"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"REAR WINDOW"

by

John Michael Hayes

Based on a short story

by

Cornell Woolrich

Final Draft

December 1, 1953



FADE IN:

INT. JEFFERIES' APARTMENT - DAY - LONG SHOT

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 cross-town
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 eye glance 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.

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.

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 thirty five,
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.

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:

INT. GUNNISON'S OFFICE - DAY - CLOSE UP

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?

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)

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

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.

EXT. NEIGHBORHOOD - DAY - LONG SHOT

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.

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

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.

INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP

Gunnison is now seated at his desk, with the phone receiver
to his ear. His assistant, Bryce, can be seen vaguely in the
background.

GUNNISON
That one week is going to cost me my
best photographer -- and you a big
assignment.

INT. JEFF'S APARTMENT - DAY - CLOSE-UP

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.

EXT. NEIGHBORHOOD - DAY - LONG SHOT

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.

INT. APARTMENT - DAY - CLOSEUP

Jeff's eyes drop from the ballet dancer's room to the one
underneath.

EXT. NEIGHBORHOOD - DAY - LONG SHOT

THE CAMERA PANS from the window of the dancing girl, to the
window below. Someone is reading the New York Herald 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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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)
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.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

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

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
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:

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

We see a three-storied, flat-roofed apartment house.

The brick is weather-worn 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.

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

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
Next time, have some good news.

He hangs up and resumes his attention on the apartment of
the salesman.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

The salesman looks toward the bedroom door, hesitates, then
reluctantly walks toward it. For a moment he is hidden by
the wall.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff shifts his look more to the right.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

Jeff's attention is suddenly diverted to himself. His leg,
under the cast, begins itching. He squirms, tries 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.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

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

Jeff's attention is turned to something else of interest.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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.
(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.

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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)
How?

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

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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Stella goes on with her work.

STELLA
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.

INT. JEFF'S APARTMENT - DAY - CLOSE SHOT

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
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.
(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.

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
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 wheelchair,
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
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
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.

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

Jeff now looks out to see what has happened to the old lady,
and the man with the flowers.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

The elderly lady is now asleep in her deck chair, her face
covered with the Herald Tribune. There is no sign of the man
with the flowers.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff's eyes travel up to the ballet dancer's window.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

She is sitting near the window looking into an upright mirror.
Dreamily, and methodically, she is brushing her long copper-
colored hair.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

His eyes are suddenly turned in another direction, sharply
to his left.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

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

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:

EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT

The CAMERA makes a short sweep around the neighborhood showing
that some of the rooms are now with their lights on.

The CAMERA PULLS BACK into Jeff's apartment until his head
fills the screen. He is asleep. A shadow of some other person
creeps over his face. His eyes start to open. He looks up.

INT. JEFF'S APARTMENT - SUNSET - CLOSEUP

The screen is filled with the eyes, nose and mouth of a woman
coming nearer and nearer to the CAMERA to kiss Jeff. The
face is more or less in shadow, a faint light coming onto
the profile from the window. It moves down until the lips
move out of her bottom of her screen, and just the remain
for fill the screen.

INT. JEFF'S APARTMENT - SUNSET - CLOSEUP

The two big profiles filling the screen. The girl kisses
Jeff firmly, but not passionately. Then her head moves back
an inch or two. She speaks.

LISA
(Softly)
How's your leg?

JEFF
Mmmm -- hurts a little.

LISA
And your stomach?

JEFF
Empty as a football.

LISA
And you love life?

JEFF
Not too active.

LISA
Anything else bothering you?

JEFF
Uh-huh.

She gives a low. Warm laugh, and the CAMERA PULLS BACK to
show that Lisa has been bending over Jeff's wheelchair from
the side. As she straightens up, it PANS her swiftly over to
the corner of the room, keeping her in big closeup. She turns
on a low, hanging light.

We see her full facial beauty for the first time. It is a
warm, intelligent face.

LISA
(As she moves)
Reading from top to bottom --
(Light on)
Lisa --

The CAMERA FOLLOWS HER quickly to another lamp. She gets a
little farther away from us so that we now see her down to
her waist. She turns on the second lamp and the light shows
us that her beauty is not alone in her face.

LISA
Carol --

The CAMERA PANS HER over to a third lamp which she turns on.
She is now full figure, beautifully groomed and flawless.
Her dress is high-style fashion and dramatic evening wear.

LISA
Fremont.

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

Jeff looks across the room at her.

JEFF
The Lisa Fremont who never wears the
same dress twice?

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

LISA
Only because it's expected of her.

She does a professional model's turn in the dress showing
off its features.

LISA
Right off the Paris plane. Think it
will sell?

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

Jeff replies:

JEFF
Depends on the quote. Let's see --
there's the plane tickets over, import
duties, hidden taxes, profit markups --

LISA
-- A steal at eleven hundred dollars.

JEFF
(A low whistle)
That dress should be listed on the
stock exchange.

LISA
We sell a dozen a day in this price
range.

JEFF
Who buys them? Tax collectors?

INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT

She laughs pleasantly.

LISA
Even if I had to pay, it would be
worth it -- just for the occasion.

She looks down at the long mahogany table beside her which
is littered with a number of his personal effects.

Her own handbag is also on the table. As she talks her eyes
scan the table as if she's looking for something specific.

JEFF
(Off -- puzzled)
Something big going on somewhere?

LISA
(Looking up from the
table)
Going on right here. It's a big night.

JEFF
(Off)
It's just a run-of-the-mill Monday.
The calendar's loaded with them.

Lisa finds what she has been looking for. Picks up an old
and cracked cigarette box, examines it as she talks.

LISA
It's opening night of the last
depressing week of L. B. Jefferies
in a cast.

JEFF
(Off)
Hasn't been any big demand for
tickets.

She turns to look at him, and moves toward him, carrying the
cigarette box.

LISA
(Smiling)
That's because I bought out the house.
This cigarette box has seen better
days.

INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT

Lisa facing Jeff in the chair.

JEFF
Picked it up in Shanghai -- which
has also seen better days.

LISA
It's cracked -- and you never use
it. And it's too ornate. I'm sending
up a plain, flat silver one -- with
just your initials engraved.

JEFF
Now that's no way to spend your hard-
earned money!

LISA
I wanted to, Jeff.
(A sudden intake of
breath)
Oh!

She turns around quickly and dashes to the door, dropping
the cigarette box on the table as she passes, THE CAMERA
PANNING with her. She goes up the two steps, stops, turns
back to Jeff.

LISA
What would you think of starting off
with dinner at the "21"?

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

JEFF
You have, perhaps, an ambulance
outside?

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

She reaches for the doorknob, turns it:

LISA
(Simply)
Better than that. The "21."

She swings open the door and stands to one side. Framed in
the doorway is middle-aged waiter wearing a white linen pea
jacket with a red collar. He's carrying in one hand a large
portable warming oven, and in the other hand an ice bucket
containing a bottle of wine covered with a napkin.

INT. JEFF'S APARTMENT - SUNSET - CLOSEUP

His reaction is one of tender amusement.

INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT

LISA
Thank you for waiting Carl.

He smiles, nods enters. He goes down the stairs, as she
follows. THE CAMERA GOES with both of them.

LISA
Kitchen's on the left. I'll take the
wine.

He hands her the wine bucket and she places it on the table.
He moves toward the kitchen.

CARL
Good evening, Mr Jefferies.

JEFF
Hello.

Carl goes into the kitchen.

LISA
(Up, to Carl)
Just put everything right in the
oven Carl. On "low."

CARL
(Off)
Yes ma'am.

LISA
(Enthusiastically)
Let's open the wine now. It's a
Montrachet.

JEFF
(Appreciatively)
A big glassful.

She moves to a small bar set in the wall cabinet.

Produces two glasses, hold them up.

LISA
Big enough?

JEFF
Fine. Corkscrew's on the right.

