it -
but if you don't stop it, I'm
getting out of here.
JEFF
You'd better before you catch the
disease!
LISA
(Insistent)
What is it you're looking for?
JEFF
I want to find out what's wrong
with the salesman's wife. Does that
make me sound like a madman?
LISA
What makes you think something's
wrong with her?
LISA
A lot of things. She's an invalid
who needs constant care - and yet
the husband nor anyone else has
been in there all day.
LISA
Maybe she died.
JEFF
Where's the doctor - the
undertakers?
LISA
She could be under sedatives,
sleeping.
(Looks up)
He's in the room now.
Jeff tries to turn around, but she won't let the chair
move.
JEFF
Lisa, please!
LISA
There's nothing to see.
JEFF
70.
There is - I've seen things through
that window! Bickering, family
fights, mysterious trips at night,
knives, saws, rope - and since last
evening, not a sight or sound of
his wife!
JEFF
Now you tell me where she is and
what she's doing!
LISA
Maybe he's leaving his wife. I
don't know, and I don't care. Lots
of people have saws, knives and
robs around their houses. Lots of
men don't speak to their wives all
day. Lots of wives nag, and men
hate them, and trouble stars - but
very, very, very few of them end up
in murder - if that's what you're
thinking.
JEFF
It's pretty hard to stay away from
that word isn't is?
LISA
You could see all the things he
did, couldn't you?
JEFF
What are you getting at?
LISA
You could see that he did because
he had the shades in his apartment
up, and walked along the corridor,
and the streets and the backyard?
JEFF
Yeah.
LISA
Jeff, do you think a murderer would
let you see all that? That he
shouldn't keep his shades down and
hide behind them?
JEFF
That's where he's being clever.
Acting nonchalant.
71.
LISA
And that's where you're not being
clever. He wouldn't parade his
crime in front of the open shades.
She turns the wheelchair slightly to her left so that he
can see the newlyweds' apartment.
LISA
(Pointing)
For all you know - there's
something a lot more sinister going
on behind those shades.
160 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 160
The drawn shades of the newlyweds' apartment. A dim light
burning behind them.
161 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 161
Jeff looks, turns back to her, trying to suppress a
chuckle.
JEFF
No comment.
LISA
Don't you see how silly you're
being?
JEFF
Okay, Lisa - probably you're right.
He's probably in the bedroom now,
entertaining his wife with the
indian rope trick. I'll admit to
criminal insanity. Now when do I
start the cure?
Lisa hal looked up and out the window. She opens her mouth
to answer, but a new look overtakes her face. It is
concern, surprise, and a little shock. Jeff sees the
change, is sobered, and quickly turns the chair around.
He looks out the window, using his binoculars.
162 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 162
72.
The shades in the bedroom are now up. Both beds are empty,
and stripped of their linen, the mattresses thrown up over
the end of the beds. The salesman, sweating heavily, stands
over a large, square trunk in the center of the room. It is
stoutly bound by the heavy rope we previously saw him bring
into the apartment. He wipes one forearm across his brow,
and then heads for the kitchen. In the kitchen, he produces
a bottle, pours himself two or three straight drinks, then
leans with a display of exhaustion against the kitchen
sink.
163 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 163
Jeff lowers the glasses. His look is sober. Lisa stands
behind him, one hand on the back of the wheelchair. She,
too, is serious. THE CAMERA MOVES IN until Lisa's head
fills the screen. She says, slowly:
LISA
Let's start from the beginning
again, Jeff. Tell me everything you
saw -- and what you think it means.
She is still staring out the window, as the scene
FADES OUT
FADE IN:
164 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 164
Jeff is seated in the dark, his face lit by the faint glow
from the distant street. He is looking out of the window
tensely, as THE CAMERA MOVES IN, until he is in big
profile.
165 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 165
From Jeff's viewpoint, all the windows are dark. The couple
are sleeping on the fire escape. The salesman's apartment
is dark as well. Suddenly a match flares, and we see the
salesman light a cigar. The flame of the match illuminates
his face for a moment. When is dies out, we see just the
glow of the cigar burning.
166 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 166
73.
The CAMERA is now facing Jeff. We see that his left hand
rests on the telephone receiver which is close to him. The
phone starts to RING, but makes only the slightest sound,
as he instantly picks it up. As he talks, in a low voice,
he keeps his eyes on the salesman's apartment.
JEFF
Yeah?
167 INT. PHONE BOOTH - (NIGHT) - CLOSEUP 167
We get an impression of Sixth Avenue behind Lisa at the
phone. Lisa also talks in a low, quiet voice.
LISA
The name on the second floor rear
mailbox reads Mr. And Mrs. Lars,
that's L-A-R-S, Lars Thorwald.
JEFF
(Filter)
What's the apartment house number?
LISA
125 West Ninth Street.
168 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 168
Jeff, still looks toward the salesman's apartment.
JEFF
Thanks, Lisa.
169 INT. PHONE BOOTH - (NIGHT) - CLOSEUP 169
Lisa smilingly says:
LISA
Okay, chief. What's my next
assignment.
JEFF
To get on home.
LISA
All right -- but what's he doing
now?
170 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 170
74.
Jeff is still looking toward the salesman's apartment.
JEFF
Just sitting in the living room. In
the dark. And he hasn't gone near
the bedroom. Now get some sleep.
Goodnight.
He puts the receiver down, and resumes his vigil.
171 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 171
All we can see is the glow of the salesman's cigar.
FADE OUT.
FADE IN:
172 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 172
Jeff is seated by the window in his wheelchair. He is
talking on the telephone while his eyes are still on the
neighborhood. There is a touch of urgency in his voice.
JEFF
Look, Coyne -- it's just one of
those things I can't tell you on
the phone. You have to be here, and
see the whole set-up.
The CAMERA PULLS BACK slightly as Stella emerges from the
kitchen. She is carrying a tray with breakfast on it. Eggs,
bacon, toast and coffee.
JEFF
It's probably nothing important --
just a little neighborhood murder.
That's all. -- As a matter of fact,
I did say "murder".
Stella squeezes past the right side of Jeff, and places the
food tray on a windowseat in front of him. She peers out
cautiously toward Thorwald's apartment for a moment. Then
she squeezes back, moving to the sideboard against which
leans a small table on an adjustable stand.
JEFF
My only thought was to throw a
little business your way. A good
detective, I reasoned, wold jump at
the chance to detect.
75.
Stella returns with the table, and sets it up so that it is
across Jess's lap. She gets the tray of food pausing to
look toward Thorwald's apartment. Then she places the
breakfast on the tray table in front of Jeff. He has move
back a little to avoid getting the phone cable tangled in
the food and dishes.
JEFF
Well, I usually took my best
pictures on my day off.
(Nods)
Okay, Coyne -- soon as you can.
173 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 173
He hangs up. Stella takes the phone and puts it down for
him. He looks at the breakfast, reaches for a knife and
fork.
JEFF
Stella, I - I can't tell you what a
welcome sight this is. No wonder
your husband's still in love with
you.
STELLA
Police?
JEFF
(Pauses in cutting food)
Huh?
STELLA
You called the police?
JEFF
Oh. Well, yes and no. It wasn't an
official call. He's just a friend.
(Almost to himself)
An old, ornery friend.
He begins eating, appreciatively. She moves behind his
chair, pausing to look toward Thorwald's apartment again.
Jeff is just lifting a piece of bacon to his lips when
Stella speaks.
STELLA
(Half to herself)
Now just where do you suppose he
cut her up?
76.
The hand carrying the bacon to Jeff's mouth hesitates for a
moment.
STELLA
(Answering herself)
Oh - of cause! In the bathtub.
That's the only place he could wash
away the blood.
The hand holding the bacon moves back to the plate.
Jeff just starts ahead. Stella turns and walks into the
kitchen. Jeff pushes the food away, and picks up the coffee
cup instead.
174 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 174
Jeff's eyes, over the coffee cup, are staring intently at
the backyard.
175 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 175
Thorwald's apartment. The shades up. No one moving.
The rope-tied trunk still sits in the bedroom.
To the left we see the casket lowering with the dog in it.
We HEAR the woman WHISTLING an aria.
176 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 176
His eyes stray in an upward direction as he puts down the
coffee cup.
177 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 177
The CAMERA PANS UP past the woman lowering the dog, up to
the roof where one of the sunbathers can be seen sitting
up, rubbing her body with sun tan oil.
178 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 178
Jeff's eyes moves down again. Abstractedly his hand strays
toward the piece of bacon. He picks it up.
179 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 179
77.
Thorwald's apartment. We are now aware that the sales-man
is now in his living room, lying out of sight on the sofa,
because the smoke from a newly lighted cigar is starting to
ascend toward the ceiling of his room.
Stella's voice is heard calling out from the kitchen:
STELLA'S VOICE
He'd better get that trunk out of
there before is starts to leak.
180 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 180
Again the bacon stops before is reaches Jeff's mouth.
He puts it down on the plate again, as his eyes move
slightly toward the left.
181 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 181
Miss Torso, in ballet outfit, is hanging up a small wash on
a clothes line. It consists mostly of lingerie. She is
doing her inevitable leg practice at the same time.
THE CAMERA PANS OVER SUDDENLY TO Thorwald's apartment, and
except for the smoke rising from the unseen sofa, there is
no activity.
182 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 182
Jeff seems to be getting a bit listless, or bored, by
constantly watching Thorwald's apartment. His eyes sort of
stray around the neighborhood, and end up looking toward:
183 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT 183
The newlywed's apartment. Shade down, business as usual.
184 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 184
Jeff smiles affectionately, and starts to turn his eyes
away; but something startles him, and he looks quickly
back.
185 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT 185
The shade suddenly going up in the newlywed's apartment.
78.
The young husband leans his hands on the windowsill, and
looks out. He is wearing only his pajama bottoms, because
of the heat, and we see that he is a well-muscled,
attractive young man. He looks around with some
satisfaction. He turns at the sound of a woman's voice
behind him.
GIRL'S VOICE
H-a-a-r-r-e-e......
He turns his head, is thoughtful for a brief moment, then
he pulls down the shade.
186 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 186
His smile almost becomes a private chuckle. Stella's abrupt
voice breaks in urgently:
STELLA'S VOICE
Look! Look - Mr. Jefferies!
Jeff's head snaps toward the center of his window.
Stella has appeared behind his wheelchair.
187 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 187
Two men wearing tan coveralls are standing outside
Thorwald's door. One of them carries a clipboard.
Suddenly Thorwald is seen sitting up on the living room
sofa. His fair is disheveled and he is unshaved. He stands
up, and moves toward the door.
He opens it, and after a short exchange of dialogue, he
admits the two men, leaving the door open behind them.
He leads the two man across the living room to the bedroom.
188 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 188
Stella and Jeff watching intently. He is feeling down
alongside his wheelchair for his binoculars.
189 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 189
A close view shows the two man carrying the trunk across
the living room toward the corridor.
79.
190 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 190
Jeff lowers the binoculars quickly.
JEFF
(Agitated)
I thought Coyne would get here
before the trunk went - or I'd have
called the police.
(To Stella)
Now we're going to lose it.
Stella moves toward the door quickly. Jeff turns quickly
over his shoulder to watch her. She is already going up the
steps.
JEFF
Stella, don't do anything reckless!
As Stella goes out the door, she calls back:
STELLA
I'm just going to get the name of
their truck!
JEFF
(Up)
I'll watch the alleyway - in case
it goes that way.
We hear nothing from Stella, but the sound of her heavy
tread down the hallway stairs. Jeff returns to Thorwald. He
eases himself back into the shadows a bit and then raises
his binoculars.
191 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 191
Jeff concentrates his attention on the alley-way that leads
to the street. Just normal traffic. The binoculars swing to
Thorwald apartment. The salesman is now at the telephone.
He has picked up the receiver, and proceeds to dial 221.
192 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 192
The binoculars still up to Jeff's face. Under them his
mouth moves, as if he's talking to himself.
JEFF
Long Distance.
80.
193 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 193
The salesman speaks some words to the operator. Placing the
call. As he does this, he reaches with his other hand for a
nearly bottle, and working the cork out with one hand, he
pours a stiff drink into a tumbler. He drinks it as soon as
he finishes talking with the operator.
194 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 194
Jeff lowers the binoculars a little, and takes a normal eye
sight on the alleyway.
195 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 195
Pulling across to the far side of the street we see the
hood and cab of a freight truck.
196 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 196
Jeff quickly puts the glasses up.
197 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 197
By the time the binoculars are up, another trucks has
crossed from the left. In momentarily blocks out the side
of our freight truck. By the time the two trucks part, we
can only see the back half of the freight truck before it
pulls out of sight. Jeff is only able to read the words
"FREIGHT LINES". The binoculars are held for a moment until
we see a puffing and blowing Stella arrive at the opening
of the alleyway. She looks toward the front of Thorwald's
apartment house.