She finds it. Puts the glasses on the table, uncovers the
wine, and begins screwing in the corkscrew.

LISA
I couldn't think of anything more
boring and tiresome than what you've
been through. And the last week must
be the hardest.

JEFF
Yeah -- I want to get this thing off
and get moving.

LISA
(Struggling with cork)
Well, I'm going to make this a week
you'll never forget.

Carl comes out of the kitchen carrying the empty warming
oven. He sets it down he sees Lisa struggling with the
corkscrew.

CARL
Let me, madam.

She does. He takes out his own professional corkscrew, quickly
inserts it and levers the cork out. He deftly wraps the napkin
around the bottle and pours the wine, replacing the bottle
in the wine bucket. Lisa has opened her purse to produce
some money, in bills. She hands it to the waiter.

LISA
This will take care of the taxi as
well.

Carl, without looking at the money, puts it in his pocket.

CARL
Thank you, Miss Fremont.

He picks up the warning oven.

CARL
Have a pleasant dinner, Mr. Jefferies.

JEFF
Thank you.

Carl goes up the stairs and out the door, while THE CAMERA
REMAINS on Lisa and Jeff. She picks up both glasses of wine
and walks toward Jeff. She seats herself on the windowsill
as she hands him his glass. We notice that the outside is
considerably darker by now, and the lights are beginning to
come on in the various apartments outside. They raise their
glasses in a silent toast, and sip the wine. THE CAMERA CLOSES
IN until they are both in a tight TOW SHOT.

LISA
What a day I've had!

JEFF
Tired?

LISA
Not a bit. I was all morning in a
sales meeting. Then over to the
Waldorf for a quick drink with Madame
Dufresne -- just over from Paris.
With some spy reports. Back to the
"21" for lunch with the Harper's
Bazaar people -- that's when I ordered
dinner. Then two Fall showings --
twenty blocks apart. Then I had to
have a cocktail with Leland and Slim
Hayward -- we're trying to get his
next show.
(Softly, looking up
to him)
Then I had to dash back and change.

JEFF
(Mock seriousness --
one girl to another)
Tell me -- what was Slim Hayward
wearing?

LISA
(Seriously)
She looked very cool. She had on a
mint green --

She breaks off with a little laugh, and a slight reproachful
look at Jeff. She sips her drink then says:

LISA
And to think, I planted three nice
items about you in the columns today.

Jeff's opinion of that is a short chuckle.

LISA
You can't buy that kind of publicity.

JEFF
That's good news.

LISA
Someday you might want to open up
your own studio here.

JEFF
How could I run it from say --
Pakistan?

She puts down her glass and slides along the window seat
nearer to him, THE CAMERA CLOSING IN. She looks up at him
with a serious frankness.

LISA
Jeff -- isn't it time you came home?
You could pick your assignment.

JEFF
I wish there was one I wanted.

LISA
Make the one you want.

JEFF
(As if he can't believe
her)
You mean leave the magazine?

LISA
Yes.

JEFF
For what?

LISA
For yourself -- and me.
(She adds eagerly)
I could get you a dozen assignments
tomorrow... fashion, portraits --

Jeff interrupts her with soft laughter.

LISA
(Offended)
Don't laugh. -- I could do it!

JEFF
That's what I'm afraid of.
(He gazes into space)
Could you see me -- driving down to
the fashion salon in a jeep -- wearing
combat boots and a three day beard?
(He chuckles at the
thought)

LISA
I could see you looking handsome and
successful in a dark blue flannel
suit.

JEFF
(Looking directly at
her)
Let's not talk any more nonsense,
huh?

She stands up. THE CAMERA PULLS BACK.

LISA
I'd better start setting up for
dinner.

She moves away behind him, into the kitchen.

INT. JEFF'S APARTMENT NIGHT - SEMI-CLOSEUP

Jeff gives a sigh of relief, exhaling his breath, then looks
down toward his legs in thought. He holds this attitude for
just a moment, then seems to shake off his concern to lift
his head and turn his attention to what might be happening
in his neighborhood beyond his window.

Behind him we see the vague form of Lisa bringing in a card
table, which she proceeds to unfold.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Jeff's attention is concentrated on an apartment we have not
seen before. This belongs to a single woman, about forty
years of age. She lives alone. Her apartment is below that
of the salesman with the invalid wife.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff leans forward with increased interest. Behind him we
get vague figure of Lisa laying a cloth over the card table.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

A nearer view show us a more intimate picture of the woman
Jeff is concentrating on. She is thin and unattractive. At
the moment, she is putting on her make-up in front of the
bedroom mirror. She gives a half turn and picks up a pair of
horn-rimmed glasses, which she puts on, and leans nearer to
her mirror. She picks up a lipstick and proceeds to paint
her lips carefully.

Having completed her make-up, she takes off her glasses and
surveys her face in the mirror. She stands up, swings the
skirt of her dress around, admires herself in the mirror.
She is quite flat-chested, and the dress hangs unattractively.
She lifts her chin, gives one last look, and turns toward
her living room. As if she's preparing to meet someone.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Without taking his eyes from the scene, Jeff picks up his
wineglass and drinks. As he drinks, his eyes move slightly
over.

EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT

THE CAMERA HAS PANNED slightly to the woman's living room
window. A small, candle-lit table is set up, with dinner for
two. The spinster sweeps into the room, smiling. She goes to
the door, opens it, and in pantomime admits an imaginary
caller. She pretends to kiss him lightly, take his hat, and
place the hat on a chair. Then she shows him to a seat at
the table, disappears into an unseen kitchen and returns
with a bottle and two glasses. She sits down, pours two
drinks. She lifts her drink in a toast to the imaginary man
opposite her.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff gives a faint, sympathetic smile, and subconsciously
raises his glass in response. In the background, Lisa, having
just placed a pair of candlesticks on the table, is returning
to the kitchen.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Having finished her drink, the lonesome woman pours herself
another one. Then she starts to take a sip, smiling across
the table at her imaginary guest. She lowers the glass onto
the table. The smile fades from her face as her head drops.
Suddenly she buries her head in her arms over the table and
starts to sob.

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

Jeff, his glass in hand, looks out sympathetically. He is
unaware that Lisa is standing behind him, and is also watching
this little drama.

LISA
That's what is know as "manless
melancholia."

JEFF
(Nods agreement)
Miss Lonely Hearts. At least that's
something you'll never have to worry
about.

LISA
Oh? You can see my apartment all the
way up on 63rd street?

JEFF
Not exactly -- but we have a little
apartment here that's probably about
as popular as yours.
(He points)
You, of course, remember Miss Torso.

Both of them swing their eyes a little to the left.

EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT

The kitchen-lining room combination of the ballet dancer's
apartment has now been made more presentable.

The ice box is now skillfully concealed by a large Chinese
screen. All kitchen utensils have been put away, replaced by
more attractive effects, and lamp light softens the
surroundings.

Miss Torso is now wearing a cocktail dress, which shows off
her figure to great advantage, especially when she leans
toward three assorted men to offer them a plate of hors d'
oeuvres. She is the perfect hostess, animated, charming, and
with an added personal touch for each guest. She is behaving
with a sophistication which was not apparent when we first
saw her in the morning. Her every movement is followed
admiringly by the eyes of the three men -- one wearing black
tie, with a touch of grey in his hair, a Long Island socialite --
a young rather handsome, actor in grey flannel suit -- and
last, a bright, pleasant, young man who might possibly be
from Wall street, wearing a blue-pin-striped suit. The latter
two are engaged in an animated conversation. The young man
in the grey suit is showing the other young man some newspaper
cuttings he's taken from his pocket.

Miss Torso sees that the cocktail glass of the third man is
empty. She takes it over to the window, and starts to fill
it. The man in the tuxedo follows her over, with a casual
glance toward the other two. He stands beside her as she
makes the drink. He looks at his watch with some impatience,
and makes a side comment to her as to the lateness of the
time. She turns, gives him a light kiss on his cheek, as if
she's telling him to be patient. Instead of pacifying him,
it makes him more amorous, and he puts an arm around her
shoulder an plants a heavy kiss on her cheek. She turns to
face him, they look into each other's eyes a moment, and she
allows herself to be kissed on the lips -- but only long
enough so as to attract the attention of the other two men.
With a little admonishing look, she moves away from him, and
makes him rejoin the other two.

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

Jeff turns and looks up to Lisa with a grin.

JEFF
Well, she picked the most prosperous
looking one.

LISA
She's not in love with him -- or any
of them.

JEFF
How can you tell that -- from here?

LISA
You said it resembled my apartment,
didn't you?

She moves away with a significant look to him. THE CAMERA
MOVES IN until Jeff is in semi-closeup, alone.

He ponders over her last remark, then changes his look to
another direction.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The newlyweds's apartment has the shades still drawn.

Although there's a light burning inside.

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

There is a slight, but warm, smile on Jeff's face as he looks
at the drawn shade. His eyes move away from the newlyweds'
apartment, and slowly explore the neighborhood to his right.
He finds something of interest, and stops to stare at it.
His face sobers at what he sees.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

The salesman's apartment. We see both the living room and
the bedroom. The salesman has prepared a dinner tray, and is
carrying it from the kitchen, through the lining room, into
the bedroom. He places it on the lap of his wife, sitting up
in bed. He puts a couple of pillows behind her back to make
her more comfortable.

She doesn't bother to thank him, but is busy examining the
content of the tray. Her attitude shows her dissatisfaction.
Nothing is right. It's not what she wanted, and it's badly
prepared. She begins criticizing him. He starts to answer
her back, but decides better of it, and instead, leaves the
room. He goes to the kitchen reaches up to a wall cabinet,
takes down a bottle and pours himself a drink. Then he returns
to the lining room, listens a moment. The wife is grudging
beginning to eat the dinner. The husband quietly lifts a
phone from the cradle, and dials a number.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff becomes completely absorbed with he sees. He leans
forward a little.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

We get a better view of the salesman waiting while his
connection is being made. Whoever he has called answers. And
instantly there is a marked change in his attitude. He
relaxes, smiles, is warm. He talks softly, perhaps guardedly,
with an occasional glance at the bedroom door. In the bedroom,
his wife has become aware of the call.

Quietly she moves the tray, gets out of bed, and goes to the
bedroom door to listen. The wall hides her from our view.

Then suddenly, she apparently opens the door, because the
living room, we see her arm suddenly appear, pointing at the
man and the telephone. He speaks quickly into the phone, and
hangs up. His face is flushed and angry as he goes toward
the bedroom. In the bedroom his wife appears walking back to
the bed, followed by the husband. She is laughing, and he is
answering her in angry tones. She climbs in bed laughing.
The more she laughs, the more angry he gets, and the harder
she laughs. Finally, he leaves the room, goes into the living
room, back into the kitchen and has another drink. He stands
there, controlling an outburst of emotion, and seems almost
to be crushing the shot glass in his clenched fist.

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

While Jeff has been engaged in watching this little drama,
the SOUND of a piano has started. He now diverts his attention
from the salesman's apartment to the source of the piano
music. He turns his eyes in the direction of the composer's
apartment.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Through the studio window of the song-writer's apartment we
see the man at work again on his original melody, and he is
farther along the line of the melody than before.

It is beginning to take some shape, and give promise of its
full beauty.

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

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

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

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

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

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

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

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff looks at her soberly.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa slowly helping Jeff to lobster from the main dish.

LAP DISSOLVE TO:

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

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

Jeff raises both his hands.

JEFF
Well now, look --

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

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

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

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

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

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

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

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

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

Jeff begin to get desperate.

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

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

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

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

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

JEFF
(Loud, sharp)
Lisa! Shut up!

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

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

After a moment of silence, Jeff says earnestly:

JEFF
Did you ever eat fish heads and rice?

LISA
Of course not.

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

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

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

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

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

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

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

LISA
(Quickly)
Three.

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

She turns at last, and looks across at him.

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

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

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa realizes she is getting nowhere.

LISA
You're too stubborn to argue with.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff, getting angry.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa, with sarcasm.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff is definitely angry.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff looks across at her with some concern.

JEFF
It would be the wrong thing.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa, from Jeff's viewpoint.

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

JEFF
Right now, it doesn't seem so.

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

All this as she talks.

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

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

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa pauses in the act of gathering her things together.

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

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

JEFF
You mean "goodnight."

LISA
I mean what I said.

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

JEFF
Lisa!

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

Lisa turns in the half-opened door.

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

LISA
Without any future?

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

Jeff tries to be pleasant, and offhand.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa, standing in the open doorway.

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

Continues smiling as she close the door softly behind her.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

Receiver up on filter.

GUNNISON
(Filter)
Hello.

JEFF
Gunnison?

GUNNISON
Yeah. Is that you, Jeff?

JEFF
It's me.

GUNNISON
Something wrong?

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

GUNNISON
(Unhappy)
Jeff --

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

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

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

GUNNISON
Yeah.

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

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

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

FADE OUT:

FADE IN:

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

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

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

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

He looks steadily toward the distant street corner.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

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

INSERT

Jeff's watch reads 1:55.

QUICK FADE OUT:

QUICK FADE IN:

INSERT

The watch now reads 2:35.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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

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

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

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff's eyes travel down to the street.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff's face is expressionless. He just stares.

FADE OUT:

FADE IN:

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff's eyes suddenly switch to the street.

EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT

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

He enters his apartment.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

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

FADE OUT:

FADE IN:

INT. JEFF'S APARTMENT - DAWN - CLOSEUP

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

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

FADE OUT:

FADE IN:

EXT. NEIGHBORHOOD - DAY - LONG SHOT

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

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

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

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

JEFF
That's a stiff one.

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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

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

JEFF
(Between clenched
teeth)
How did you know!

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

JEFF
I was.

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

JEFF
Depends one which one.

She stops massaging, reaches for the oil.

JEFF
Now Miss Torso, for example --

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

STELLA
Keep your mind off her.

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

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

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

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

JEFF
And some man will lose his.

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

JEFF
Well, the salesman could be available
soon.

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

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

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

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

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

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

She helps him to a sitting position.

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

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

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

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

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

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

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

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

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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

JEFF
Get back! Out of sight! Quick!

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

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

Jeff keeps his eyes trained on the window.

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

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

STELLA
A Federal offense.

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

She moves back into the shadows.

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

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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

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

JEFF
(Grunts)
Uh-huh.

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

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

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

STELLA
And don't sleep in the chair again.

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

JEFF
Uh-huh.

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

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

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

JEFF
Stella.

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

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

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

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

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

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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

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

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

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

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

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

EXT. NEIGHBORHOOD - DAY - CLOSE SHOT

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

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

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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

EXT. NEIGHBORHOOD - DAY - CLOSE SHOT

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

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

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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

FADE OUT:

FADE IN:

EXT. NEIGHBORHOOD - NIGHT - CLOSEUP

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

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

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

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

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

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

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

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

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

Jeff moves his eyes slightly to something outside the window.

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

INT. JEFF'S APARTMENT - NIGHT - TWO SHOT

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

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

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

She starts kissing him.

JEFF
Don't you ever have any problems?

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

JEFF
So do I.

LISA
(Kissing)
Tell me about it.

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

LISA
He likes the way his wife welcomes
him home.

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

LISA
Homework. It's more interesting.

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

LISA
Nothing, thank heaven.

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

LISA
I wouldn't dare answer that.

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

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

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

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

JEFF
(Looks at Lisa)
What do you think?

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

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

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

He stares intently out the window.

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

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

He looks away from Miss Torso, thoughtfully.

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

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

Lisa just stares at Jeff for a moment.