And by her attitude we can see that there is no truck
outside. She looks about her for a moment.
198 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 198
Jeff lowers the binoculars, discouraged.
199 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 199
The figure of Stella is seen, looking up toward Jeff's
apartment, and arms outspread in a helpless gesture.
LAP DISSOLVE TO:
81.
200 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT 200
SHOOTING TOWARDS the big window, with the neighborhood
beyond, Jeff is as usual seated in his wheelchair on the
left of the window, but now turned toward a newcomer.
The second man is standing near the divan looking out the
window with the binoculars. This newcomer is POLICE
DETECTIVE LIEUTENANT THOMAS J. COYNE, the man Jeff phoned
earlier in the day. He is an intelligent-appearing, well-
dressed modern detective. He has a sense of humor. He
lowers the glasses, and turns to Jeff.
COYNE
You didn't see the killing, or the
body? How do you know there was a
murder?
JEFF
Because everything that man's done
has been suspicious. Trips at night
in the rain, saws, knives, trunks
with rope, and a wife that isn't
there any more.
COYNE
I'll admit it all has a mysterious
sound -- but is could mean a number
of different things. Murder is the
least likely.
JEFF
Go ahead, Coyne -- tell me he's an
unemployed magician -- amusing the
neighborhood with sleight-of-hand.
Coyne paces a little.
COYNE
It's too stupid and obvious a way
to murder - in full view of fifty
windows - and then sit over there--
(He points)
--smoking a cigar -- waiting for
the police to pick him up.
JEFF
Well, officer - do your duty.
COYNE
82.
You've got a lot to lean about
homicide, Jeff. Morons have
committed murder so shrewdly that
it took a hundred trained police
minds to catch them. That salesman
wouldn't just knock off his wife
after dinner, toss her in a trunk
and put her in storage.
JEFF
I'll bet is's been done.
COYNE
Almost everything's been done -
under panic. But this is a thousand
to one shot. That man's still
sitting around his apartment; he
isn't panicked.
JEFF
(A pause)
You think I made all this up?
COYNE
I think you saw something - that
probably has a very simple
explanation.
JEFF
For instance?
COYNE
(Shrugs)
His wife took a trip.
JEFF
She - was - an - invalid!
COYNE
You told me.
(Look at watch)
I've got to run, Jeff.
JEFF
All right - you don't believe me.
Coyne saunters toward steps, picking up his hat on the way.
Stops.
COYNE
83.
I - uh - won't report it to the
Department. Let me poke into a
little on my own. No point in you
getting any ridiculous publicity.
JEFF
(Coldly)
Thanks.
COYNE
We know the wife is gone. I'll see
if I can find out where.
JEFF
Do that.
He goes up the steps to the door, putting on his hat.
He pauses his hand on the door knob.
COYNE
You have any headaches lately?
201 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 201
Jeff answers, showing only the slightest irritation.
JEFF
Not 'til you showed up.
202 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 202
Coyne, still at the door:
COYNE
Uh-huh. Well, it'll wear off in
time -- along with the
hallucinations. See you around.
He starts to go out the door, and closes it behind him.
203 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT 203
From Coyne's viewpoint. Jeff lifts his hand in a feeble
parting gesture.
204 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 204
84.
Before the door has completely closed, Coyne opens it
again, and looks in.
COYNE
By the way - what happened to your
leg?
205 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 205
JEFF
I was jaywalking.
COYNE'S VOICE
(O.s.)
Where?
JEFF
(With nonchalance)
The Indianapolis Speedway.
206 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 206
The door starts to close again, as if Coyne considered
Jeff's answer quite reasonable. Then the door pops open and
Coyne's head comes in, a surprised expression across his
face.
COYNE
During the race?
207 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 207
Jeff answers with a straight face.
JEFF
Yup. It sure stopped traffic.
We don't see Coyne again, but only HEAR the sharp slam of
the DOOR off. Jeff chuckles. Then he turns back to the
window.
208 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 208
Jeff's attention is drawn to something in the yard below.
209 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 209
85.
The little dog is busily scratching away at Thorwald's pet
flower bed.
210 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 210
Jeff smiles mischievously. Suddenly his face changes as he
sees:
211 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 211
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.
212 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 212
Jeff is frankly puzzled by the salesman's friendly attitude
toward the dog. He looks off in another direction, as he
catches of:
213 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 213
Coyne, 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. Coyne isn't interested.
As Coyne saunters forward toward the salesman house, the
scene:
LAP DISSOLVES TO:
214 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 214
Coyne 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.
COYNE
86.
He has a six months leases, 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. Kept to himself, and
none of the neighbors got close to
him, or his wife.
JEFF
I think they missed their chance
with her.
COYNE
(Studies drink)
She never left the apartment --
JEFF
(Interrupting)
Then where is she - in the ice box?
COYNE
(Continues)
--- until yesterday morning.
JEFF
(Alert)
What time?
COYNE
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.
COYNE
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.
COYNE
Feel a little foolish?
87.
JEFF
Not yet.
Coyne 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.
215 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 215
Miss Torso, in ballet costume, practicing her dance on the
outside balcony. She is exciting and desirable.
216 INT. JEFF'S APARTMENT - (DAY) - TIGHT TWO SHOT 216
Jeff notices Coyne's interest.
JEFF
How's your wife?
Startled at being observed, Coyne moves quickly away from
the window, affecting nonchalance. THE CAMERA MOVES BACK as
Coyne returns to his drink. Jeff smiles at catching Coyne
enjoying Miss Torso.
COYNE
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?
COYNE
Who left - where?
JEFF
The Thorwalds - at six in the
morning?
Coyne quickly collects his thoughts, and gets back to the
case at hand.
COYNE
88.
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!"?
COYNE
(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?
COYNE
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?
COYNE
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
Coyne - are you interested in
solving a case, or making me look
foolish?
COYNE
If possible - both.
JEFF
89.
Well then do a good job of it! Get
over there, and search Thorwald's
apartment! It must be knee-deep in
evidence.
COYNE
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.
COYNE
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?
COYNE
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.
COYNE
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.
COYNE
I can hear myself starting out.
"Your Honor - I have a friend who's
an amateur sleuth, an one night,
after a heavy supper---"
90.
(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.
COYNE
(Looking out window)
A detective's nightmare.
JEFF
What do you need before you can
search - bloody footsteps leading
up to the door?
COYNE
(Looking out window)
One think I don't need is heckling!
You called and asked me for help --
and now you're acting like a
taxpayer!
COYNE
(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?
COYNE
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 Coyne.
COYNE
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.
91.
JEFF
Forget the story - find the trunk.
Mrs. Thorwald's in it!
COYNE
Oh - I almost forgot!
He pulls a slip of paper out of his pocket. Jeff watches
him intently.
COYNE
(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 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?
COYNE
(Nods "yes")
Mrs. Thorwald.
He puts on his hat, and goes toward the door.
COYNE
(Maliciously)
Anything you need?
217 INT. JEFF'S APARTMENT - DAY - CLOSEUP 217
Jeff is sober.
JEFF
Yeah. A good detective.
LAP DISSOLVE TO:
218 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 218
92.
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.
219 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 219
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.
220 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 220
Jeff looks down, he smiles to himself. He turns, and we see
him raise the long-focus camera to his eye.
221 EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT 221
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 nee of
advice on hair dressing. Her hair-so 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.
93.
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.
222 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP 222
Jeff lowers the long-focus lens, and turns his head to the
right as he hears the first notes of the song-writer's
melody which we have heard him trying to complete.
223 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT 223
The song writer 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 canapes, glasses,
ice and liquor. She pauses as she crosses the room carrying
a tray of food. She listens a moment to the song-writer's
melody. Her expression shows that it pleases her, and moves
her romantically. She comments on it to the song-writer,
who starts from the beginning again, playing it more fully.
224 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP 224
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.
225 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 225
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.
94.
226 INT. JEFF'S APARTMENT - (DUSK) - CLOSEUP 226
He quickly raises his long-focus camera to his eye.
227 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT 227
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 bow under his
arm. THE CAMERA PANS him over to the right until he is lost
behind the building.
228 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP 228
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.
229 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT 229
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.
230 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP 230
Jeff lowers the camera quickly. He picks up the phone and
dials a number, still keeping his eyes on Thorwald.
95.
The phone buzzes on filter, then is picked up and answered
by a woman:
MRS. COYNE
(Filter)
Hello.
JEFF
Mrs. Coyne?
MRS. COYNE
Yes.
JEFF
Jeff again.
(A note of urgency)
Has Tom come in yet?
MRS. COYNE
Not yet, Jeff.
JEFF
You haven't even heard from him?
MRS. COYNE
Not a word.
For a moment, Jeff looks desperate. He doesn't know what to
say.
MRS. COYNE
It is something really important,
Jeff?
JEFF
I'm afraid it is, Tess.
MRS. COYNE
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. COYNE
Who's Thorwald
JEFF
He knows.
(As an after-thought)
96.
Don't worry, Tess. It's a man.
MRS. COYNE
(She laughs)
Goodnight, you idiot.
JEFF
(A slight smile)
Goodnight, Mrs Coyne.
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.
231 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 231
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.
232 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 232
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.
233 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 233
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.
97.
234 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 234
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.
235 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 235
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.
236 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 236
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.
237 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 237
The door opens, and Lisa stands silhouetted in the
entrance, black-lighted by the corridor lights. It's an
attractive picture.
238 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 238
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!
239 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 239
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:
240 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 240
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:
98.
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
--
241 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 241
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 is
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.
242 EXT. NEIGHBORHOOD - SEMI LONG SHOT - (NIGHT) 242
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.
99.
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.
243 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 243
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.
244 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 244
The street intersection. Some traffic, mostly pedestrian.
Miss Lonely Hearts still sitting at the cafe table, alone.
Drinking. There is no sign of Thorwald.
245 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 245
He lowers the lens.
JEFF
He must have gone somewhere to the
right.
The CAMERA PULLS BACK as Lisa starts around the apartment
turning on the lights. As she light increases, we see that
she is wearing another extravagantly beautiful dress. She
seems quite animated, moving gracefully, her skirt and hair
swinging with her movement. Jeff turns around to face the
room.
LISA
100.
All day long I've tried to keep my
mind on work.
JEFF
Thinking about Thorwald?
LISA
(Nods yes)
And you, and you friend Coyne --
(Stops, to Jeff)
Did you hear from him again - since
he left?
JEFF
Not a word. He was going to check
on the railroad station, and the
trunk. He must be still on it.
As he talks, she seems to be thinking something over to
herself. He starts pacing, trying to distill her thoughts.
We see that she has brought an oversized handbag with her,
which lies prominently on the table.
Jeff watches her.
JEFF
Something on your mind, Lisa?
LISA
It doesn't make sense to me.
JEFF
What doesn't?
LISA
Women aren't that unpredictable.
JEFF
(Losing a little
patience)
Lisa -- I can't guess what you're
thinking.
THE CAMERA CLOSES IN, Lisa stops, faces him. Her eyes
sparkle, and her body is tense with concentration.
LISA
A woman has a favorite handbag - it
always hangs on her bedpost where
she can get at it. Then she takes a
trip and leaves it behind. Why?
JEFF
101.
Because she didn't know she was
going on a trip - and where she was
going she wouldn't need a handbag.
THE CAMERA eases back.
LISA
But only her husband would know
that.
(Starts to pace again)
And the jewelry! Women don't keep
all their jewelry in a purse, all
tangled, getting scratched and
twisted up.
JEFF
Do they hide it in their husband's
clothes?
LISA
They do not! And they don't leave
it behind them. A woman going
anywhere but the hospital would
always take makeup, perfume and
jewelry.
JEFF
Inside stuff?
LISA
Basic equipment. You don't leave it
behind in your husband's drawer in
your favorite handbag.
JEFF
I'm with you, sweetie, but
Detective Thomas J. Coyne has a pat
answer for that.
LISA
That Mrs. Thorwald left at six ayem
yesterday with her husband?
JEFF
That's what the witnesses told him.
LISA
Well, I have a pat rebuttal for Mr.
Coyne - that couldn't have been
Mrs. Thorwald - or I don't know
women.
JEFF
102.
Still -- those witnesses.
LISA
We'll agree they saw a woman - but
she wasn't Mrs. Thorwald. - That
is, yet.
She comes over to Jeff. He reaches up, takes her hand.
JEFF
Come here.
He pulls her into his lap. She puts her arms around him.
She is very happy, and kisses Jeff's cheek.
LISA
I'd like to see your friend's face
when we tell him. He doesn't sound
like much of a detective.