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

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

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

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

Jeff puts out a restraining hand.

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

At last the salesman is seen coming along the corridor.

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

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

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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

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

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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
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
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!
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 ropes around
their houses. Lots of men don't speak
to their wives all day. Lots of wives
nag, and men hate them, and trouble
starts -- 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.

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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The drawn shades of the newlyweds' apartment. A dim light
burning behind them.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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 half looks 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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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:

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

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.

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

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?

INT. PHONE BOOTH - NIGHT - CLOSEUP

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff, still looks toward the salesman's apartment.

JEFF
Thanks, Lisa.

INT. PHONE BOOTH - NIGHT - CLOSEUP

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?

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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.

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

All we can see is the glow of the salesman's cigar.

FADE OUT:

FADE IN:

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

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, Doyle -- 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, would jump at the chance
to detect.

Stella returns with the table, and sets it up so that it is
across Jeff'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 moved 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, Doyle -- soon as you can.

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

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?

The hand carrying the bacon to Jeff's mouth hesitates for a
moment.

STELLA
(Answering herself)
Oh -- of course! 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 stares ahead. Stella turns and walks into the
kitchen. Jeff pushes the food away, and picks up the coffee
cup instead.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff's eyes, over the coffee cup, are staring intently at
the backyard.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

Thorwald's apartment. The shades up. No one moving.

The rope-tied trunk still sits in the bedroom.

To the left we see the basket lowering with the dog in it.
We HEAR the woman WHISTLING an aria.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

His eyes stray in an upward direction as he puts down the
coffee cup.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff's eyes moves down again. Abstractedly his hand strays
toward the piece of bacon. He picks it up.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

Thorwald's apartment. We are now aware that the salesman 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.

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

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.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

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:

EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT

The newlywed's apartment. Shade down, business as usual.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff smiles affectionately, and starts to turn his eyes away;
but something startles him, and he looks quickly back.

EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT

The shade suddenly going up in the newlywed's apartment.

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.

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

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.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

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 hair 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.

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

Stella and Jeff watching intently. He is feeling down
alongside his wheelchair for his binoculars.

EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT

A close view shows the two man carrying the trunk across the
living room toward the corridor.

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

Jeff lowers the binoculars quickly.

JEFF
(Agitated)
I thought Doyle 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.

EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT

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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

The binoculars still up to Jeff's face. Under them his mouth
moves, as if he's talking to himself.

JEFF
Long Distance.

EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT

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.

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

Jeff lowers the binoculars a little, and takes a normal eye
sight on the alleyway.

EXT. NEIGHBORHOOD - DAY - LONG SHOT

Pulling across to the far side of the street we see the hood
and cab of a freight truck.

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

Jeff quickly puts the glasses up.

EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT

By the time the binoculars are up, another truck 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.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff lowers the binoculars, discouraged.

EXT. NEIGHBORHOOD - DAY - LONG SHOT

The figure of Stella is seen, looking up toward Jeff's
apartment, and arms outspread in a helpless gesture.

LAP DISSOLVE TO:

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

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. DOYLE, 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.

DOYLE
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.

DOYLE
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, Doyle -- tell me he's an
unemployed magician -- amusing the
neighborhood with sleight-of-hand.

Doyle paces a little.

DOYLE
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.

DOYLE
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 it's been done.

DOYLE
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?

DOYLE
I think you saw something -- that
probably has a very simple
explanation.

JEFF
For instance?

DOYLE
(Shrugs)
His wife took a trip.

JEFF
She -- was -- an -- invalid!

DOYLE
You told me.
(Looks at watch)
I've got to run, Jeff.

JEFF
All right -- you don't believe me.

Doyle saunters toward steps, picking up his hat on the way.
Stops.

DOYLE
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.

DOYLE
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.

DOYLE
You have any headaches lately?

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

Jeff answers, showing only the slightest irritation.

JEFF
Not 'til you showed up.

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

Doyle, still at the door:

DOYLE
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.

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

From Doyle's viewpoint. Jeff lifts his hand in a feeble
parting gesture.

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

Before the door has completely closed, Doyle opens it again,
and looks in.

DOYLE
By the way what happened to your
leg?

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

JEFF
I was jaywalking.

DOYLE'S VOICE (O.S.)
Where?

JEFF
(With nonchalance)
The Indianapolis Speedway.

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

The door starts to close again, as if Doyle considered Jeff's
answer quite reasonable. Then the door pops open and Doyle's
head comes in, a surprised expression across his face.

DOYLE
During the race?

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

Jeff answers with a straight face.

JEFF
Yup. It sure stopped traffic.

We don't see Doyle again, but only HEAR the sharp slam of
the DOOR off. Jeff chuckles. Then he turns back to the window.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff's attention is drawn to something in the yard below.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

The little dog is busily scratching away at Thorwald's pet
flower bed.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff smiles mischievously. Suddenly his face changes as he
sees:

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

Thorwald coming out of his basement door, carrying a watering
can. He fills it from a nearby faucet. He does not notice
the little dog's destructive activities.

When the watering can is filled, he straightens up, turns
toward the flower bed. He stops for the briefest moment,
when he sees the dog. He walks to the dog, gently lifts him
out of the garden, and giving him a friendly little pat,
sends him off. He proceeds to patiently brush back the
disturbed earth, and then begins his watering.

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

Jeff is frankly puzzled by the salesman's friendly attitude
toward the dog. He looks off in another direction, as he
catches of:

EXT. NEIGHBORHOOD - DAY - LONG SHOT

Doyle, who has appeared, at the street opening. The detective
is surveying the front of the apartment building where
Thorwald lives. A paper seller behind him offers to sell him
a paper. Doyle isn't interested.

As Doyle saunters forward toward the salesman house, the
scene:

LAP DISSOLVES TO:

INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

Doyle is nonchalantly leaning up against the side board,
with a highball in one hand. Jeff has turned his chair around
from the window to face him.

DOYLE
He has a six months lease, and has
used up a little over five and a
half months of it.
(Takes a sip of drink)
Quiet. Drinks, but not to drunkenness.
Pays his bill promptly, with money
earned as a consume jewelry salesman --
wholesale. Keeps to himself, and
none of the neighbors got close to
him, or his wife.

JEFF
I think they missed their chance
with her.

DOYLE
(Studies drink)
She never left the apartment --

JEFF
(Interrupting)
Then where is she -- in the ice box?

DOYLE
(Continues)
-- until yesterday morning.

JEFF
(Alert)
What time?

DOYLE
Six ayem.

Jeff looks thoughtful a moment, and then says, with a touch
of discouragement:

JEFF
I think that's about the time I fell
asleep.

DOYLE
Too bad. The Thorwalds were just
leaving the apartment house at that
time.

He puts down his drink, and strolls toward the window, looking
out. THE CAMERA MOVES IN slightly to tighten the shot.

DOYLE
Feel a little foolish?

JEFF
Not yet.

Doyle becomes interested in watching something out the window.
Unconsciously he smooths out his coat and tie.

He even smiles somewhat secretly to himself at what he sees.

EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT

Miss Torso, in ballet costume, practicing her dance on the
outside balcony. She is exciting and desirable.

INT. JEFF'S APARTMENT - DAY - TIGHT TWO SHOT

Jeff notices Doyle's interest.

JEFF
How's your wife?

Startled at being observed, Doyle moves quickly away from
the window, affecting nonchalance. THE CAMERA MOVES BACK as
Doyle returns to his drink. Jeff smiles at catching Doyle
enjoying Miss Torso.

DOYLE
Oh -- oh, she's fine.
(Not too convincing)
Just fine.

He tosses off the rest of the drink, and his movement is
almost a comment. Jeff's face grows serious.

JEFF
Who said they left then?

DOYLE
Who left -- where?

JEFF
The Thorwalds -- at six in the
morning?

Doyle quickly collects his thoughts, and gets back to the
case at hand.

DOYLE
The building superintendent, and two
tenants. Flat statements -- no
hesitation. And they all jibed to
the letter. The Thorwalds were leaving
for the railroad station.

JEFF
Now how could anybody guess that?
They had, perhaps, signs on their
luggage, "Grand Central Or Bust!"?

DOYLE
(Sighs)
The superintendent met Thorwald coming
back. He said Thorwald told him he
had just put his wife on the train
for the country.

JEFF
A very convenient guy -- this
superintendent. Have you checked his
bank deposits lately?

DOYLE
Jeff -- huh?

JEFF
(Sharply)
Well -- what good is his
information?!! It's a second-hand
version of an unsupported statement
by the murderer himself -- Thorwald!
Anybody actually see the wife get on
the train?

DOYLE
I hate to remind you -- but this all
started because you said she was
murdered. Now did anyone, including
you, actually see her murdered?

JEFF
Doyle -- are you interested in solving
a case, or making me look foolish?

DOYLE
If possible -- both.

JEFF
Well then do a good job of it! Get
over there, and search Thorwald's
apartment! It must be knee-deep in
evidence.

DOYLE
I can't do that.

JEFF
I mean when he goes out for a paper,
or a drink, or something. What he
doesn't know won't hurt him.

DOYLE
I can't do it even if he's gone.

JEFF
(With sarcasm)
What's the matter? Does he have a
courtesy card from the police
department?

DOYLE
Now don't get me mad! Even a detective
can't walk in anybody's apartment
and search it. If I were ever caught
in there, I'd lose my badge inside
of ten minutes!

JEFF
Just make sure you're not caught. If
you find something, you've got a
murderer and nobody will care about
a couple of house rules. If you find
nothing -- he's clear.

DOYLE
At the risk of sounding stuffy, Jeff --
I'll remind you of the Constitution,
and the phrase "search warrant" issued
by a judge who knows the Bill of
Rights verbatim. He must ask for
evidence.

JEFF
Give him evidence.

DOYLE
I can hear myself starting out. "Your
Honor -- I have a friend who's an
amateur sleuth, an one night, after
a heavy supper --"
(He shakes his head
"no")
He'd throw the New York State Penal
Code right in my face. -- And it's
six volumes.

JEFF
By morning there might not be anything
left to find in his apartment.

DOYLE
(Looking out window)
A detective's nightmare.

JEFF
What do you need before you can search --
bloody footsteps leading up to the
door?

DOYLE
(Looking out window)
One thing I don't need is heckling!
You called and asked me for help --
and now you're acting like a taxpayer!

DOYLE
(Turns and look at
Jeff)
How did we ever stand each other in
that same plane for three years?

JEFF
You know, every day for three years
I asked myself that same question?

DOYLE
Ever get an answer?

JEFF
Yeah -- frequently -- it ran something
like this: "Your request for transfer
turned down --"

He can't help smiling, and neither can Doyle.

DOYLE
Sorry I had to turn it down.
(He checks his watch)
I'm going over to the railroad station
and check Thorwald's story.

He moves to the sideboard, picks up a felt hat.

JEFF
Forget the story -- find the trunk.
Mrs. Thorwald's in it!

DOYLE
Oh -- I almost forgot!

He pulls a slip of paper out of his pocket. Jeff watches him
intently.

DOYLE
(Looking at Jeff)
There was a postcard in Thorwald's
mailbox.
(Refers to paper)
Mailed yesterday afternoon, three-
thirty P.M. from Merritsville --
(Looks up, speaks
pleasantly)
-- That's eighty miles north of here.
(Back to paper)
The message read "Arrived O.K. Already
feeling better. Love, Anna."

He looks at Jeff with some smugness.

JEFF
(Slowly)
Is -- is Anna -- who I think it is?

DOYLE
(Nods "yes")
Mrs. Thorwald.

He puts on his hat, and goes toward the door.

DOYLE
(Maliciously)
Anything you need?

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Jeff is sober.

JEFF
Yeah. A good detective.

LAP DISSOLVE TO:

INT. JEFF'S APARTMENT - DUSK - CLOSEUP

The sun has just set. THE CAMERA is concentrating on the
long-focus lens camera which fills the screen. Just beyond,
there is a plate on which a solitary sandwich.

Jeff's hand comes in, picks it up. We PAN US with the sandwich
until Jeff's head fills the screen. (Except for a small light
in the kitchen, Jeff's apartment is in darkness.) As he
munches, he keeps his attention on the neighborhood.

EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT

Thorwald's apartment is darkness. THE CAMERA PANS slightly
to the left, as we see the dog being lowered in its basket.
We follow the basket down to the yard which brings Miss Lonely
Heart's apartment into view. She is wearing a Kelly Green
suit, and is seated at her dressing table. She seems to be
putting on the final touches of her make-up, prior to going
out.

INT. JEFF'S APARTMENT - DUSK - CLOSEUP

Jeff looks down, he smiles to himself. He turns, and we see
him raise the long-focus camera to his eye.

EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT

The long-focus lens brings Miss Lonely Hearts into an enlarged
picture which reveals details we have not previously noticed.

A pair of ill-fitting, horn-rimmed reading glasses rest half
way down her nose, and she has to tilt her head back slightly
as she applies lip-stick, with their aid.

Satisfied, she takes off the glasses, and examines her face
as a whole, through squinting eyes. She has faded good looks,
has fairly nice clothes, but is badly in need of advice on
hair dressing. Her hair-do makes her seem middle-aged. She
reaches for a tall glass of liquor next to her, and takes a
long drink. Putting the glass down, she squints to see if
she has disturbed the lipstick. Unable to see clearly, she
puts on the glasses again, looks, and touches up her lips
slightly.

She puts her glasses in a handbag, then stands to put out
the lights. She walks into the living room, finishing the
drink. The long-focus lens moves with her. She goes straight
for a bottle of liquor, and pours out a final neat slug, and
tosses it off. Then she leaves the apartment, with a show of
determination.

She turns out the lights behind her.

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

Jeff lowers the long-focus lens, and turns his head to the
right as he hears the first notes of the songwriter's melody
which we have heard him trying to complete.

EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT

The songwriter is at the piano, poking out his melody, slowly,
note by note. He is in black tie, and from the looks of the
apartment he is preparing for guests. An attractive girl is
setting out trays of canapés, glasses, ice and liquor. She
pauses as she crosses the room carrying a tray of food. She
listens a moment to the songwriter's melody. Her expression
shows that it pleases her, and moves her romantically. She
comments on it to the songwriter, who starts from the
beginning again, playing it more fully.

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

A new source of music comes in to interfere with the piano
playing. It is orchestral ballet music, in a modern style.
Jeff's head turns in this new direction.

EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT

Miss Torso, and a male partner whom we have not seen before,
are practicing a pas a deux. He is a tall flowing-haired
young man, lithe and graceful beyond normal masculine
capacity.

They stop, at one point, to listen to a word of comment from
a woman who is watching. By her gestures, she is obviously a
professional choreographer.

THE CAMERA PANS from this to the street beyond.

Standing there, on the sidewalk, looking up and down the
street is a Kelly Green clad figure.

INT. JEFF'S APARTMENT - DUSK - CLOSEUP

He quickly raises his long-focus camera to his eye.

EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT

We are now given a waist-high shot as the focus is adjustment
by Jeff. The figure is that of Miss Lonely Hearts. She seems
to be trying to figure out what to do, or where to go. She
nervously looks at a couple of men passers by. Getting no
reaction, she crosses the street, and seats herself at an
empty table in front of the cafe. She orders a drink.

She is suddenly blotted out by a figure of a man who enters
the picture from the left side. He is much nearer the lens,
because he is on this side of the street. He is, therefore,
slightly out of focus. The lens suddenly sharpens. It is
Thorwald, carrying a light-weight cardboard box under his
arm. THE CAMERA PANS him over to the right until he is lost
behind the building.