JEFF
Don't be too hard on him. He's a
steady worker. I wish he'd get
there, though.
LISA
(Nuzzling Jeff)
Don't rush me. We have all night.
There's a pause. Then Jeff moves back a little to look her
straight in the eye.
JEFF
We have all - what
LISA
Night. I'm going to stay with you.
JEFF
You'll have to clear that through
my landlord----.
She cuts him off with a kiss. When she pulls back
LISA
I have the whole weekend off.
JEFF
Well that's fine, but I only have
one bed, and ---
Lisa smothers him with another kiss. She lets up.
103.
LISA
Say anything else, and I'll stay
tomorrow night too.
JEFF
Lisa, I won't be able to give you
any---
She smothers him with still another kiss. Then moves back.
JEFF
---pajamas.
She laughs, gets up. Goes to the large handbag on the
table. Is is a Mark Cross ladies 'attache' case.
LISA
You said I'd have to live out of
one suitcase
(Picks up case)
I'll bet yours isn't this small?
JEFF
That's a suitcase?
LISA
(Starting to open it)
A Mark Cross overnight case, anyway
Compact, but ample enough.
She has opened it, and surprisingly enough, it is a compact
outfit of pajamas, slippers, toothbrush, toothpaste, and
all the general necessities for a comfortable overnight
stay. She comes to Jeff, sits in his lap again, displaying
the inside of the case
LISA
I'll trade you - my feminine
intuition for a bed for the night.
JEFF
(Gives in smiling)
I'd be no better than Thorwald, to
refuse.
The SOUND from the party in the song-writer's apartment
becomes more noticeable as his party grows. And at this
point he begins playing the song he has been composing for
the past few days.
LISA
There's that song again.
104.
She gets up from Jeff's lap, and puts the overnight case on
the table. Open. She goes to the window, and looks toward
the song-writers' apartment. Jeff turns with her.
246 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 246
The party at the song-writer's has grow considerably
larger. An assortment of well-dressed people have now
crowded into the studio. They are drinking, eating, etc. At
the moment, a number of them are crowded around the piano,
listening to the composer's newest song - which isn't quite
completed. However, the melody has become more beautiful
than ever. During the following scene, we HEAR the melody
being played a number of different ways on the piano.
247 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 247
Lisa stands, listening, entranced.
LISA
Where does a men get the
inspiration for a song like that?
Jeff watches her.
JEFF
From his landlord -- once a month.
LISA
It's utterly beautiful.
(Turns to Jeff)
I wish I could be creative.
JEFF
You are. You have a talent for
creating difficult situations.
LISA
(Happily)
I do?
JEFF
Staying the night here, uninvited.
She sits down on the edge of the divan near Jeff. She leans
toward him.
LISA
Surprise - is the most important
element of attack.
(She smiles)
105.
And beside, you're not up on your
private eye literature. When
they're in trouble, it's always
their Girl Friday who gets them out
of it.
JEFF
The same girl who keeps him out of
the clutches of seductive show
girls, and over-passionate
daughters of the rich.
LISA
The same.
JEFF
But he never ends up marrying her.
Strange.
LISA
(Stands up; deadpan)
Weird.
(She does a complete
spin, then, ingenuously)
Why don't I slip into something
comfortable?
JEFF
You mean - like the kitchen? And
make us some coffee?
LISA
Exactly what I had in mind - along
with some brandy.
She goes to the kitchen, humming with the song-writer's
melody which we can HER off. Jeff turns back to the window,
looks out.
248 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 248
The shade is going up in the newlyweds apartment. The young
husband throws up the window an lights a cigarette. He
takes a deep and satisfying drag on the cigarette, glancing
toward the song-writer's party.
Just as he starts to exhale the smoke, we HEAR his young
wife's voice off:
GIRL'S VOICE
H-a-a-r-r-e-e-!
106.
He chocks on the smoke, sputtering and coughing. When he
recovers, he throws the cigarette down to the back-yard
with a show of irritation. Then slowly he pulls the shade
down. Behind us is SOUND of a door shutting
249 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 249
Over Jeff's shoulder we see Coyne coming down the steps
slowly, and seemingly preoccupied. Jeff swings the chair
around so that his back is to us.
SEMI-CLOSEUP
Without looking at Jeff, Coyne comes into the apartment
takes off his hat and places it on the table. He runs a
hand over the side of his head and down the back of his
neck, which seems to indicate some fatigue.
SEMI-CLOSEUP
Jeff. Looking expectantly at Coyne.
SEMI CLOSEUP
Coyne reaches for a cigarette on the table, and puts it to
his lips. While searching his pockets for a match, he HEARS
Lisa humming. His eyes turn upward.
MEDIUM SHOT
Over the cabinet which divides the living room from the
kitchen, we can see a glimpse of Lisa's shadow on the
ceiling.
SEMI-CLOSEUP
Jeff, has follows Coyne's look.
SEMI CLOSEUP
Coyne picks up cigarette lighter from table, and lights his
cigarette. As he is placing the lighter back on the table,
he sees:
CLOSEUP
From his viewpoint, Lisa's bag containing her lingerie and
overnight effects.
CLOSEUP
107.
Jeff. His eyes turn from the lingerie up to Coyne.
CLOSEUP
Coyne's look is completely noncommittal. His eyes turn at
the sound of the song-writer's party. He moves forward to
get a better view, as the CAMERA RETREATS in front of him.
He stops to glance out of the window.
250 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 250
The party is now full progress. The room is overcrowded.
And some people are now sitting on the floor with there
backs to the window. Others are outside. A crowd hides the
piano player, but music can be head competing with the
babble.
251 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 251
Coyne turns his head away, and looks straight out. His
expression hardens a little, as he sees:
252 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT 252
The window of Thorwald's apartment, completely dark.
253 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 253
He also is looking toward Thorwald's apartment. He turns
his eyes anxiously back to Coyne. He seems to be trying to
penetrate Coyne's mind.
254 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 254
Coyne turns his head from the window, and looks down at
Jeff. He asks, quietly:
COYNE
What else do you have on this man
Thorwald?
Jeff's tension eases off a little, by he is eager to talk.
JEFF
Enough to scare me that you
wouldn't get here in time, and we'd
lose him.
108.
COYNE
(Soberly)
You think he's getting out of here?
JEFF
Everything he owns is laid out on
the bedroom, ready for packing.
Coyne looks back toward Thorwald's bedroom. We see the dark
apartment beyond him. Coyne nods thoughtfully. He turns his
head suddenly at the sound of Lisa coming out of the
kitchen. She holds two large brandy snifters containing
some brandy. They are cupped in her hand, the stem between
her fingers. She is rotating them gently toward the body to
warm the brandy. She is quite beautiful.
255 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 255
Coyne reacts to her appreciatively.
256 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 256
She continues rotating the brandy.
LISA
I'm just warming some brandy.
She comes forward hands one snifter to Jeff. She offers the
second to Coyne. (NOTE: In the following set of scenes,
whenever anyone holds a brandy sniffer, it is being
rotated- regardless of their attitudes.)
LISA
Mr. Coyne? - I presume.
Coyne sort of smiles, and takes the snifter awkwardly.
JEFF
Tom, this is Miss Lisa Fremont.
Coyne bows his head slightly, but his eyes remain on her in
a fixed stare.
COYNE
How do you do?
Lisa smiles in return.
LISA
We think Thorwald's guilty.
109.
She turns around, and goes right back into the kitchen.
257 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 257
Coyne stares after her, ignoring her remark, still not
recovered from the fist sight of her attractiveness.
Then quickly, his eyes move down and to the left.
258 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 258
The open overnights case with its displayed lingerie.
259 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 259
Slowly Coyne's eyes travel back to Jeff.
260 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 260
Quickly guessing what's on Coyne's mind
JEFF
(Cautiously)
Careful, Tom.
261 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 261
Coyne's eyes travel past Jeff to look out the window.
He still holds the brandy snifter in one hand, and a
cigarette in the other. Absentmindedly he still rotates the
brandy. The SOUND of the phone ringing is heard.
262 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 262
Jeff picks up the phone.
JEFF
Hallo?
He listens, and then looks up to Coyne.
JEFF
Just a minute, please.
110.
Coyne crosses and stands behind Jeff, as Jeff hands him the
Phone. He juggles the cigarette, the brandy snifter and the
phone all at once. This is all done deadpan.
COYNE
Coyne speaking.
(He listens)
Uh-huh. - Yeah. Mummmm.- Mmm. Hmm.
- Okay. Thank you, and goodbye.
He hands the receiver back to Jeff, who hangs up. Lisa
comes back in with her own brandy snifter, rotating it.
LISA
The coffee will be ready soon.
(Urgent)
Jeff, aren't you going to tell him
about the jewelry?
Coyne looks suddenly interested. He asks tersely:
COYNE
Jewelry?
JEFF
He has his wife's jewelry hidden in
among his clothes over there.
COYNE
You sure it belongs to his wife?
He turns his head to Lisa, who answers.
LISA
It was in her favorite handbag. --
And, Mr. Coyne, that can lead to
only one conclusion.
COYNE
Namely?
His head snaps cask to Jeff, who answers:
JEFF
That wasn't Mrs. Thorwald who left
with him yesterday morning?
COYNE
You figured that out, huh?
His head moves back to Lisa as she answers with a touch of
pride in her voice.
111.
LISA
It's just that women don't leave
jewelry behind when they go on a
trip.
Before Coyne can comment, Jeff asks impatiently:
JEFF
Come on, Tom - you don't really
need any of this information, do
you?
Coyne smiles at Jeff, and then strolls over to the table
where he puts out his cigarette and puts down the brandy
snifter.
COYNE
As a matter of fact, I don't.
Coyne goes to the window and looks out, as they watch him,
expectantly. He speaks without looking at them.
His voice is flat and to the point.
COYNE
Lars Thorwald is no more a murderer
than I am.
263 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 263
Jeff and Lisa stare at him in astonishment. Then Jeff
recovers, and answers with some anger:
JEFF
You mean you can explain everything
that went on over there - and is
still going on?
264 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 264
He spins around, and his face has lost all its
friendliness.
COYNE
No!
He starts to place the room.
COYNE
And neither can you.
(Points out window)
112.
That's a secret and private world
you're looking into out there.
People do a lot at things in
private that they couldn't explain
in public.
265 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 265
Lisa and Jeff. She replies with some sarcasm.
LISA
Like disposing of their wives?
COYNE
(Off)
Get that idea out of your mind. It
will only lead you in the wrong
direction.
JEFF
But Tom -- the saw, the knives --
266 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 266
Coyne breaks in, takes a step forward.
COYNE
Did you ever own a saw?
JEFF
(Off)
Well, in the garage, back home, we
--
COYNE
(Interrupts)
And how many people did you cut up
with it? Or with the couple of
hundred knives you've probably
owned in your lifetime?
267 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 267
Jeff, reasoning:
JEFF
But I'm not a killer!
COYNE
(Off)
113.
Your logic is backward.
Lisa cuts in spiritedly.
LISA
You can't ignore the wife
disappearing! And the trunk- and
the jewelry -- !
268 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 268
Coyne starts to pace up and down, throwing out a hand in
careful explanation.
COYNE
I checked the railroad station. He
bought a ticket. He put her on the
train ten minutes later.
Destination: Merritsville.
Witnesses. This deep.
(He holds his hand a few
feet off the floor)
269 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 269
Jeff and Lisa.
LISA
It might have been a woman -- but
it couldn't have been Mrs.
Thorwald. That jewelry --
270 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 270
Coyne comes up to the CAMERA, looking at Lisa.
COYNE
Look, Miss Fremont. That feminine
intuition sells magazines - but in
real life, it's still a fairy tale.
I don't know how many wasted years
I've spent running down leads based
on women's intuitions.
271 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 271
Jeff is resentful of Coyne's comments to Lisa.
JEFF
114.
I take it you didn't find the
trunk. -- And this is just an old
speech you once gave at the
Policeman's Ball.
272 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 272
Coyne has turned away into the center of the room. He
swings around.
COYNE
I found the trunk -- a half hour
after I left here.
273 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 273
Lisa speaks again with continuing sarcasm:
LISA
Of course, it's normal for a man to
tie his trunk up with a heavy rope.
COYNE
(Off)
When the look is broken - yes.
JEFF
What was in the trunk? A surly note
to me?
274 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 274
Coyne comes toward the CAMERA again.
COYNE
(Carefully)
Mrs. - Thorwald - 's - clothes. --
Clean - carefully packed - not too
stylish - but presentable.
LISA
(Off)
Didn't you take it to the crime
lab?
Coyne gives her a scathing look.
COYNE
I sent it on its merry and legal
way.
115.