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

He lowers the lens, and we see Jeff's eyes travel across the
screen, as he imagines Thorwald's progression. Then sharpening
his look, he picks up the long-focus lens, and easing himself
back cautiously, begins watching Thorwald.

EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT

Thorwald comes up the corridor, and stands unlocking his
door. As he hesitates, we are able to see the cardboard box
he is carrying has the name of a laundry on it. He enters
the apartment turns on the living room lights.

He proceeds to the bedroom, and the lights go on there.

A number of suits and top coats are lying on an orderly pile
on the bed. He takes the laundry out of the box and puts in
on the bed next to the suits. Then he goes to the dresser,
and instead of putting the laundry away,

he proceeds to take out the contents of the drawers --
pajamas, shirts, sox, etc. He piles these on the beds.

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

Jeff lowers the camera quickly. He picks up the phone and
dials a number, still keeping his eyes on Thorwald.

The phone buzzes on filter, then is picked up and answered
by a woman:

MRS. DOYLE
(Filter)
Hello.

JEFF
Mrs. Doyle?

MRS. DOYLE
Yes.

JEFF
Jeff again.
(A note of urgency)
Has Tom come in yet?

MRS. DOYLE
Not yet, Jeff.

JEFF
You haven't even heard from him?

MRS. DOYLE
Not a word.

For a moment, Jeff looks desperate. He doesn't know what to
say.

MRS. DOYLE
It is something really important,
Jeff?

JEFF
I'm afraid it is, Tess.

MRS. DOYLE
I'll have him call the moment I hear
from him.

JEFF
Tell him not to waste time calling.
To get over here soon as he can. I
think Thorwald's pulling out tonight.

MRS. DOYLE
Who's Thorwald?

JEFF
He knows.
(As an after-thought)
Don't worry, Tess. It's a man.

MRS. DOYLE
(She laughs)
Goodnight, you idiot.

JEFF
(A slight smile)
Goodnight, Mrs Doyle.

He hangs up. Then, his brows knit a little, as if he's puzzled
about something he sees across the neighborhood.

He lifts up the long-focus lens.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

Early night. In the dresser Thorwald finds an alligator
handbag. He holds it up thoughtfully. We have previously
seen this handbag hanging from the bedpost when Mrs. Thorwald
was in bed. Thorwald takes the bag into the living room,
where he picks up the phone and dials.

JEFF
Long distance again.

Thorwald reaches his party. As he talks, thoughtfully, he
takes some jewelry from the handbag -- a couple of rings,
diamond wristwatch, brooch, pearls, etc. He discusses each
piece, apparently trying to make some decision. Then,
seemingly satisfied, he replaces them in the bag and hangs
up.

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

Jeff lowers his camera lens and edges his chair forward in
an effort to hear what Thorwald is saying. But a sudden rise
in the SOUND coming from the song-writer's apartment, causes
him to turn his head toward the studio with exasperation.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The first four of the song-writer's guests come through the
door, admitted by the song-writer's girl friend.

There is a squeal from the woman who great each other, and
hearty "helloes" from the men. The song-writer dashes off a
LOUD VAMP of greeting on the piano, then gets up to offer
drinks.

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

Jeff turns his attention back to Thorwald, but gives up any
attempt at listening. He lift the long-focus lens up to his
eyes again.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

Having completed his call, Thorwald returns to the bedroom
carrying the handbag. He goes to a pile of coats lying on
the bed. He lifts the top two coats slightly, and slides the
handbag under them and out of sight.

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

There is the SOUND of footsteps coming down the corridor to
Jeff's apartment. He lowers the camera lens, and turns his
attention to his door.

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

The door opens, and Lisa stands silhouetted in the entrance,
black-lighted by the corridor lights. It's an attractive
picture.

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

Jeff's head is turned toward her, his back more toward the
neighborhood.

JEFF
Quick. Take a look. Thorwald's getting
ready to pull out for good!

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

Jeff abruptly turns back to the window, as Lisa dashes into
the picture behind him, and looks out. Jeff's expression
changes a little, as they see:

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

The lights are out in Thorwald's bedroom, and Thorwald is in
the act of pouring himself out a drink in the living room.
He comes to the window, glass in hand, and looks down into
the garden, nonchalantly. Over this, we HEAR Lisa's voice,
questioningly:

LISA
It doesn't seem to be in any hurry.

JEFF
(Stares out the window,
exasperated)
He was just laying all his things
out on one of the beds! Coats, suits,
shirts, sox, even his wife's --

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

He stops, turns to her quickly.

JEFF
That alligator bag his wife had on
the bedpost --

LISA
What about it?

JEFF
He had it hidden in the dresser!
Well, at least it was in there. He
took it out, went to the phone and
called somebody long distance. --
His wife's jewelry was in the handbag.
And something about it worried him.
He was asking somebody advice over
the phone.

LISA
Someone not his wife?

JEFF
I never saw him ask her for advise
before.
(Smiles)
But she volunteered plenty.

Jeff turns back to the window.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Thorwald is standing at the window with his drink in his
hand. Then he turns, puts his unfinished drink down on a
table, and goes to the door. He puts the light out in the
living room and goes out the door. He walks briskly down the
corridor.

LISA
I wonder where he's going now?

JEFF
I don't know.

LISA
Suppose he doesn't come back again?

JEFF
He will. All his things are still
piled on the bed.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa moves toward a nearby lamp.

LISA
Well, I guess it's safe to put on
some lights now.

JEFF
(Looking to left)
Not yet!

He picks up the long-focus lens and trains it on the street
intersection, as Lisa moves back to him.

EXT. NEIGHBORHOOD - CAMERA SHOT - NIGHT

The street intersection. Some traffic, mostly pedestrian.
Miss Lonely Hearts still sitting at the cafe table, alone.
Drinking. There is no sign of Thorwald.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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
All day long I've tried to keep my
mind on work.

JEFF
Thinking about Thorwald?

LISA
(Nods yes)
And you, and you friend Doyle --
(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
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. Doyle 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.
Doyle -- that couldn't be Mrs.
Thorwald -- or I don't know women.

JEFF
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.

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.

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa stands, listening, entranced.

LISA
Where does a man 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)
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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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-!

He chokes 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

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

Over Jeff's shoulder we see Doyle 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, Doyle 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 Doyle.

SEMI CLOSEUP

Doyle 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 followed Doyle's look.

SEMI CLOSEUP

Doyle 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

Jeff. His eyes turn from the lingerie up to Doyle.

CLOSEUP

Doyle'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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The party is now full progress. The room is overcrowded. And
some people are now sitting on the floor with their backs to
the window. Others are outside. A crowd hides the piano
player, but music can be head competing with the babble.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Doyle turns his head away, and looks straight out. His
expression hardens a little, as he sees:

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

The window of Thorwald's apartment, completely dark.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

He also is looking toward Thorwald's apartment. He turns his
eyes anxiously back to Doyle. He seems to be trying to
penetrate Doyle's mind.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Doyle turns his head from the window, and looks down at Jeff.
He asks, quietly:

DOYLE
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.

DOYLE
(Soberly)
You think he's getting out of here?

JEFF
Everything he owns is laid out on
the bedroom, ready for packing.

Doyle looks back toward Thorwald's bedroom. We see the dark
apartment beyond him. Doyle 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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Doyle reacts to her appreciatively.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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 Doyle. (NOTE: In the following set of scenes,
whenever anyone holds a brandy snifter, it is being rotated-
regardless of their attitudes.)

LISA
Mr. Doyle? -- I presume.

Doyle sort of smiles, and takes the snifter awkwardly.

JEFF
Tom, this is Miss Lisa Fremont.

Doyle bows his head slightly, but his eyes remain on her in
a fixed stare.

DOYLE
How do you do?

Lisa smiles in return.

LISA
We think Thorwald's guilty.

She turns around, and goes right back into the kitchen.

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

Doyle 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.

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

The open overnight case with its displayed lingerie.

INT. JEFF'S APARTMENT - NIGHT SEMI-CLOSEUP

Slowly Doyle's eyes travel back to Jeff.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Quickly guessing what's on Doyle's mind

JEFF
(Cautiously)
Careful, Tom.

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

Doyle'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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Jeff picks up the phone.

JEFF
Hallo?

He listens, and then looks up to Doyle.

JEFF
Just a minute, please.

Doyle 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.

DOYLE
Doyle 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?

Doyle looks suddenly interested. He asks tersely:

DOYLE
Jewelry?

JEFF
He has his wife's jewelry hidden in
among his clothes over there.

DOYLE
You sure it belongs to his wife?

He turns his head to Lisa, who answers.

LISA
It was in her favorite handbag --
And, Mr. Doyle, that can lead to
only one conclusion.

DOYLE
Namely?

His head snaps back to Jeff, who answers:

JEFF
That wasn't Mrs. Thorwald who left
with him yesterday morning?

DOYLE
You figured that out, huh?

His head moves back to Lisa as she answers with a touch of
pride in her voice.

LISA
It's just that women don't leave
jewelry behind when they go on a
trip.

Before Doyle can comment, Jeff asks impatiently:

JEFF
Come on, Tom -- you don't really
need any of this information, do
you?

Doyle smiles at Jeff, and then strolls over to the table
where he puts out his cigarette and puts down the brandy
snifter.

DOYLE
As a matter of fact, I don't.

Doyle 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.

DOYLE
Lars Thorwald is no more a murderer
than I am.

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

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?

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

He spins around, and his face has lost all its friendliness.

DOYLE
No!

He starts to place the room.

DOYLE
And neither can you.
(Points out window)
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.

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

Lisa and Jeff. She replies with some sarcasm.

LISA
Like disposing of their wives?

DOYLE
(Off)
Get that idea out of your mind. It
will only lead you in the wrong
direction.

JEFF
But Tom -- the saw, the knives --

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

Doyle breaks in, takes a step forward.

DOYLE
Did you ever own a saw?

JEFF
(Off)
Well, in the garage, back home, we --

DOYLE
(Interrupts)
And how many people did you cut up
with the couple of with it? Or hundred
knives you've probably owned in your
lifetime?

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

Jeff, reasoning:

JEFF
But I'm not a killer!

DOYLE
(Off)
Your logic is backward.

Lisa cuts in spiritedly.

LISA
You can't ignore the wife
disappearing! And the trunk -- and
the jewelry -- !

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

Doyle starts to pace up and down, throwing out a hand in
careful explanation.

DOYLE
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)

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

Jeff and Lisa.

LISA
It might have been a woman -- but it
couldn't have been Mrs. Thorwald.
That jewelry --

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

Doyle comes up to the CAMERA, looking at Lisa.

DOYLE
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.

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

Jeff is resentful of Doyle's comments to Lisa.

JEFF
I take it you didn't find the trunk --
And this is just an old speech you
once gave at the Policeman's Ball.

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

Doyle has turned away into the center of the room. He swings
around.

DOYLE
I found the trunk -- a half hour
after I left here.

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

Lisa speaks again with continuing sarcasm:

LISA
Of course, it's normal for a man to
tie his trunk up with a heavy rope.

DOYLE
(Off)
When the lock is broken -- yes.

JEFF
What was in the trunk? A surly note
to me?

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

Doyle comes toward the CAMERA again.

DOYLE
(Carefully)
Mrs. -- Thorwald's -- clothes. --
Clean -- carefully packed -- not too
stylish -- but presentable.

LISA
(Off)
Didn't you take it to the crime lab?

Doyle gives her a scathing look.

DOYLE
I sent it on its merry and legal
way.

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

Jeff challenges Doyle:

JEFF
Why -- when a woman only goes on a
simple trip, does she take everything
she owns?

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Doyle, with a studied, gracious gesture, to Lisa.

DOYLE
Let the female psychology department
handle that one.

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

Lisa answers, but very coldly:

LISA
I would say that is looked as if she
wasn't coming back.

DOYLE
(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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Doyle hesitates a moment, and lets his eyes wander, to:

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

The overnight case, with Lisa's lingerie.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

His eyes going back to Jeff.

DOYLE
(Blandly)
Do -- uh -- you tell your landlord
everything?

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

Jeff replies, pointedly:

JEFF
I told you to be careful.

Lisa looks down at Jeff, not comprehending.

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

Doyle points to one of the photographs on the wall.

DOYLE
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.

Doyle has a complete change of manner. He relaxes and smiles.

DOYLE
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.

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

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?

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

Doyle is relaxed.

DOYLE
There isn't any "case" to be through
with, Miss Fremont. Now let's get
down to that friendly drink.

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

Jeff and Lisa remain unmoved.

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

A little self-conscious, Doyle checks his watch, and says
with a pleasant laugh:

DOYLE
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 it 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.

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

Jeff and Lisa deadpan.

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

Doyle is wiping his coat lapels with a handkerchief. He looks
at them pleasantly.

DOYLE
I'm not much of a snifter.

He starts away toward the door.

DOYLE
If you need any more help, Jeff --
consult the yellow pages of your
telephone directory.

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

Lisa, still burning:

LISA
I hate funny exit lines.

JEFF
Who was the trunk addressed to?

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Doyle picks up his hat.

DOYLE
Mrs. Anna Thorwald.

He starts up the steps to the door.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff points out a challenging finger.

JEFF
Let's wait and see who picks it up.

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

Doyle poises on the step. He snaps his fingers.

DOYLE
Oh -- that phone call!
(To Jeff)
I gave them your number -- hope you
don't mind.

JEFF
(Off)
That depends on who "they" were.

DOYLE
(Pleasantly)
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.

DOYLE
Don't stay up too late.

He quietly closes the door behind him.

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

Lisa and Jeff. Jeff turns his chair around, and looks out to
the neighborhood. Lisa stands glumly behind him.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The song-writer's party is now in full swing, and fairly
crowded. It is a happy, gay affair.

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

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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-genteel.

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa turns away from Jeff's chair to get a cigarette from
the table. She lights it, as Jeff turns his chair back to
the room.

JEFF
As much as I hate to give Thomas J.
Doyle too much credit, he might have
gotten a hold 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
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 rear window ethics.

JEFF
Of course, 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?

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. Doyle 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:

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

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 nightgown, 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
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.

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

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

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

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
Even 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 Miss
Lonely Hearts to place the dog in the basket, which is already
lowered.

SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT MEDIUM SHOT

Jeff and Lisa are at the window. He is holding on of hands.
Jeff speaks without looking up.

JEFF
For a minute, Doyle 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)

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Thorwald's apartment. Still dark, and only the unmoving glow
of a cigar showing in the center of the apartment.

INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT

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.

EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT

We wee the upper part of the bedroom window, belonging to
Thorwald.

The lower 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?

JEFF
He's washing down the bathroom walls.

STELLA
Must have splattered a lot.

INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT

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.

INT. JEFF'S APARTMENT - DUSK - CLOSEUP

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.

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.

INT. JEFF'S APARTMENT - DUSK - CLOSEUP

Lisa raises the viewer to her eye.

EXT. NEIGHBORHOOD - DUSK - CLOSEUP

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.

INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT

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 digging in.
(Points out window)
Look at that flower bed.

They all lean forward to look.

EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT

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?

STELLA
There's something buried there.

INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT

Jeff looks at Stella.

JEFF
Something's in there. Those flowers
have been taken up, and put back
again.

LISA
(Has a hard time saying
it)
It could be -- the knife, and the
saw.

STELLA
(Quickly)
Call Lieutenant Doyle!

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 Doyle 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 find 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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Thorwald, in the bedroom, methodically folding a suit into a
suitcase. Another suitcase, unopened, is visible.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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:

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff at the window, looking through the long-focus lens.