275 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 275
Jeff challenges Coyne:
JEFF
Why - when a woman only goes on a
simple trip, does she take
everything she owns?
276 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 276
Coyne, with a studied, gracious gesture, to Lisa.
COYNE
Let the female psychology
department handle that one.
277 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 277
Lisa answers, but very coldly:
LISA
I would say that is looked as if
she wasn't coming back.
COYNE
(Off)
That's what they call a family
problem.
JEFF
(Persisting)
If his wife wasn't coming back --
why didn't he tell his landlord? --
I'll answer it for you - because he
had something to hide.
278 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 278
Coyne hesitates a moment, and lets his eyes wander, to:
279 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 279
The overnight case, with Lisa's lingerie.
280 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 280
His eyes going back to Jeff.
116.
COYNE
(Blandly)
Do - uh - you tell your landlord
everything?
281 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 281
Jeff replies, pointedly:
JEFF
I told you to be careful.
Lisa looks down at Jeff, not comprehending.
282 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 282
Coyne points to one of the photographs on the wall.
COYNE
If I'd been careful piloting that
reconnaissance plane, you wouldn't
have taken the kind of pictures
that got you a medal, a big job,
fame, money --
JEFF
(Expressionless)
All the things I hate.
Coyne has a complete change of manner. He relaxes and
smiles.
COYNE
Now - what do you say we sit down
to a quiet, friendly drink or two -
- forget all about this, and tell
lies about the old days in the war?
Hmmm?
He looks from one to the other.
283 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 283
Neither Jeff or Lisa display even the slightest
friendliness. Their faces are cold and set. Then Lisa
speaks, icily:
LISA
You're through with the case?
117.
284 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 284
Coyne is relaxed.
COYNE
There isn't any "case" to be
through with, Miss Fremont. Now
let's get down to that friendly
drink.
285 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 285
Jeff and Lisa remain unmoved.
286 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 286
A little self-conscious, Coyne checks his watch, and says
with a pleasant laugh:
COYNE
Maybe you're right. I guess I'd
better get home and get some sleep.
He waits. No response comes across. His face sobers a
little, he reaches for his unfinished drink of brandy.
He tries to toss it off like a straight shot of liquor.
Part of is shoots out of the brandy snifter, down each side
of his face, and into his suit. He sputters a little, and
puts the glass down.
287 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 287
Jeff and Lisa deadpan.
288 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 288
Coyne is wiping his coat lapels with a handkerchief. He
looks at them pleasantly.
COYNE
I'm not much of a snifter.
He starts away toward the door.
COYNE
118.
If you need any more help, Jeff -
consult the yellow pages of your
telephone directory.
289 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 289
Lisa, still burning:
LISA
I hate funny exit lines.
JEFF
Who was the trunk addressed to?
290 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 290
Coyne picks up his hat.
COYNE
Mrs. Anna Thorwald.
He starts up the steps to the door.
291 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 291
Jeff points out a challenging finger.
JEFF
Let's wait and see who pick it up.
292 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 292
Coyne poises on the step. He snaps his fingers.
COYNE
Oh - that phone call!
(To Jeff)
I gave them your number - hope you
don't mind.
JEFF
(Off)
That depends on who "they" were.
COYNE
(Pleasantly)
119.
The police Department at
Merritsville. They called to
report. The trunk was just picked
up - by Mrs. Anna Thorwald.
He puts on his hat, smiles, and says.
COYNE
Don't stay up too late.
He quietly closes the door behind him.
293 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 293
Lisa and Jeff. Jeff turns his chair around, and looks out
to the neighborhood. Lisa stands glumly behind him.
294 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 294
The song-writer's party is now in full swing, and fairly
crowded. It is a happy, gay affair.
295 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 295
None of the gaiety is reflected in Lisa and Jeff. Some new
music is heard coming across the courtyard and Jeff turns
toward it with some irritation.
296 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 296
Miss Torso's apartment has the door closed, and all that we
can see of her, as she is lying on the divan, is her legs
swinging in arcs as she exercise to record music.
297 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 297
Lisa is not looking in the same direction as Jeff. All
during this, she has been staring out at Thorwald's
apartment. Now her eyes are looking at the apartment
underneath. She murmurs to Jeff:
LISA
Look.
Jeff turns his eyes in the same direction as hers.
298 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 298
120.
A light has gone on in Miss Lonely Hearts' apartment. They
look. Surprise of surprises, she has returned with a lover
hooked. He is much younger then she, and a little more
keyed up to the promise of an adventure still fresh to him.
Her actions are coy, and over-feminine. She slips away from
his hasty embraces and exploratory kisses with the proper
flush of confusion and nervous giggle that seems to say,
"It's quite a surprise you find me so desirable, but me
mustn't do anything improper, you know. After all, we're
practically strangers - and what would you think of me?"
She pours a drink for each of them with gestures over-
gentell. As she sips her drink and look at him over the rim
of the glass, he tosses his off with nervous dispatch.
He moves toward her, this time more cautiously. An embrace,
a long kiss. She puts her drink down on the edge of the
chair. It spills over onto the rug. He begins kissing her
cheek, her ear, her neck.
Suddenly and fiercely she pushes him away. Slaps him across
the face. He moves back with shock as she loudly and
emphatically orders him out, out, out. He flushes with
anger and embarrassment, and his mouth twists into
unpleasant shapes as he slaps degrading words back at her,
telling her what she is. She screams at him to get out. He
leaves, slamming the door behind him.
She goes back dumbly to the spilled liquor, makes a futile
effort to clean it up, and the collapses onto the rug
sobbing hard enough to shake her whole body.
299 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 299
Lisa turns away from Jeff's chair to get a cigarette from
the table. She lights is, as Jeff turns his chair back to
the room.
JEFF
As much as I hate to give Thomas J.
Coyne too much credit, he might
have gotten ahold of something when
he said this was pretty private
stuff going on out there.
He indicates the outside neighborhood with a movement of
his head. She doesn't answer, but studies the photographs
on the wall of his room.
JEFF
121.
Do you suppose it's ethical to
watch a man with binoculars, and a
long-focus lens - until you can see
the freckles on the back of his
neck, and almost read his mail - do
you suppose it's ethical even if
you prove he didn't commit a crime?
LISA
I'm not much on ethics.
JEFF
Of cause, they have the same
chance. They can look at me like a
bug under glass, if they want to.
LISA
(Turns to him)
Jeff - if anybody walked in here, I
don't think they'd believe what
they see.
JEFF
Huh?
LISA
You and me with long faces -
plunged into despair - because we
find out that a man didn't kill his
wife. We're two of the most
frightening ghouls I've ever known.
Jeff starts to smile at the realization.
LISA
You'd think we could be a little
bit happy that the poor woman is
alive and well.
Jeff smile is broad, and he starts to chuckle. She relaxes
and joins him. She sits on his lap, her arms around his
shoulders.
LISA
Whatever happened to that old
saying "Love Thy Neighbor."
JEFF
I think I'll start reviving it
tomorrow, with say - Miss Torso for
a start?
122.
She gets up, goes to the blinds, and proceeds to lower them
one by on.
LISA
(As she get up)
Not if I have to move into an
apartment across the courtyard and
do the dance of the seven veils
once an hour.
(As she lowers the
blinds)
Show's over for tonight.
He smiles. She goes to the table, picks up he overnight
case.
LISA
Preview - of the coming
attractions.
She goes to the kitchen entrance, pauses.
LISA
Did Mr. Coyne think I stole this
case.
JEFF
(Mock seriousness)
No, Lisa -- I don't think he did.
She shrugs, goes into the kitchen, the CAMERA PANNING her.
LAP DISSOLVE TO:
300 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 300
Jeff is sitting on the wheelchair near the bar, a drink in
his hand. He starts to take a sip from the glass, when Lisa
comes out of the kitchen. She is an ethereal beauty, in
sheer peach night grow, covered by a gossamer matching
kimono. She turns gracefully in front of Jeff.
He lowers his drink.
LISA
(Softly)
What do you think?
Jeff puts his drink on the bar. He tries to decide how to
answer her question. He can't.
LISA
123.
I'll rephrase the question.
JEFF
Thank you.
Lisa holds out the folds of her kimono.
LISA
Do you like it?
JEFF
(Studying it)
Well, -- if there was one less
thread this way --
(Motions horizontally)
-- and two less that way --
(Motions vertically)
-- I might give up bachelorhood.
Lisa turns playfully toward the kitchen.
LISA
I'll be right back.
Blood-curdling scream from the courtyard outside suddenly
cuts through the night.
Startled, both Jeff and Lisa move quickly for the window -
Lisa lifting the blinds up. The long scream subsides into
near-hysterical sobbing.
301 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT 301
We get a high comprehensive view of all the apartments.
Light are going on in some windows, shades are lifted on
others, people are beginning to lean out looking for the
source of the cream and sobbing. The song-writer's party
comes to a sudden halt, as his guest crowd to the window.
SEMI-LONG SHOT
Lisa and Jeff at the window, looking out, startled.
SEMI-LONG SHOT
The landlord, beneath the newlyweds, looks out. Tilting his
head up toward the center of the yard.
SEMI-LONG SHOT
124.
A couple comes out on the high balcony to the right.
Look down.
MEDIUM SHOT
The newlywed's blinds come up, and for the first time we
see both of them at the window, the girl looking over the
boy's shoulder.
SEMI-LONG SHOT
Some members of the song-writer's party move out to the
patio-balcony, to get a better look down in the yard.
SEMI-LONG SHOT
The bird woman comes to the window. Her white face looks
forward toward the center of the courtyard.
SEMI-LONG SHOT
Miss Torso, pulling a around her, comes out onto her porch,
and looks to her left.
SEMI-LONG SHOT
Miss Hearing aid comes quickly into her backyard.
SEMI-LONG SHOT
The couple who own the dog are standing on their fire
escape. They are both looking down, but while the husband
is quiet, the wife is holding her hands to the side of her
head, sobbing loudly. We have heard her sobbing since the
moment of the scream which she uttered.
SEMI-LONG SHOT
Lying near the sidewalk in the backyard below the couple's
fire escape, is the silent body of the little dog they own.
Miss Lonely Hearts comes running out of the basement door.
She goes directly to the dog, picks it up in her arms. Then
she slowly turns and looks up at the sobbing woman above
her.
LONELY HEARTS
(Her voice clear)
It's dead! It's been strangled and
the neck is broken!
SEMI-LONG SHOT
125.
Instead of increasing her sobbing, this news quiets,
momentarily, the woman who owned the dog. Her hands go down
to the railing of the fire escape, gripping it fiercely.
She lifts her face to the neighborhood, her lips set and
her eyes burning. Her chest moves convulsively from the
crying.
SIFFLEUSE
Which one of you did it?
(Loud)
Which one of you killed my dog?
(No one answers; her
voice is acid)
You don't know the meaning of the
word "neighbor". Neighbors like
each other - speak to each other -
care if anybody lives or dies. But
none of you do! You don't talk, you
don't help, you - you don't ---
(Fighting tears)
Even see. But I couldn't imagine
any of you being so low that you'd
kill a little helpless, friendly
dog! The only thing in this whole
neighborhood who liked anybody!
SEMI-LONG SHOT
The guests at the song-writer's party begin to move
silently back to the studio apartment.
SEMI-LONG SHOT
The people move off their balcony into the apartment.
SEMI-LONG SHOT
The woman almost screams at the people now, as she looks up
at the apartment.
SIFFLEUSE
Did you kill him because he liked
you? Just because he liked you?
She breaks out sobbing anew, and returns to her apartment
and out of sight, the crying growing fainter with her
retreat. The husband leans over the fire-escape, and
motions Mess Lonely Hearts to place the dog in the basket,
which is already lowered.
SEMI-LONG SHOT
126.
Miss Lonely Hearts puts the dog in the basket, and watches
as the husband draws it slowly up.
SEMI-LONG SHOT
The bathing beauties go inside their apartment.
MEDIUM SHOT
The newlyweds draw their shades again.
MEDIUM SHOT
The landlord moves away from the window.
SEMI-LONG SHOT
The dog moves closer to the fire escape, slowly, the
husband pulling the rope in hand over hand.
SEMI-LONG SHOT
Miss Torso goes back to her apartment.
SEMI-LONG SHOT
Miss Hearing Aid turns down the volume of her hearing aid
and goes back to her apartment.
SEMI-LONG SHOT
The dog reaches the fire escape, and the husband tenderly
takes it out of the basket. He turns to carry it's into the
apartment.
302 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 302
Jeff and Lisa are at the window. He is holding on of hands.
Jeff speaks without looking up.
JEFF
For a minute, Coyne almost had me
convinced I was wrong.
LISA
But you're not?
JEFF
In the whole courtyard, only one
person didn't come to the window.
(He points)
127.
303 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 303
Thorwald's apartment. It is dark. The only light that can
be seen in it is the glowing end of a cigar in the center
of the room, back from the window - as if Thorwald was
sitting quietly on his sofa, smoking.
304 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 304
Lisa looks down at Jeff.
LISA
Why would Thorwald want to kill a
dog?
(Almost a laugh)
Because it knew too much?
He nods solemnly and then turns back to the window, as both
he and Lisa look again towards
305 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 305
Thorwald's apartment. Still dark, and only the unmoving
glow of a cigar showing in the center of the apartment.
306 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 306
Jeff, Stella and Lisa are grouped at the window, looking
out. THE CAMERA is behind them. Jeff holds the long-focus
lens to his eye.
307 EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT 307
We wee the upper part of the bedroom window, belonging to
Thorwald.
The lover part of the window is covered by a wall. In the
bathroom, Thorwald is wiping the enameled wall with a damp
cloth. He rubs at particular spots now and then.
Over this we hear:
JEFF
Do you think this was worth waiting
all day to see?
LISA
Is he cleaning house?
128.
JEFF
He's washing down the bathroom
walls.
STELLA
Must have splattered a lot.
308 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 308
We now see their faces. Jeff lowers the camera with a long-
focus lens. Neither he nor Lisa make any comment.
Finally Stella blurts out:
STELLA
Well, why not? That's what we're
all thinking. He killed her in
there, and he has to wipe up the
stains before he leaves.
Lisa turns away from the window.
LISA
Stella, your choice of words --
Stella also turns, interrupting her
STELLA
Nobody's invented polite words yet
for killing.
309 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 309
Jeff, who is still staring out the window, has a look of
sudden discovery on his face. He calls quickly:
JEFF
Lisa - Lisa - on the shelf over
there - get me the small yellow box
--
He turns halfway around, and points. We see Lisa moving
behind him toward the shelf. He adds:
JEFF
And that little viewer.
129.
He turns back to the window, holding out his right hand to
the side, waiting for the box and viewer. The CAMERA PULLS
BACK a little as Lisa comes up, and places the box and
viewer in his hand. He opens the box, which contains color
slides, and holds one or two of the slides up to the light.
Lisa looks down at him curiously and Stella comes forward
from the background.
JEFF
(Half to himself as he
searches slides)
These aren't more than two weeks
old. -- I hope I didn't take all
leg art.
(Discovers the right
slide)
I think this is the one.
Puts the other slides to one side and puts the selected one
onto the viewer, with sounds of satisfaction. As he lifts
the viewer to his eyes Lisa asks impatiently:
LISA
Jeff - what are you looking for?
He squints out through the viewer, then looks away a moment
without it.
JEFF
Something - that if I'm right -
might solve a murder.
He looks back through the viewer.
STELLA
Mrs. Thorwald?
JEFF
Uh-uh. The dog. I think I know now
why Thorwald killed it.
He takes the viewer from his eye, hands it to Lisa.
JEFF
You take a look and tell me what
you see.
310 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 310
Lisa raises the viewer to her eye.
130.
311 EXT. NEIGHBORHOOD - DUSK - CLOSEUP 311
Through the viewer we see the identical view out of the
window.
JEFF
(Over)
Now take it away.
The viewer moves away, and we are left with the identical
scene, but not quite so still, a slight breeze stirring the
foliage.
312 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 312
Jeff looks up to a puzzled Lisa.
JEFF
Well?
LISA
It's just a picture of the
backyard, that's all.
JEFF
I know. But there's one important
change. The flowers in Thorwald's
pet flower bed.
STELLA
You mean the one the dog was
sniffing around?
JEFF
(To Stella)
And gigging in
(Points out window)
Look at that flower bed.
They all lean forward to look.
313 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT 313
The flower bed. The flowers have a slight dip in the
center. Jeff speaks off:
JEFF
There's a dip at this end. And
since when do flowers grow shorter
in two weeks?
131.
STELLA
There's something buried there.
314 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 314
All three ease back in awe. Lisa, still looking out, says:
LISA
(Breathing it)
Mrs. Thorwald!
Suddenly Stella begins to chuckle. They look around at her.
Her face sobers as she answers their unasked question:
STELLA
You haven't spent much time in
cemeteries, have you?
(they don't answer)
Mr. Thorwald could hardly put his
wife into a plot of ground scarcely
one foot square.
Jeff and Lisa slowly turn their heads to look out at the
garden.
315 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 315
The garden again with its small indentation of flowers over
this we hear the ghoulish voice of Stella:
STELLA
Unless, he puts in standing on end.
-- which would be very original and
not require the use of either a
knife or a saw. My guess is she's
scattered all over town. A leg in
the East River - an arm --
LISA
(Cuts in)
Stella, please.
316 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 316
Jeff looks at Stella.
JEFF
Something's in there. Those flowers
have been taken up, and put back
again.
132.
LISA
(Has a hard time saying
it)
It could be -- the knife, and the
saw.
STELLA
(Quickly)
Call Lieutenant Coyne!
LISA
No - let's wait. Let's wait until
it gets dark. I'll go over and dig
it up!
Halfway through Lisa's speech, Jeff begins speaking.
JEFF
(To Stella)
I'm not going to call Coyne until I
show him the body of Mrs. Thorwald
--
(To Lisa)
And you're not going to dig up
anything, an get your neck broken
too.
THE CAMERA EASES BACK to allow Lisa to sit on the divan,
and Jeff turn his chair toward her. Stella still look out
the window, thinking.
JEFF
What we've got to do is fine some
way to get in there, and --
Stella's quiet voice brings him to a halt.
STELLA
He's starting to pack.
Jeff whips back to the window; Lisa turns to look.
317 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 317
Thorwald, in the bedroom, methodically folding a suit into
a suitcase. Another suitcase, unopened, is visible.
318 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 318
133.
Jeff is staring out, gripping his chair tightly. There is a
touch of desperation on his face. He looks down at the
flowers, briefly, then swings around abruptly. He wheels
away from the camera to the wall cabinet. We see him take a
piece of notepaper, a pencil and an envelope.
He puts a name on the envelope, and then proceeds to write
something on the sheet of paper. Stella and Lisa edge up
behind him, and look down at what he is writing.
INT. JEFF'S APARTMENT -
(NIGHT)
- CLOSEUP
THE CAMERA RUSHES DOWN over Jeff's
shoulder, just in time to catch the
last word as he finishes writing
the message. The envelope is
addressed to "LARS THORWALD." The
massage reads, simply, "WHAT HAVE
YOU DONE WITH HER?"
FADE OUT.
FADE IN:
319 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 319
Jeff at the window, looking through the long-focus lens.
We get a glimpse of Stella behind him. He is watching:
320 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 320
The alleyway and street. Just regular traffic.
Suddenly Lisa comes into the picture from the left. She is
carrying a white envelope. She stops, waves her hands at
Jeff, smiles, and then hurries on. The lens slowly pans to
the right and stops on Miss Torso's apartment. She is
standing on a small stepladder, nailing curtains above her
window. Her legs are bare, though she wears high-heel
shoes. We do not see more than half-way up her thighs. The
lens takes this in for the briefest split-second of
hesitancy then moves on to await the arrival of Lisa along
Thorwald's corridor.
She moves not appear yet. The lens moves back to get
another glimpse of Miss Torso, who is now descending the
ladder. She is wearing a leotard. Over this, we hear
Stella's voice:
STELLA
134.
What are you going back for?
The lens quickly swings back to Thorwald's corridor. Lisa
is seen turning the corner, and approaching Thorwald's door
on tiptoe.
321 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 321
Jeff lowers the long-focus lens to get a more comprehensive
view of Thorwald's apartment and corridor outside.
322 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 322
Lisa approaches the door of Thorwald's apartment. The
salesman comes into the living room. He finds a package of
cigarettes, extracts one, and lights it. Lisa kneels down,
and carefully slides the litter under the door.
At this moment, Thorwald extinguishes the match, tosses it
into an ashtray, and turns toward the door. He freezes as
he sees the letter on the floor. This momentary hesitation
allows Lisa to straighten up, turn, and walk carefully but
swiftly, away. Thorwald moves rapidly toward the door. He
bends down, scoops up the letter, and examines it briefly.
Lisa is just turning out of sight at the end of the
corridor, as Thorwald throws open the door. He looks sees
no one. He takes a few questioning steps down the corridor,
then stops to examine the letter again. Slowly he turns and
makes his way back to the apartment, tearing open the
envelope.
323 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 323
Jeff lifts the long-focus lens to his eyes again. His
expression is tense.
324 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 324
Thorwald stops in front of his door to read the note.
There is some curiosity on his face. As he reads, all
movement and emotion drain from his body. He stands there,
frozen. Jeff's voice is heard over:
JEFF
You did it, Thorwald! You did it!
Suddenly Thorwald turns and dashes down the corridor.
135.
325 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 325
Jeff whips the long-focus lens from his eye.
326 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 326
As Thorwald dashes down the corridor, we hear Jeff's voice.
He cries out instinctively, but almost to himself:
JEFF
Lisa! Look out! He's coming!
327 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 327
Both Stella and Jeff frantic.
STELLA
(Accusingly)
You shouldn't have let her do that!
If he ever ---
JEFF
(Interrupting)
Look!
328 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 328
Lisa suddenly appears at the ground floor door below
Thorwald's. She hides, pressing back against the wall
tensely. In the corridor above, Thorwald returns,
frustrated. He comes out onto the fire escape directly
above Lisa. She is aware of him, and immediately retreats
into the doorway. She disappears down the lower corridor,
as Thorwald searches his fire escape.
329 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 329
There is a sigh of relief from both of them.
STELLA
Thank heaven that's over!
JEFF
I have a feeling we've just begun.
330 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 330
136.
Thorwald is now passing through the living room into the
bedroom. He picks up a shirt and puts it on. He then
returns to packing his suitcases, moving unhurriedly.
331 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 331
Jeff rubs his chin thoughtfully. Stella is scanning the
neighborhood. We hear a radio, or a television show, off;
and there is distant, rhythmic music coming from the cafe
on Thorwald's street.
JEFF
No doubt of it. He's leaving. The
question is - when?
Stella's brow knits a little as she sees something. She
reaches for the long focus lens.
STELLA
Mind if I use the portable keyhole?
Jeff hands it to her.
JEFF
Not as long as you tell me what
you're looking at.
She lifts it to her eye.
332 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 332
Miss Lonely Hearts' apartment. She has opened a small brown
bottle, and taken out four red capsules which she places on
the white table cloth of her little table.
There is a candle burning in a holder, and other lamps also
light the apartment. She is dressed in sedate street
clothes. She sits at the table, and by the light of the
candle proceeds to open a black-covered book, and read it.
The print is fine. She bends over it a moment, looks up at
the capsules, and returns to the book. She seems quite at
peace. Stella and Jeff are heard over:
STELLA
I wonder.
JEFF
What?
STELLA
137.
Miss Lonely Hearts just laid out
something that looks like rodium
tri-eckonal capsules.
JEFF
You can tell that from here?
STELLA
I handled enough of those red pills
to put everybody in New Jersey
asleep for the winter.
JEFF
Would four of them---?
STELLA
(Breaks in)
No - but it makes the rest easy to
take. And she's reading the Bible.
JEFF
(After a slight pause)
Then I wouldn't worry too much. But
let's keep an eye on her.
333 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 333
Stella lowers the long-focus lens.
STELLA
You know? You might not be too bad
a bargain for Lisa after all.
JEFF
(You don't say!)
I might just take that compliment
as an insult.
The door bursts open, and they both turn quickly toward the
entrance.
334 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 334
Lisa comes in, panting and flushed. She stands a second at
the door, catching her breath, but smiling with the
pleasure of sampling danger and escaping unharmed.
LISA
Wasn't that close?
JEFF
138.
(Off)
Too close.
She comes down the stairs.
LISA
What was his reaction? I mean when
he looked at the note?
335 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 335
As Lisa comes up to the two of them.
STELLA
Well, it wasn't the kind of
expression that would get him a
quick loan at the bank.
Lisa comes close to Jeff, speaks warmly.
LISA
Jeff - how did I do?
He takes her hands.
JEFF
Real professional. Would have made
a great layout for the Bazaar. The
model pressed back against a brick
wall, eyes wild, tense. Low cut
bodice, in new suspicious black,
with a --
Some of the pleasure goes out of her face. Stella notices
it.
STELLA
(Interrupts Jeff)
You'd make a good door prize at a
wake.
It relieves the slight friction, as both Jeff and Lisa
laugh. Lisa happens to look toward the window, and the
laugh dies.
LISA
Jeff - the handbag.
Jeff and Stella turn toward the window. Jeff grabs the
long-focus lens, lifts it up.
139.
336 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 336
Thorwald has the new alligator bag belonging to his wife,
in his hand. He moves slowly across the bedroom, out of
sight behind the door. He doesn't appear in the living
room. In a moment he reappears, moving back to his packing.
He puts the handbag into one of the suitcases - the one
which he has almost completed filling. He goes on with his
packing.
337 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 337
Jeff puts down the long-focus lens, and turns around toward
the room. The two women watch him expectantly.
JEFF
Suppose Mrs. Thorwald's wedding
ring was among the jewelry he has
in the handbag.
(Supporting his
proposition)
During that phone conversation he
held up three rings - one with a
diamond - one with a big stone of
some kind - and one plain gold
band.
LISA
(Excited)
And the last thing she'd leave
behind would be her wedding ring! -
(To Stella)
Do you ever leave yours at home?
Stella lifts her left hand, and looks fondly at her ring
finger.
STELLA
The only way anybody could get that
off would be to chop my finger---
STELLA
Let's go down and find out what's
buried in the garden.
LISA
Why not? I always wanted to meet
Mrs. Thorwald.
Jeff looks at them aghast.
JEFF
140.
What are you two talking about?
STELLA
Got a shovel?
JEFF
No.
STELLA
There's probably one in the
basement.
JEFF
Now wait a minute --
LISA
Jeff, if you're squeamish, just
don't look.
JEFF
Now hold on. I'm not a bit
squeamish about what might be under
those flowers -- but I don't care
to watch two women end up like that
dog --
Stella grows a little uneasy. Her eyes drift toward
Thorwald's apartment.
STELLA
(To Lisa)
You know, Miss Fremont - he might
just have something there.
JEFF
There's no point in taking
unnecessary chances.
(He points)
Give me the phone book, Lisa.
Lisa moves for the phone book on the stand near the
kitchen.
LISA
What for?
JEFF
maybe I can get Thorwald out of the
apartment.
Lisa hands him the book.
STELLA
141.
We only need a few minutes.
Jeff looks for Thorwald's number in the directory.
JEFF
I'll try to give you at least
fifteen minutes.
LISA
How?
JEFF
(Finds the number)
Chelsea 2-7099.
(He looks up, reaches for
the phone)
We scared him once. Maybe we can
scare him again.
(Picks up receiver;
pauses)
I'm using that word "we" a little
too freely, I guess. I don't take
any of the chances.
LISA
Shall we vote him in, Stella?
STELLA
Unanimously.
The two women smile. Jeff picks up the phone and dials
Chelsea 2-7099. The women watch him tensely. He holds the
receiver away from his ear a little, and the buzzer is
heard sounding on filter. Lisa looks toward Thorwald's
apartment; then Stella; then Jeff.
338 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 338
Thorwald's apartment. He comes out of the bedroom toward
the phone. He wears a light summer coat and tie, despite
the heat. In the bedroom, everything is packed with the
exception of one open suitcase. We see another suitcase,
his sample case, and a couple of topcoats across the bed.
He approaches the phone hesitantly, undecided whether or
not to answer it.
JEFF
(Off, half-aloud)
142.
Go ahead, Thorwald - pick it up.
You're curious. You wonder if it's
your girl friend calling. The one
you killed for. Pick it up,
Thorwald!
Quickly Thorwald does pick it up.
THORWALD
(Cautiously, on filter)
Hello.
JEFF
(Off)
Did you get my note?
There is a pause as Thorwald gropes for an answer. We can
almost hear his breathing.
JEFF
Well - did you get it, Thorwald?
THORWALD
Who are you?
JEFF
I'll give you a chance to find out.
Meet me in the bar at the Brevoort
- and do it right away.
THORWALD
Why should I?
JEFF
For a little business meeting - to
settle the estate of your late
wife.
THORWALD
(After a pause)
I don't know what you mean.
JEFF
(Firmly)
Now stop wasting time, Thorwald, or
I'll hang up and call the police.
THORWALD
(Breathing heavily)
I only have a hundred dollars or
so.
JEFF
143.
That's a start. I'm at the Brevoort
now. I'll be looking for you.
He hangs up before Thorwald can reply. Thorwald looks at
the receiver a moment, then he slowly hangs up. He stands
at the phone thinking. He doesn't suspect he is being
watched through the window. Then he makes up his mind and
starts for the door. After he goes out he tests the door to
make certain it is locked.
LISA
(Over)
Let's go, Stella.
339 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 339
Jeff turns his wheelchair halfway around as Lisa and Stella
start quickly for the door, THE CAMERA PANNING THEM across
the room. They pause at the sound of Jeff's voice.
340 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 340
Jeff calls after them:
JEFF
One of you watch this window. If I
see him coming back, I'll signal
with a flashbulb.
The door slams off and we hear the footsteps of the women
dying down the corridor as Jeff picks up the long-focus
lens and takes a sight on the alleyway.
341 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 341
Thorwald goes past the alley opening.
342 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 342
Jeff puts down the lens and wheels quickly to the wall
cabinet. He finds a box of flash bulbs and a reflector.
He puts them in his lap and returns to the window, putting
the chair sideways. He leans out a little and looks down.
343 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 343
Lisa is in the courtyard directly below Jeff's window.
144.
She has reached the stairway leading up and to the right.
She looks, waves at Jeff as Stella comes up to her carrying
a shovel. The two women hurry up the stairs toward the iron
ladder they will use to climb the wall between Jeff's yard
and that of Thorwald's.
344 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 344
Jeff picks up the phone and quickly dials. The buzzer
sounds on filter, then the phone is lifted. A woman's voice
is heard and Jeff seems a little puzzled at the sound of
it.
BABY SITTER
This is Coyne's house.
JEFF
This is L. B. Jefferies, a friend
of Tom's. Who am I talking with?
He squints out the window.
345 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 345
Lisa has climbed over the wall and is helping Stella down
into Thorwald's yard. The shovel is lying on the ground
beside Lisa. Jeff's conversation continues over the action
of the two women.
BABY SITTER
This is the baby sitter.
JEFF
Oh. When are they expected home?
BABY SITTER
I'm hired 'til one. They went to
dinner and maybe night-clubbing.
JEFF
Well, if he calls in, tell him to
get in touch with L. B. Jefferies
right away. I might have quite a
surprise for him.
BABY SITTER
Does he have your number, Mr.
Jefferies?
JEFF
He has it. Thank you.
145.
BABY SITTER
Goodnight.
Jeff hangs up. Stella is now beginning to dig, carefully
lifting the flowers off the center of the bed where they
had dipped down. She places the flower plants on the
sidewalk. Lisa stands facing Jeff's window and occasionally
glances over her shoulder uneasily at Stella's work.
At this moment, the sounds of musical instruments begin to
be heard from the songwriter's apartment.
346 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 346
A little annoyed at the interruption, Jeff turns to look at
the studio apartment.
347 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 347
In the songwriter's apartment, several of his musician
friends have gathered. One plays a guitar, another a
clarinet, and so on. One by one they try out the theme of
the songwriter's new melody, running through it in turn to
become familiar with the notes. We, therefore, hear the
melody played informally in different ways with different
instruments.
348 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 348
Jeff shifts his eyes from the songwriter's apartment back
to the courtyard.
349 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 349
Stella is busy, expertly handling the shovel. Lisa has her
back to the nurse, but looks apprehensively over her
shoulder. She then looks up toward Jeff's apartment.
350 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 350
Jeff gives her an encouraging little gesture with his hand.
Then his eyes lift a little as he looks up.
351 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 351
146.
Miss Lonely Hearts is sitting on the sofa, writing a note
with a pad on her knee. Next to her, on the table, the
pills are still in evidence.
352 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 352
Jeff picks up the long-focus lens and trains it on the
alleyway.
353 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 353
The alleyway and street intersection, with normal night
traffic, but no sign of Thorwald. THE CAMERA LENS PANS
across and down to the hole being dug by Stella. We get an
impression of Lisa's legs as we go by. The spade comes out
of the hole and rests on the side. THE CAMERA LENS PANS up
just in time to catch Stella turning up to Jeff. She throws
out a helpless hand and shakes her head. "Nothing."
354 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 354
Jeff lowers the lens and looks down at the two women with
evident disappointment.
355 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 355
Lisa glances up to Thorwald's apartment. She turns and
gestures some instructions to Stella. Then she looks up at
Jeff and gestures her intention to enter Thorwald's
apartment. She turns and dashes toward Thorwald's fire
escape as Stella makes a fruitless grab to restrain her.
356 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 356
Jeff, shocked and alarmed, calls out:
JEFF
Lisa - no!
He looks quickly toward the intersection and then right
back to Lisa. Apparently no sight of Thorwald.
357 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 357
147.
While Lisa starts up the fire escape, we see Stella running
toward the wall in the foreground to climb over it. Stella
has abandoned the shovel and left the flowers and dirt
strewn over the walk.
358 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 358
Jeff, tense and wide-eyed, watches Lisa climb the fire
escape.
359 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 359
Lisa climbs the fire escape to the second floor and the
outside of Thorwald's apartment.
She tries, unsuccessfully, to get through the window which
opens into the kitchen from the fire escape. And then, with
some difficulty, stretches and succeeds in getting in
through the living room window, which is open. She goes
directly to the bedroom and we see her bending over one of
the suitcases.
360 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 360
Jeff quickly picks up the long-focus lens and trains it on
the salesman's apartment.
361 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 361
Lisa turns from the suitcase with the alligator handbag in
her hand. There is an expression of triumph on her face.
She opens it and her expression changes to dismay. She
looks toward Jeff's apartment and, to communicate her
dismay, she turns the handbag upside down. Nothing falls
out. Empty.
362 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 362
He lowers the long-focus lens and he is sweating with
anxiety. He mutters, almost to himself:
JEFF
Come on. Come on! Get out of there!
His eyes turn quickly to the alleyway and back again to
Lisa.
148.
363 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 363
Lisa has dropped the bag on the bed and is now looking
around the bedroom, looking for some place to start
searching for the jewelry. She moves quickly to the dresser
and begins opening the drawers to check them.
She finds nothing.
364 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 364
As Jeff watches tensely, the door bursts open behind him
and Stella hurries into the apartment.
STELLA
Ring Thorwald's phone the second
you see him on the way back!
Jeff swings toward Stella. He reaches for the phone.
JEFF
I'm going to ring him now!
As he picks up the receiver, Stella pushes his hand down
again.
STELLA
Give her another minute. -- She's
doing this for you.
Stella looks out the window and her face registers shock.
Jeff turns quickly to the window again, forgetting the
phone for the moment.
STELLA
Miss Lonely Hearts!
365 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 365
Miss Lonely Hearts is in the act of popping an envelope up
against the table lamp on the table next to the sofa.
From the same table, she takes a pill bottle and empties
the contents into her left hand. Replacing the bottle, she
picks up a glass of water.
STELLA
(Off)
Call the police!
149.
We hear the sound of the receiver picked up, and Jeff
starting to dial New York Police. At this moment, from the
song-writer's apartment which has been quiet for a while,
comes a new burst of melody. It is the melody which the
song-writer has been composing during the past few days.
Now it is rich, and full, and completed, as the musical
group plays it. Miss Lonely Hearts lifts her head to
listen, and slowly lowers the pills and glass of water into
her lap, her whole purpose arrested by the beauty of what
she hears.
366 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 366
Jeff and Stella turn for a quick glimpse of the song-
writer's apartment.
367 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 367
A quick flash of the song-writer's apartment, and his
musical group gathered around the piano.
STELLA
Maybe that music will delay her
taking the pills.
368 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 368
Jeff and Stella look back to Thorwald's apartment. Jeff has
the receiver to his ear, and the buzzer can be heard on
filter.
369 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 369
At the bottom of the picture, Miss Lonely Hearts is still
listening to the music, while in the apartment above Lisa
appears into the living room from behind the doorway that
leads to the bedroom. She looks across to the source of the
music. She is as arrested by the melody as Miss Lonely
Hearts. Then looking across to Jeff, she holds up her hands
triumphantly to show him the jewelry she has discovered. At
this point, Thorwald appears coming along the corridor of
his apartment house! Lisa is completely unaware of his
approach.
370 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 370
Stella is so shocked, she can only gasp for breath.
150.
Jeff, in near panic, shouts in anguish!
JEFF
Lisa! Lisa!
At this moment, the phone is picked up on filter, and a
voice speaks:
POLICE
Precinct Six - Sergeant Allgood.
Jeff opens his mouth to speak, but no words come out, as
his attention is focused on:
371 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 371
Thorwald at the door, unlocking it with his key. We see
that Lisa has heard the sound, and looks toward the door,
all but frozen with alarm. The Policeman on the phone
repeats with studied irritation:
POLICE
Precinct Six - Sergeant Allgood.
Lisa dashes back into the bedroom just in time to avoid
being seen by Thorwald as he opens the door and enters the
apartment.
372 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 372
Jeff, urgently into phone, with a serious and rapid voice:
JEFF
A man is assaulting a woman at one
two five west ninth street. Second
floor rear. Make it fast.
POLICE
Your name?
JEFF
L. B. Jefferies.
POLICE
Phone number?
JEFF
(Impatiently)
Chelsea 2-5598.
POLICE
151.
Two minutes.
Phone is down on filter, and Jeff replaces his receiver.
373 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 373
Thorwald crosses the living room, and goes into the
bedroom. Suddenly he looks onto the bed. He picks up the
open alligator handbag. He turns, facing the window,
looking down at the bag. He looks up in the direction of
the living room. Then suddenly his whole frame stiffens,
his head turns a little further around to his right. He is
looking directly at Lisa who is out of our sight in the
corner of the bedroom. He holds out the bag, and without
moving, starts to question the unseen Lisa. He takes a
little step forward, and his head begins to turn slightly
to the left as Lisa begins to emerge into the living room,
backing away slowly. By her gestures, and nervous laughter,
she appears to be offering a lame excuse for being found in
his apartment.
He comes towards her, and enters the living room as well.
Lisa edging toward the door, points to it as she apparently
argues with him as to the way she came in.
He points to the window. She makes one more step toward the
door, but Thorwald reaches out quickly and grabs her by the
wrist. He twists it brutally, and flings her sideways into
the sofa beneath the window. Her head snaps back against
the head rest. With his right hand he throws the handbag
across the room in anger, and with his left open-palmed he
demands something from Lisa.
Slowly her right hand comes up and opens.
He takes the jewelry from her, looks at it for a surprised
moment, puts it into his coat pocket. He reaches down with
both hands, and by the wrists jerks her to her feet. He is
talking viciously to her. We can hear Lisa calling out
faintly: "Jeff! Jeff!"
Thorwald suddenly looks out at the neighborhood. He
realizes that somebody might be watching him. He drags her
across the room, reaches up with one arm, and the lights go
off. The faint light from the bedroom illuminates their
struggle, but not clearly.
374 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 374
152.
An angry Jeff is staring, and trying to penetrate the semi-
darkness of Thorwald's room. Then he bends his head forward
in despair, and after a brief moment speaks:
JEFF
(With deep sincerity)
Stella - what can we do?
375 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 375
Stella staring out, tense, frightened. Then her expression
changes sharply as she looks slightly to the left.
STELLA
There they are.
Jeff looks up quickly.
376 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 376
Two policemen move quickly and professionally up the
corridor toward Thorwald's apartment. They stop at the
door, listen a moment, and then push the buzzer
insistently. Inside the apartment, lights go on, and
Thorwald is in the center of the room looking toward the
door. Lisa staggers away from him, trying to rearrange her
clothes and her hair. She is as surprised at the
interruption as Thorwald. He listens, looks back
questioningly toward Lisa, then goes to the door. He passes
into the kitchen.
377 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 377
Jeff and Stella visibly relax. Jeff doesn't say anything,
but a gesture of rubbing his eyes with the back of his hand
gives an indication of how deep his tension was.
378 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 378
After a moment's hesitation, Thorwald goes to the door and
opens it.
379 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 379
Jeff quickly puts a hand out and takes up his long-focus
lens. He looks through the finder.
153.
380 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 380
Thorwald's head and shoulders fill the screen. For a moment
Thorwald is genuinely frightened by the sight of the
police. We see him listening to the policeman out of the
picture. Thorwald turns slowly and we see him lose much of
his fright and regain some control of his face. He
completes his turn and is looking at the girl a little
puzzled. He then swings back toward the police.
381 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 381
A quick flash of Jeff and Stella looking. Jeff still has
the long-focus lens to his eye.
382 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 382
Thorwald is displaying indignation and complaint to the
police as he nods his head vigorously toward Lisa. At this
the police start to advance into the apartment, going
directly for Lisa. She flashes a quick look toward Jeff's
window. She turns back as the first policeman reaches her.
He starts to question her.
383 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 383
Stella turns away and goes quickly to the table for the
binoculars. Jeff still is using the long-focus lens.
384 EXT. NEIGHBORHOOD - BINOCULAR SHOT - (NIGHT) 384
We see Lisa start to excuse her presence in the same manner
she used with Thorwald previously, as if to say she came
into the apartment by mistake. Thorwald, listening, comes
quickly forward to contradict her, vigorously. He holds out
the jewelry in his hand, and then picks up and shows the
empty handbag. The policeman, impressed, looks back to Lisa
for an explanation. She has none. Over this we hear Stella
frantically asking:
STELLA
What's she trying to do? Why
doesn't she turn him in?
JEFF
Smart girl.
STELLA
Smart? She'll be arrested!
154.
JEFF
That'll get her out of there, won't
it?
The first policeman indicates that Lisa is to come along
with him. He pauses momentarily to tell the second
policeman to take a statement from Thorwald about the
attempted burglary. The second policeman reaches for the
jewelry in Thorwald's hand, and takes it for examination.
In the brief pause while the two policemen speak to each
other, Lisa starts to wave her left hand behind her back.
385 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 385
Jeff looking through his camera.
386 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 386
We get a closer view of the waving hand. She stops waving
and holds her fingers spread out. With her other hand she
points to the wedding ring on her left hand.
STELLA
Mrs. Thorwald's ring!
THE LENS PANS UPWARD AND ACROSS until it brings Thorwald's
profile into the picture. He is looking down directly at
Lisa's hands. His head slowly turns, and he looks right up
- directly into the lens. Suddenly he becomes aware that
Lisa is signalling to someone who is watching him.
387 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 387
Jeff and Stella. He drops the camera into his lap.
JEFF
Stella! The lights! He'd seen us!
Stella hurries from the window, turning off lights, as Jeff
backs his chair into the room.
388 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 388
As Thorwald's attention is drawn back to the second
policeman to answer further questions, the first policeman
takes Lisa by the arm and leads her out of the apartment.
He goes down the corridor pushing the curious people away
from the door.
155.
389 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 389
The last light out, Stella stops to catch her breath, and
turns to Jeff.
STELLA
When you took your first snapshot -
- did you ever think it would bring
you to this?
JEFF
(Urgently)
Stella - how long do you think
he'll stay there?
STELLA
(Squinting out window)
Unless he's dumber than I think, he
won't wait 'til his lease is up.
Jeff points to a drawer in the wall cabinets.
JEFF
My billfold! In the right hand
drawer.
Stella moves to get it.
STELLA
What do you need money for?
JEFF
To bail Lisa out of jail.
She finds a billfold, hands it to Jeff. He takes it,
extracts some bills and begins counting them. As he counts,
Stella comments:
STELLA
You know - you could just leave her
there until after next Tuesday - so
you could sneak away safely - as
planned.
He looks up sharply at her, and then without comment goes
back to counting the money.
JEFF
(With obvious
disappointment)
One hundred and twenty-seven.
STELLA
156.
How much do you think you'll need?
JEFF
First offense burglary --
(He shrugs)
-- probably two-fifty.
(Gets an idea, points)
The piggy bank.
Stella, following his pointing finger, gets a piggy bank
down from a shelf on the sideboard. He takes it, cracks it
on the knee of his cast. It splits open, and some money
comes out. Mostly bills, a few silver halves.
What he doesn't get, Stella picks up.
STELLA
Ten here.
JEFF
Thirty-three here. Totals one-
ninety. Not enough.
STELLA
I got twenty or so in my purse.
Give me what you've got.
Jeff does, as Stella gets her purse.
JEFF
What about the rest?
STELLA
When those cops get a look at Miss
Fremont -- they'll even contribute.
Stella goes up to the door. The phone RINGS. Jeff grabs it,
picks it up. Stella pauses.
JEFF
(To phone)
Just a minute.
(To Stella)
I'll tell you who it is when you
get back.
Stella goes quickly out the door. He returns to the phone
call, glancing at the same time toward the courtyard.
390 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 390
JEFF
157.
Jefferies.
COYNE
(Filter)
This is Coyne, Jeff.
JEFF
(Urgently)
Tom, I've got something real big
for you.
COYNE
(Wearily)
Look Jeff, don't louse up my night
with another man killer stuffing a
grisly trunk that turns out to be -
-
JEFF
(Interrupting harshly)
Listen to me! Lisa's been arrested.
COYNE
(Slightest pause)
Your Lisa?
JEFF
My Lisa. She went into Thorwald's
apartment, and he came back. The
only way I could get her out was to
call the police.
COYNE
(Angry)
I told you that --
JEFF
(Interrupting)
I know what you told me! She went
in to get evidence, and she came
out with it.
COYNE
Like what?
JEFF
Like Mrs. Thorwald's wedding ring.
If that woman were still alive,
she'd be wearing it.
COYNE
(Grudgingly)
A possibility.
158.
JEFF
(Talking fast)
A fact! Last night he killed a dog
for pawing in his garden. Why?
Because he had something buried in
there. Something a dog could scent.
COYNE
Like an old hambone?
JEFF
(Fast)
I don't know what pet name Thorwald
had for his wife. And that night he
went out half a dozen times with
the metal suitcase. He wasn't
taking his possessions, because
they're up in his apartment now!
COYNE
You think perhaps it was "old
hambone?"
JEFF
In sections! And one other thing,
doubting Tom - it just occurred to
me that all the calls Thorwald made
were long distance! If he called
his wife the day she left - after
she arrived in Merritsville - why
did she need to send him a postcard
saying she'd arrived?
COYNE
(After pause; a
detective)
Where'd they take Lisa?
JEFF
Precinct Six. I sent a friend over
with bail money.
COYNE
Maybe you won't need it. I'll run
it down, Jeff.
391 EXT. NEIGHBORHOOD - LONG SHOT - (NIGHT) 391
We see Thorwald leave his apartment and proceed down the
corridor.
JEFF
159.
Just don't dally. Thorwald knows
he's being watched. He won't hang
around long.
COYNE
If that ring checks out, we'll give
him an escort. So long.
He hangs up, and just as he does, Jeff looks toward
Thorwald's apartment. He rolls forward to the window.
He seems a little puzzled by what he sees.
392 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 392
Thorwald's apartment. Completely dark. No movement, or glow
of a cigar. The corridor outside lighted, but empty.
393 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 393
Jeff scratches the side of his chin, studies Thorwald's
apartment as if he might see some small clue as to where
the salesman is. He looks toward the intersection to his
left. Apparently he sees nothing. He turns to look down
into the garden.
394 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 394
Miss Lonely Hearts is standing in the yard outside her
apartment, looking up to the porch of Miss Torso. The
ballet dancer is in high heels and a fresh summer dress.
MISS TORSO
(Faintly heard)
Have you heard that song he's been
writing?
She indicates the song-writer's apartment. Miss Lonely
Hearts turns, looks up at the studio apartment a moment,
then looks up at Miss Torso.
MISS LONELY HEARTS
(Nods yes)
I'm glad I was here when he played
it.
395 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 395
160.
He sits quietly a moment, thinking. Suddenly he jumps a
little as the phone rings. He reaches for it, picks up the
receiver.
JEFF
(Still looks out window)
Hello.
(No answer)
Hello, Coyne? Tom? Tom, I think
Thorwald's left. I don't see
anything of --
(He looks at receiver,
then:)
Hello.
Slowly he looks up toward Thorwald's apartment. Then, back
to the receiver. On filter, a receiver can be heard
carefully being replaced. Jeff slowly lowers the phone into
the cradle. He looks once more toward Thorwald's apartment.
Then he turns his chair around quickly and looks toward the
door to his apartment.
396 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 396
The door. Quiet in the apartment, and in the corridor.
Light showing beneath the door from the hall light.
397 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 397
Jeff watching, waiting, nervous at first. He reaches for
the phone, changes his mind. He looks around for some kind
of a weapon, finds none to suit him. He hears the slightest
squeak of a floorboard, and looks quickly toward the door
again.
398 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 398
The door. Another squeak of a floorboard, so light and
quickly passing that at any other time it would have no
significance, even if it could be heard. Then the light
beneath the door disappears. Black.
399 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 399
Jeff squints at the door, blinks, squints again.
400 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 400
161.
The door. No doubt about it, black.
401 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 401
He looks again for a weapon, and almost by instinct he
snatches up his flash holder and the small packet of bulbs
he had taken out to signal Lisa earlier. He tries to move
his wheelchair farther into the shadows. His eyes are glued
to the door of his apartment, and his senses are sharp as a
hunting dog's. He scarcely breathes.
402 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 402
Only the slightest sound is heard as the doorknob turns.
The door slowly and carefully swings open, but the corridor
is too dark to tell at first who is entering.
The door closes just as quietly. From the shadowed recess
comes a heavy voice. A threatening voice.
THORWALD
What do you want from me?
Jeff doesn't answer. Thorwald steps to the top of the
stairs, and is now somewhat visible. He looks tall and huge
and explosive.
THORWALD
Your friend - the girl - could have
turned me in. Why didn't she?
403 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 403
Jeff doesn't answer. His eyes watch Thorwald. He licks his
lip with nervous tension and grips the flash holder.
404 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 404
Thorwald comes down the two steps, pauses at the bottom.
THORWALD
What is it you want? A lot of
money? I don't have any money.
Jeff doesn't answer.
THORWALD
Say something!
162.
He moves forward a couple of steps.
THORWALD
(Sudden loud anger)
Say something! Tell me what you
want!
405 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 405
Jeff still doesn't speak. He grips the flash holder a
little more tightly, lifts it just the fraction of an inch
as if he is prepared to use it.
406 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 406
Thorwald has advanced to the middle of the room, his eyes
on Jeff and his hands clenching with the effort to control
his anger.
THORWALD
Can you get me that ring back?
JEFF
(Quietly)
No.
THORWALD
(Loud)
Tell her to bring it back!
He advances a step.
JEFF
I can't. The police have it by now.
THORWALD
Then if the police get me -- you
won't be around to laugh!
Thorwald starts to move threateningly for Jeff.
407 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 407
From a three-quarter angle toward Thorwald. Jeff lifts the
flash holder to face level and closes his eyes. He explodes
the flash.
408 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 408
163.
Thorwald's face fills the screen registering shock,
confusion. He throws up his hands for protection and
recoils, making an involuntary sound of surprise.
409 INT. JEFF'S APARTMENT - (NIGHT) 409
A vision of Jeff and the apartment as seen by Thorwald.
It is distorted and out of focus, filled with large
twisting balls of bright yellow color.
410 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 410
Thorwald blinking, trying to regain his sight.
411 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 411
Jeff ejects the used bulb and quickly inserts another.
He works furiously, sweating. He gets the bulb in the flash
holder just in time to meet Thorwald coming at him. Jeff
closes his eyes and another bulb explodes in Thorwald's
face.
412 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 412
Thorwald's face, full screen again, as he recoils from the
flash.
413 INT. JEFF'S APARTMENT - (NIGHT) 413
The apartment as seen by Thorwald again. Big, twisting
balls of blinding yellow.
414 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 414
Thorwald stumbles back against the side table, knocking
objects off onto the floor, struggling for balance and
sight. Jeff works rapidly to put a fresh bulb in the
holder.
415 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 415
Thorwald regains his equilibrium and some of his sight.
164.
Orienting himself, he starts for Jeff again. This time,
when the flash holder goes off, we see it from Jeff's
angle. Thorwald is lighted almost white, shockingly
outlining every detail of his face, clothes, hands. His
rage and frustration are fixed for a brief but terrifying
moment. He stumbles backward again, trying to brush the
light away from his face almost as if it were a solid
enveloping substance.
416 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 416
Jeff ejects a bulb, puts his last bulb into the flash
holder. He tries to move the wheelchair a little further
away from Thorwald. Then he raises the flash holder again.
In b.g. we see: Coyne, Lisa, Stella and the detectives come
to Thorwald's door, try it. Locked.
One of the men steps forward with a flat steel jimmy and
snaps the lock open. They move quickly into the darkened
apartment. Coyne hits the lights inside the kitchen. The
group goes into the living room. The lights go on. No sign
of Thorwald. Coyne, Lisa and Stella instinctively turn and
look toward Jeff's apartment.
417 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 417
From Thorwald's apartment shooting at Jeff's window. A
sudden bright flash is seen as the last flash bulb goes
off. And it lights the scene of Jeff in the wheelchair and
Thorwald diving through the air at him. Darkness rushes in,
blacker than before.
418 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 418
Thorwald has finally reached Jeff, knocking the flash
equipment out of his hands and coming to grips with him.
It is apparent that he is trying to pull Jeff out of the
wheelchair. Jeff fights him off.
The wheelchair crashes over, spilling Jeff to the floor.
Thorwald is on top of him, lifting, dragging him to the
window. Jeff grabs everything he can to keep himself away
from the window, but Thorwald is far too powerful for him.
He strains to raise Jeff to the windowsill.
THORWALD
165.
I'll give you a good look out the
window.
Slowly, inexorably, he raises Jeff to the windowsill.
Jeff frantically grabs for the upright window frame,
wrapping his arms around it. Thorwald shoves the rest of
his body over the windowsill.
419 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 419
Coyne, Lisa, Stella and the two detectives, crossing
Thorwald's yard, see Jeff going out the window. Lisa is
panicked.
LISA
Jeff! Jeff!
420 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 420
From Coyne's viewpoint, Jeff hanging out the window and
Thorwald hammering at his hands and arms with bare fists.
Coyne pushes Lisa to one side and starts to scale the wall,
preceded by the two detectives.
421 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 421
Thorwald fights to dislodge Jeff's grip.
422 EXT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 422
Looking down on Jeff's face, showing his strain and the
pain of Thorwald's attack. The brick floor of the patio
seems a hundred feet below.
423 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 423
Thorwald and Jeff struggling.
424 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 424
Coyne pulling himself to the top of the wall. Lisa, Stella
and the two men below, looking up. Lisa is white-faced and
frightened.
166.
425 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 425
Thorwald smashes at Jeff's arms and hands. Jeff's grip
begins to slip.
426 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 426
Coyne reaches the top of the wall, looks up at Jeff.
427 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 427
Jeff, as seen from Coyne's angle, hanging, somehow
weathering Thorwald's insane attack.
428 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 428
Coyne reaches for his service revolver. He doesn't have it!
He looks down, and calls one of the detectives back.
COYNE
Creel! Your Thirty-eight!
429 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 429
Looking down at the two detectives from Doyle's point of
view. Creel grabs for his gun expertly. The holster breaks
away. It is in his hand and with a deft movement he tosses
it upward.
430 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 430
Coyne catches it, turns up to Jeff's apartment.
431 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 431
Thorwald still trying to loosen Jeff's grip. The salesman,
in a complete, wild, sweating rage, is beyond all reason.
His glasses hang from one ear, his coat is torn, his tie
pulled to one side.
432 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 432
Shooting over Coyne's shoulder as he steadies himself
against the wall, lifting the service revolver up for a
shot at Thorwald. His aim is careful, slow, painfully
deliberate. Jeff seems about to fall.
167.
433 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 433
The two detectives ahead of Coyne are moving up below the
window. Lisa stand looking up, her hands at the sides of
her head, frozen with panic.
434 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 434
Two detectives appear behind Thorwald and grab him. The
startled Thorwald stops his attack on Jeff as he looks
wildly around to find the source of his new attack.
435 EXT. NEIGHBORHOOD - CLOSEUP - (NIGHT) 435
Jeff, hanging from the window frame. He claws desperately
for a hold.
436 EXT. NEIGHBORHOOD - COMPREHENSIVE SHOT - (NIGHT) 436
People rush to their windows, looking out at the
excitement. Some people on the ground floor come out into
the yard. Coyne and the two detectives come into the patio
beneath Jeff.
Coyne directs them to improvise something to break Jeff's
fall -- leaves, greenery, their coats, cushions from the
patio furniture -- anything they can find. The four
uniformed policemen rush into the backyard. Lisa and Stella
come over the wall into the patio beneath Jeff. They look
up at Jeff, encouraging him to hold on.
A detective goes into Jeff's cellar door, trying to reach
his apartment before Jeff loses his grip.
The siffleuse and her husband are standing on the fire
escape in plain, almost somber clothes. They watch
expressionlessly. Beneath them the empty basket which once
held their dog swings silently in the night air.
437 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 437
Jeff, hanging from his windowsill. He loses his grip and
plunges down into the patio below. Two detectives throw
themselves beneath him. They are knocked to the ground as
Jeff's fall tumbles both of them. After Jeff hits, he lies
still, twisted over to one side.
Coyne and Lisa rush over to Jeff. There is an audible SOUND
of shock in the neighborhood as Jeff has fallen --
168.
various oh's, ah's, and possibly a stifled scream or two.
438 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 438
Lisa kneels down, cradles Jeff's head in her lap. There are
tears in her eyes. Her clothes are disheveled and her dress
torn. Her hair is disarranged. But withal, her face is as
beautiful as ever, with love.
LISA
Jeff - Jeff darling!
He opens his eyes. Winces with pain.
LISA
(To the detectives)
Get an ambulance.
(Down to Jeff)
Don't move. Try to lie still.
JEFF
Lisa -- I -- I -- can't tell you
how scared I was that you -- you
might --
LISA
(Affectionately)
Shut up. I'm all right.
JEFF
(To Coyne)
Think you've got enough for a
search warrant now?
COYNE
Oh sure. Sure. I can make it.
439 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 439
At that moment, a man appears leaning out of Jeff's window.
He looks down to the patio.
DETECTIVE
Lieutenant Coyne?
COYNE (OFF)
(Looking up)
Yeah?
DETECTIVE
169.
Thorwald's ready to take us on a
tour of the East River.
440 EXT. NEIGHBORHOOD - SEMI CLOSEUP - (NIGHT) 440
Stella tugs at Coyne's arm and stands on tiptoe to whisper
something into his ear. Coyne then looks up to the
detective.
COYNE
Did he say what was buried in the
flower bed?
DETECTIVE
Yeah. It's over in his apartment.
In a hat box. Wanna look?
Coyne turns quizzically at Stella.
STELLA
Oh, no thanks -- I don't want any
part of her.
(She pauses, then does a
surprised take back to
Coyne)
What did I say?
DISSOLVE TO:
441 EXT. NEIGHBORHOOD - PAN SHOT - DAY 441
Beginning on Jeff's window thermometer, the CAMERA PANS
FROM RIGHT TO LEFT around the neighborhood.
In the songwriter's apartment we see the songwriter with a
guest -- Miss Lonely Hearts. Both in dress and manner she
seems quite happy and adjusted to life. The songwriter is
placing the first recording of his new song on a record
player for her to hear. It is a full symphonic arrangement
which is heard over. They CONTINUE TO PAN.
Thorwald's apartment is empty, stripped of its furnishings.
Two painters are repainting the walls.
The siffleuse and her husband are on their fire escape,
training a new white dog to ride in their basket.
170.
Miss Torso is practicing her ballet again. She wears a
white leotard. The sound of someone at the door interrupts
her. She goes to the door, opens it an inch or two
cautiously. When she sees who is outside, she throws open
the door. An innocuous, unhandsome and somewhat shy army
private enters with a barracks bag slung over one shoulder.
She kisses him fondly after closing the door. He puts down
the barracks bag, tosses his hat into a chair and, with the
attitude of a man who belongs there, goes to the icebox to
see what's to eat.
The newlyweds are arguing.
The CAMERA PANS past Jeff who is asleep in his wheelchair
facing away from the window. CAMERA MOVES DOWN to the lower
part of his body and we see that both his legs are now in
casts. The CAMERA LIFTS SLIGHTLY to show Lisa sitting on
the sofa nearby. She wears levis and a plaid cotton shirt.
She is reading a book on travel. She looks up briefly at
Jeff. When she realizes he is asleep, she puts down the
travel book and reaches for the latest copy of Harper's
Bazaar. She settles down to study it as we
FADE OUT.
THE END
442 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 442
The siffleuse and her husband are standing on the fire
escape in plain, almost somber clothes. They watch
expressionlessly. Beneath them the empty basket which once
held their dog swings silently in the night air.
443 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 443
Miss Torso, behind the wall of her yard, has been unable to
see much of anything. Frustrated, she looks up toward the
composer's apartment.
MISS TORSO
What happened?
444 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 444
The song-writer, at the edge of his roof, answers:
SONG-WRITER
Somebody shot the photographer -
and he fell out his window.
Something like that.
171.
445 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 445
Torso impulsively says:
MISS TORSO
That music you wrote. It's the most
beautiful thing I ever heard.
446 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 446
The song-writer beams:
SONG-WRITER
Come on up.
447 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 447
Coyne turns back to Jeff and Lisa.
COYNE
How's your stomach?
JEFF
Bent.
COYNE
You were right. There was something
in that garden. I just got a signal
-- it's in Thorwald's icebox now.
Lisa looks away. Jeff smiles at her discomfort.
JEFF
That reminds me -- two heads are
better than one.
FADE OUT.
THE END