We get a glimpse of Stella behind him. He is watching:

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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 does 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
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.

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

Jeff lowers the long-focus lens to get a more comprehensive
view of Thorwald's apartment and corridor outside.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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 letter 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 and 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.

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

Jeff lifts the long-focus lens to his eyes again. His
expression is tense.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff whips the long-focus lens from his eye.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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!

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

Both Stella and Jeff frantic.

STELLA
(Accusingly)
You shouldn't have let her do that!
If he ever --

JEFF
(Interrupting)
Look!

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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
Miss Lonely Hearts just laid out
something that looks like sodium
trieckonal 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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

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

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
(Off)
Too close.

She comes down the stairs.

LISA
What was his reaction? I mean when
he looked at the note?

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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 --
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
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
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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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)
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
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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

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

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.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

Thorwald goes past the alley opening.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

Lisa is in the courtyard directly below Jeff's window.

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.

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

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 Doyle's house.

JEFF
This is L. B. Jefferies, a friend of
Tom's. Who am I talking with?

He squints out the window.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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.

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

A little annoyed at the interruption, Jeff turns to look at
the studio apartment.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff shifts his eyes from the songwriter's apartment back to
the courtyard.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

Jeff gives her an encouraging little gesture with his hand.
Then his eyes lift a little as he looks up.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

Jeff picks up the long-focus lens and trains it on the
alleyway.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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."

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

Jeff lowers the lens and looks down at the two women with
evident disappointment.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff, tense and wide-eyed, watches Lisa climb the fire escape.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

Jeff quickly picks up the long-focus lens and trains it on
the salesman's apartment.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

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!

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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!

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Jeff and Stella turn for a quick glimpse of the song-writer's
apartment.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

Jeff and Stella look back to Thorwald's apartment. Jeff has
the receiver to his ear, and the buzzer can be heard on
filter.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Stella is so shocked, she can only gasp for breath.

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:

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

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
Two minutes.

Phone is down on filter, and Jeff replaces his receiver.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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?

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

After a moment's hesitation, Thorwald goes to the door and
opens it.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff quickly puts a hand out and takes up his long-focus
lens. He looks through the finder.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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.

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

A quick flash of Jeff and Stella looking. Jeff still has the
long-focus lens to his eye.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

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

Stella turns away and goes quickly to the table for the
binoculars. Jeff still is using the long-focus lens.

EXT. NEIGHBORHOOD - NIGHT - BINOCULAR SHOT

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!

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff looking through his camera.

EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT

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 signaling to someone who is watching him.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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
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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

JEFF
Jefferies.

DOYLE
(Filter)
This is Doyle, Jeff.

JEFF
(Urgently)
Tom, I've got something real big for
you.

DOYLE
(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.

DOYLE
(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.

DOYLE
(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.

DOYLE
Like what?

JEFF
Like Mrs. Thorwald's wedding ring.
If that woman were still alive, she'd
be wearing it.

DOYLE
(Grudgingly)
A possibility.

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.

DOYLE
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!

DOYLE
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?

DOYLE
(After pause; a
detective)
Where'd they take Lisa?

JEFF
Precinct Six. I sent a friend over
with bail money.

DOYLE
Maybe you won't need it. I'll run it
down, Jeff.

EXT. NEIGHBORHOOD - NIGHT - LONG SHOT

We see Thorwald leave his apartment and proceed down the
corridor.

JEFF
Just don't dally. Thorwald knows
he's being watched. He won't hang
around long.

DOYLE
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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

Thorwald's apartment. Completely dark. No movement, or glow
of a cigar. The corridor outside lighted, but empty.

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

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT

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, Doyle? 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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

The door. Quiet in the apartment, and in the corridor.

Light showing beneath the door from the hall light.

INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT

Jeff squints at the door, blinks, squints again.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

The door. No doubt about it, black.

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

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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?

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff doesn't answer. His eyes watch Thorwald. He licks his
lip with nervous tension and grips the flash holder.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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!

He moves forward a couple of steps.

THORWALD
(Sudden loud anger)
Say something! Tell me what you want!

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

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.

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

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.

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

From a three-quarter angle toward Thorwald. Jeff lifts the
flash holder to face level and closes his eyes. He explodes
the flash.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Thorwald's face fills the screen registering shock, confusion.
He throws up his hands for protection and recoils, making an
involuntary sound of surprise.

INT. JEFF'S APARTMENT - NIGHT

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Thorwald blinking, trying to regain his sight.

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

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.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Thorwald's face, full screen again, as he recoils from the
flash.

INT. JEFF'S APARTMENT - NIGHT

The apartment as seen by Thorwald again. Big, twisting balls
of blinding yellow.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

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

Thorwald regains his equilibrium and some of his sight.

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.

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

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: Doyle, 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. Doyle hits the lights inside the kitchen. The
group goes into the living room. The lights go on. No sign
of Thorwald. Doyle, Lisa and Stella instinctively turn and
look toward Jeff's apartment.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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
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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

Doyle, Lisa, Stella and the two detectives, crossing
Thorwald's yard, see Jeff going out the window. Lisa is
panicked.

LISA
Jeff! Jeff!

EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT

From Doyle's viewpoint, Jeff hanging out the window and
Thorwald hammering at his hands and arms with bare fists.

Doyle pushes Lisa to one side and starts to scale the wall,
preceded by the two detectives.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Thorwald fights to dislodge Jeff's grip.

EXT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT

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.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Thorwald and Jeff struggling.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

Doyle pulling himself to the top of the wall. Lisa, Stella
and the two men below, looking up. Lisa is white-faced and
frightened.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Thorwald smashes at Jeff's arms and hands. Jeff's grip begins
to slip.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

Doyle reaches the top of the wall, looks up at Jeff.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT

Jeff, as seen from Doyle's angle, hanging, somehow weathering
Thorwald's insane attack.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

Doyle reaches for his service revolver. He doesn't have it!
He looks down, and calls one of the detectives back.

DOYLE
Creel! Your Thirty-eight!

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

Doyle catches it, turns up to Jeff's apartment.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT

Shooting over Doyle'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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

The two detectives ahead of Doyle are moving up below the
window. Lisa stand looking up, her hands at the sides of her
head, frozen with panic.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

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.

EXT. NEIGHBORHOOD - NIGHT - CLOSEUP

Jeff, hanging from the window frame. He claws desperately
for a hold.

EXT. NEIGHBORHOOD - NIGHT - COMPREHENSIVE SHOT

People rush to their windows, looking out at the excitement.
Some people on the ground floor come out into the yard. Doyle
and the two detectives come into the patio beneath Jeff.

Doyle 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.

EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT

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.

Doyle and Lisa rush over to Jeff. There is an audible

SOUND of shock in the neighborhood as Jeff has fallen --
various oh's, ah's, and possibly a stifled scream or two.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT

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 Doyle)
Think you've got enough for a search
warrant now?

DOYLE
Oh sure. Sure. I can make it.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

At that moment, a man appears leaning out of Jeff's window.
He looks down to the patio.

DETECTIVE
Lieutenant Doyle?

DOYLE (OFF)
(Looking up)
Yeah?

DETECTIVE
Thorwald's ready to take us on a
tour of the East River.

EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSEUP

Stella tugs at Doyle's arm and stands on tiptoe to whisper
something into his ear. Doyle then looks up to the detective.

DOYLE
Did he say what was buried in the
flower bed?

DETECTIVE
Yeah. It's over in his apartment. In
a hat box. Wanna look?

Doyle turns quizzically at Stella.

STELLA
Oh, no thanks -- I don't want any of
part of her
(She pauses, then
does a surprised
take back to Doyle)
What did I say?

DISSOLVE TO:

EXT. NEIGHBORHOOD - DAY - PAN SHOT

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.

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.

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

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners