                                                                1.



                                                       FADE IN:


1   INT. JEFFERIES' APARTMENT - (DAY) - LONG SHOT                    1

    Although we do not see the foreground window frame, we see
    the whole background of a Greenwich Village street.

    We can see the rear of a number of assorted houses and
    small apartment buildings whose fronts face on the next
    crosstown street, sharply etched by the morning sun.

    Some are two stories high; others three; some have peaked
    roofs, others are flat. There is a mixture of brick and
    wood and wrought iron in the construction.

    The apartment buildings have fire escapes, the others do
    not.

    The neighborhood is not a prosperous one, but neither is it
    poor. It is a practical, conventional dwelling place for
    people living on marginal incomes, luck - or hope and
    careful planning.

    The summer air is motionless and heavy with humid heat.

    It has opened windows wide, pushed back curtains, lifted
    blinds and generally brought the neighborhood life into a
    sweltering intimacy. Yet, people born and bred to life
    within earshot and eyeglance of a score of neighbors have
    learned to preserve their own private worlds by uniformly
    ignoring each other, except on direct invitation.

    THE CAMERA PULLS BACK until a large sleeping profile of a
    man fills the screen. It is so large that we do not see any
    features, but merely the temple and side of the cheek down
    which a stream of sweat is running.

    THE CAMERA PANS OFF this to the right hand side of the
    window, and MOVES TO a thermometer which is hanging on the
    wall just outside the window. It registers 84.

    THE CAMERA MOVES ON into the open, and brings nearer to us
    a room with a large studio window. We are able to see
    inside this room. A short, balding man is standing near the
    window, shaving, using a small bowl of water and a portable
    mirror which he has set up on a shelf.

    To the right of him is a battered upright piano. On top of
    the piano is a radio. The music selection coming from the
    radio stops, and the announcer is heard.
                                                         2.


                  ANNOUNCER
        The time - 7:15 A.M., WOR, New
        York. The temperature, outside, 84
        --- Friends - is your life worth
        one dollar?

The man shaving quickly puts down his razor, hurries to the
radio, and changes the station, moving past a number of
commercial voices until he again finds some music.

Contented, he returns to his shaving.

THE CAMERA MOVES ON AND OVER to a far building. It passes
over the face of this building until it comes to fire
escapes. It goes up and near enough to one which has become
the outdoor bedroom of a couple. We are near enough to see
an alarm clock hanging from the rail which is now ringing
vigorously. A man rises lazily to a sitting position. He
gropes to switch the alarm off.

We see that his pajamas are stained with sweat. In his
sitting position he leans forward and shakes somebody
beside him. To our surprise, the head of this other person
- a woman - rises where his feet are. They have been
sleeping in opposite directions. They sit limply looking at
each other with bedraggled and weary expressions which show
they enjoyed very little sleep in the heat of the night.

THE CAMERA NOW MOVES DOWN toward the left onto another low
building. It MOVES IN A LITTLE to a living room window.
Just inside the windowsill, a small fan is oscillating. The
fan sits on the right side of the table, and to the left of
it is an automatic toaster.

Behind the toaster stands a full-bodied young woman,
apparently wearing only a pair of black panties. Her
stomach, navel, and the lower part of her chest are naked.
Just below her breasts, the curtain, partly drawn, has
thrown a deep shadow which extends upward, hiding her
breasts, shoulders and head. Two pieces of toast pop up in
the toaster. She takes them out, butters them. Then she
turns around and bends over another table on which stands
an automatic coffee-maker.

She picks up the coffee-maker, and swings back to the table
to sit down. She does this so deftly that her breasts are
never exposed, but hidden by the fan as she sits down. The
fan moves back and forth as she pours coffee, far enough to
reveal that she wears no bra, but not far enough to fulfill
the exciting promise of her lack of clothes.
                                                            3.


THE CAMERA MOVES ON to a distant street corner seen between
two buildings. The traffic is very light at this hour, but
a Sanitation Department truck moves through the
intersection spraying water out behind it to cool the
pavement and keep the dust down. Three little kids in
bathing suits run behind the truck, playing in the water.

THE CAMERA MOVES OFF and around to some buildings at the
side. As it skims this building, we see a hand emerge from
one of the windows, and remove the cover from a birdcage
which is hanging from a hook on the wall outside. In the
cage are two lovebirds - arguing.

THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the
open window back into Jefferies' apartment. We now see more
of the sleeping man. THE CAMERA GOES IN far enough to show
a head and shoulders of him.

He is L. B. JEFFERIES. A tall, lean, energetic thirtyfive,
his face long and serious-looking at rest, is in other
circumstances capable of humor, passion, naive wonder and
the kind of intensity that bespeaks inner convictions of
moral strength and basic honesty.

He is sitting in an Everest and Jennings wheelchair.

THE CAMERA PANS along his right leg. It is encased in a
plaster of Paris spica from his waistline to the base of
his toes. Along the white cast someone has written "Here
lie the broken bones of L. B. Jefferies."

THE CAMERA PANS to a nearby table on which rests a
shattered and twisted Speed Graphic Camera, the kind used
by fast-action news photographers.

On the same table, the CAMERA PANS to an eight by ten
glossy photo print. It shows a dirt track auto racing
speedway, taken from a point dangerously near the center of
the track. A racing car is skidding toward the camera, out
of control, spewing a cloud of dust behind it. A rear wheel
has come off the car, and the wheel is bounding at top
speed directly into the camera lens.

THE CAMERA MOVES UP to a framed photograph on the wall.
                                                                4.


    It is a fourteen by ten print, an essay in violence, having
    caught on film the exploding semi-second when a heavy
    artillery shell arches into a front-line Korean battle
    outpost. Men and equipment erupt into the air suspended in
    a solution of blasted rock, dust and screeching shrapnel.
    That the photographer was not a casualty is evident, but
    surprising when the short distance between the camera and
    the explosion is estimated. A signature in the lower right
    hand corner of the picture reads -- "L. B. Jefferies."

    THE CAMERA PANS to a second photograph of a picket line at
    an aircraft plant strike. Strikers, non-strikers and police
    are embroiled in a bitter and confused riot.

    Clubs, fists and truncheons swing, blood flows, faces twist
    with emotion and fallen victims struggle to regain their
    feet. The picture represents no distant, cautions
    photographic observation, but rather an intimate report, so
    immediate and real that the viewer has the nervous feeling
    the fight surrounds him and he had best defend himself. The
    same signature, "L. B. Jefferies," is in the corner.

    THE CAMERA PANS TO another framed picture, this one a
    beautiful and awesome shot of an atomic explosion at
    Frenchman's Flat, Nevada. It is the cul-de-sac of violence.
    The picture taken at a distant observation point, shows
    some spectators in the foreground watching the explosion
    through binoculars.

    THE CAMERA MOVES ON to a shelf containing a number of
    cameras, photographic film, etc. It then PAN ACROSS a large
    viewer on which is resting a negative of a woman's head.

    From this, THE CAMERA MOVES ON to a magazine cover, and
    although we do not see the name of the magazine, we can see
    the head on the cover is the positive of the negative we
    have just passed.

    THE CAMERA FINALLY COMES TO REST ON a pile of magazines -
    perhaps a hundred or so. They are all of the same
    publication.

                                                LAP DISSOLVE TO:


2   INT. GUNNISON'S OFFICE - (DAY) - CLOSE UP                        2
                                                         5.


The screen is filled with the top of a desk. In addition to
the usual telephones, blotting pad, etc., the most
prominent feature is the number of glossy photo prints, and
even larger-sized mat prints. Some of them have slips
pasted over with descriptions. The center of the desk is
occupied by a large layout of photographs on one magazine
page. Behind this we hear the murmur of two voices of men
who can be vaguely seen beyond the desk.

THE CAMERA PANS UP and we are now face to face with IVAR
GUNNISON and JACK BRYCE. Gunnison is sitting on a window-
ledge, and beyond him we realize we are high above the New
York streets. Bryce leans against a wall at right angles to
him.

Gunnison is holding a cablegram in his hand. Bryce has a
cigarette in his mouth. He scratches a match, and is about
to light it, when he notices that Gunnison, still reading
the cable, has reached into an inside shirt pocket, and
produced a cigarette. Quickly, Bryce moves over to light
Gunnison's cigarette. Then he settles back to light his
own. Gunnison doesn't even bother to thank him.

                  GUNNISON
             (Looks up)
        Indo-China - Jeff predicted it
        would go sky-high.

                  BRYCE
        From the looks of Davidson's cable,
        it might even go higher than that.
        And we haven't even got a camera
        over there.

                  GUNNISON
             (Stands)
        This could go off in a month - or
        an hour.

                  BRYCE
        I'll pull somebody out of Japan.

                  GUNNISON
             (Heads for his phone)
        Bryce, the only man for this job is
        sitting right here in town.
             (Picks up phone)
        Get me L. B. Jefferies.

                  BRYCE
             (Puzzled)
        Jefferies?
                                                             6.


                      GUNNISON
                 (To Bryce; still holding
                 phone)
            Name me a better photographer.

                      BRYCE
                 (He can't)
            But his leg!

                      GUNNISON
            Don't worry - it comes off today.

    Bryce gives Gunnison a startled look.

                      GUNNISON
            I mean the cast.
                 (To phone)


3   INT. JEFF'S APARTMENT - DAY - SEMI CLOSEUP                    3

    Shooting through the open window, onto Jeff. He is shaving
    himself with an electric razor as the phone rings. He shuts
    off the shaver, picks up the phone.

                      JEFF
            Jefferies.

                      GUNNISON
                 (On filter)
            Congratulations, Jeff.

                        JEFF
            For what?

                      GUNNISON
            For getting rid of that cast.

                      JEFF
            Who said I was getting rid of it?

    At this moment, his attention is drawn to something across
    the way. He looks up, expectantly. There is almost a touch
    of eagerness in his expression.


4   EXT. NEIGHBORHOOD - (DAY) - LONG SHOT                         4
                                                             7.


    While Jeff is continuing his phone conversation, we see the
    object of his look. Two pretty girls have appeared on the
    distant roof. They are smiling and talking, although we
    cannot hear their dialogue. Each wears a terrycloth robe.
    With their backs to the CAMERA, they take off the robes,
    slipping them down over their shoulders slowly. Then,
    seductively, they turn - revealing the full beauty of their
    tanned and bathing-suited bodies. It is almost as if they
    want to be noticed, the center of neighborhood attention.
    They at least have all of Jeff's attention. Then they
    spread the robes in front of them, and lie down on the
    roof, and out of sight. Jeff seems a little disappointed.


5   INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                  5

    During the whole of this previous action, the conversation
    between Jeff and Gunnison has gone on as follows:

                      GUNNISON
                 (With logical proof)
            This is Wednesday.

                      JEFF
            Gunnison - how did you get to be
            such a big editor - with such a
            small memory?

                      GUNNISON
            Wrong day?

                      JEFF
            Wrong week. Next Wednesday I emerge
            from this plaster cocoon.

                      GUNNISON
            That's too bad, Jeff. Well, I guess
            I can't be lucky every day. Forget
            I called.

                      JEFF
            Yeah. I sure feel sorry for you,
            Gunnison. Must be rough on you
            thinking of me wearing this cast
            another whole week.


6   INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP                   6

    Gunnison is now seated at his desk, with the phone receiver
    to his ear. His assistant, Bryce, can be seen vaguely in
    the background.
                                                                8.


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


7   INT. JEFF'S APARTMENT - DAY - CLOSE-UP                           7

    Jeff asks, eagerly and alertly.

                      JEFF
            Where?

    We hear Gunnison's reply.

                      GUNNISON
            There's no point in even talking
            about it.

    Jeff's eyes become set upon something else in the
    neighborhood he sees.


8   EXT. NEIGHBORHOOD - DAY - LONG SHOT                              8

    Jeff's attention is now drawn to another feature of his
    backyard entertainment. THE CAMERA IS NOW FOCUSED on the
    window of the small building where we earlier saw the girl
    behind the oscillating fan. Loud ballet music is pouring
    from her open window. The girl, now dressed

    in dark and revealing leotard, and ballet slippers, has
    just turned away from a portable record player. She begins
    the first graceful movement of a modern ballet
    interpretation.

    She gracefully moves across the room to the rhythm of the
    music and dance, toward the ice box. With her feet still
    moving, she throws open the door, and then rhythmically
    moving back to the center of the room, gnaws the chicken
    bone, occasionally waving it in the air as part of the
    choreography. She now twirls over toward a table at the
    other side of the room on which is an open package of bread
    slices, some butter nearby.

    With swaying body, she puts down the chicken leg, and
    gracefully and rhythmically butters a slice of bread.

    She picks up both bread and chicken leg and continues her
    interpretive dance, alternately munching the bread and
    butter and chicken leg.
                                                                 9.


9    INT. APARTMENT - DAY - CLOSEUP                                   9

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


10   EXT. NEIGHBORHOOD - DAY - LONG SHOT                              10

     THE CAMERA PANS from the window of the dancing girl, to the
     window below. Someone is reading the New York Harald
     Tribune. The paper lowers, and we see an elderly lady, in
     her late sixties. She is a faded, refined type. She looks
     up in the direction of the music and in a calm routine
     fashion adjusts the volume of her hearing aid. She resumes
     her reading.


11   INT. JEFF'S APARTMENT - DAY - CLOSEUP                            11

     Jeff is amused by what he sees, but continues his
     conversation with Gunnison, which has gone on through all
     the scenes with the ballet dancer.

                       JEFF
                  (Insistent)
             Where?

                       GUNNISON
                  (Filter)
             Indo-China. Got a code tip from the
             bureau chief this morning. The
             place is about to go up in smoke.

                       JEFF
                  (Pleased; excited)
             Didn't I tell you! Didn't I tell
             you it was the next place to watch?

                        GUNNISON
             You did.

                       JEFF
                  (On filter)
             Okay. When do I leave? Half-hour?
             An hour?

                       GUNNISON
             With that cast on - you don't.

                       JEFF
                  (On filter)
                                                             10.


             Stop sounding stuffy. I'll take
             pictures from a jeep. From a water
             buffalo if necessary.

                       GUNNISON
             You're too valuable to the magazine
             for us to play around with. I'll
             send Morgan or Lambert.

                       JEFF
             Swell. I get myself half-killed for
             you - and you reward me by stealing
             my assignments.

                       GUNNISON
             I didn't ask you to stand in the
             middle of that automobile race
             track.

                       JEFF
                  (A little angry)
             You asked for something
             dramatically different! You got it!

                       GUNNISON
                  (Quietly)
             So did you. Goodbye, Jeff.

                       JEFF
                  (Won't let him hang up)
             You've got to get me out of here!
             Six weeks - sitting in a two-room
             apartment with nothing to do but
             look out the window at the
             neighbors!

     At this moment we hear the sounds of a piano playing.

     It is a simple, but broken, melody as if someone was

     just learning to play the piano, or carefully composing a
     song. It clashes abruptly with the music from the ballet
     dancer's apartment. It irritates Jeff as he looks in the
     direction of the new music.

                       JEFF
             It's worse than the Chinese water
             torture.


12   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      12
                                                             11.


     We now see the source of the piano music. It comes from the
     apartment with the studio window which we saw earlier where
     the man was shaving and listening to the radio. The short,
     balding man sits at the piano playing a few notes, then
     transferring them by pencil to notepaper on the piano rack.
     He continues this process, fighting the interference of the
     ballet music. The opening bars of his melody are beautiful
     and ear-catching. It is slow, hard work, and the ballet
     music finally becomes such an interference that he gives up
     and walks to the window to look down toward the dancer's
     apartment.

     He stands by a table at the window which is littered with
     records, the morning coffee cup, unwashed, the remains of
     breakfast, old newspapers, song sheets, etc.

     He takes a cigarette out of his mouth, looks for an ash
     tray, and ends up putting it out in the coffee cup. He then
     returns to the piano and begins picking out the melody the
     dancer is playing on her record player.


13   INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                    13

     Jeff frowns at the double sound, and raises his voice a
     little. He continues the conversation which has been heard
     all through the previous scene.

                       GUNNISON
             Read some good books.

                       JEFF
             I've been taking pictures so long I
             don't know how to read anymore.

                       GUNNISON
             I'll send you some comic books.

                       JEFF
                  (Low, tense)
             Listen - if you don't pull me out
             of this swamp of boredom - I'll do
             something drastic.

                       GUNNISON
             Like what?

                       JEFF
                  (On filter)
             I'll - I'll get married. Then I'll
             never be able to go anywhere.

                       GUNNISON
                                                             12.


             It's about time you got married -
             before you turn into a lonesome and
             bitter old man.

                       JEFF
             Can you see me - rushing home to a
             hot apartment every night to listen
             to the automatic laundry, the
             electric dishwasher, the garbage
             disposal and a nagging wife.

                       GUNNISON
             Jeff - wives don't nag anymore --
             they discuss.

     Jefferies glances out across to the other apartments as he
     sees:


14   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      14

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

     The brick is weatherworn and faded. Each apartment has
     three windows facing the back, one showing a hallway, one a
     living room, and the window on the right opening into a
     bedroom.

     On the second floor, a man has entered the living room from
     a hallway door. He carries a large aluminum sample case
     common to salesmen. He sets down the case heavily, removes
     his hat, and slowly wipes his brow with the back of his
     right hand. He takes off his coat and tie. His shirt is
     stained with sweat underneath. He rolls up his sleeves, and
     his well-muscled arms heavy with hair confirm his dark,
     husky build.


15   INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                    15

     With his eyes still focused on the distant apartments, Jeff
     continues talking with Gunnison.

                       JEFF
             Yeah? Maybe in the high rent
             districts they discuss - but in my
             neighborhood, they still nag.

                       GUNNISON
             Well - you know best. Call you
             later, Jeff.

                       JEFF
                                                               13.


             Next time, have some good news.

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


16   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                        16

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


17   INT. JEFF'S APARTMENT - DAY - CLOSEUP                           17

     Jeff shifts his look more to the right.


18   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                        18

     The man enters the bedroom. We can see a woman lying on the
     far bed. Near her, a small table is covered with medicine
     bottles, spoons, boxes of pills, a water pitcher and the
     other impedimenta of the chronically ill. The woman sits up
     as the man enters. She takes a wet cloth off her forehead.
     Before the man even reaches her, she begins talking,
     somewhat vigorously. Pointing to a wristwatch, she seems to
     be saying something such as "You should have been home two
     hours ago! I could be lying here dying for all you'd know -
     or care!" The man stops short of the bed, makes gestures of
     trying to placate her, but she goes on scolding. His
     attitude changes to weary patience, then irritation, then
     anger.

     He shouts back at her, turns and goes out of the room.

     Back in the living room, he picks up his hat, throws it
     against the wall in anger, and leaves the apartment,
     slamming the door behind him.


19   INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT                       19

     Jeff's attention is suddenly diverted to himself. His leg,
     under the cast, begins itching. He squirms, tries
                                                             14.


     to move the leg a little. It gives no relief. He scratches
     the outside of the cast, but the itch gets worse. He
     reaches for a long, Chinese back-scratcher lying on the
     windowsill. Carefully, and with considerable ingenuity, he
     works it under the cast. He scratches, and a look of
     sublime relief comes over his face. Satisfied, he takes the
     scratcher out. As he replaces it on the windowsill, his
     attention is drawn back to the scene outside the window.


20   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      20

     We see the man who left his apartment in anger come out of
     the doorway into the backyard. He is easy to identify
     through the color of his garish necktie. In one hand the
     man carries a small garden hoe and rake, and in the other a
     pair of trimming shears. He goes to a small patch of
     flowers, perhaps three feet square.

     They are beautiful, multi-colored three foot high zinnias.
     He kneels down, inspects them, touches them affectionately
     and with some pride. His anger seems to have left him,
     replaced by the kind of peace that flowers bring many
     people. He stands up, carefully hoes the ground, them rakes
     it. Then he snips a few leaves off the lower parts of the
     plant. Finally, he waters them.


21   INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                    21

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


22   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      22

     Into the next door yard we see emerging from the apartment
     below the ballet dancer, the elderly lady.

     She wear a broad sun hat, dark glasses, and a sunsuit
     consisting of pink shorts and halter. She carries a copy of
     the Herald Tribune, and still wears her hearing aid. She
     settles into a folding, canvas deck chair.

     Her skin is dead white, and her body is thin to the point
     of emaciation. No sooner has she settled into her chair,
     than she is attracted by the sound of the salesman working
     in his garden. She gets up, walks to the fence, and looks
     over. He notices her, but doesn't speak. She begins
     gesturing to him how to take care of his flowers. He
     listens for a moment, then looks directly at her. The
     strong movements of his mouth show us that he objects
     vigorously to the annoyance of her comments. She moves away
     from the fence, started and a little shocked.
                                                              15.


23   INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT                    23

     Jeff is seated in the foreground, in a waist shot.

     Behind him, the entrance door to his apartment opens.

     STELLA McGAFFERY comes in. She is a husky, unhandsome,
     dark-haired woman who is dressed like a district nurse,
     with dark coat, dark felt hat, with a white uniform showing
     underneath the coat. She carries a small black bag.

     Stella pauses on the landing to watch Jeff. He doesn't
     appear to notice her entrance.

                       STELLA
                  (Loud)
             The New York State sentence for a
             peeping Tom is six months in the
             workhouse!

     He doesn't turn.

                       JEFF
             Hello Stella.

     As she comes down the stairs of the landing, holding on the
     wrought iron railing with one hand:

                       STELLA
             And there aren't any windows in the
             workhouse.

     She puts her bag down on a table. It is worn, and looks as
     if it belongs more to a fighter than a nurse. She takes off
     her hat coat, and hangs them on a chair.

                       STELLA
             Years ago, they used to put out
             your eyes with a hot poker. Is one
             of those bikini bombshells you
             always watch worth a hot poker?

     He doesn't answer. She opens the bag, takes out some
     medical supplies: a thermometer, a stop watch, a bottle of
     rubbing oil, a can of powder, a towel. She talks as she
     works.

                       STELLA
             We've grown to be a race of peeping
             Toms. What people should do is
             stand outside their own houses and
             look in once in a while.
                                                              16.


                       STELLA
                  (She looks up at him)
             What do you think of that for
             homespun philosophy?

     A look at his face shows he doesn't think much of it.

                       JEFF
             Readers' Digest, April, 1939.

                       STELLA
             Well, I only quote from the best.

     She takes the thermometer out of its case, shakes it down.
     Looks at it. Satisfied, she walks to Jeff.

     She swings the wheelchair around abruptly to face her.


24   INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT                    24

     Jeff starts to protest.

                       JEFF
             Now look, Stella --

     She shoves the thermometer into his mouth.

                       STELLA
             See it you can break a hundred.

     As she leaves him holding the thermometer THE CAMERA PULLS
     BACK as she crosses to a divan. She takes a sheet from
     underneath, and covers the divan with it. Talking, all the
     time.

                        STELLA
             I shoulda been a Gypsy fortune
             teller, instead of an insurance
             company nurse. I got a nose for
             trouble - can smell it ten miles
             away.
                   (Stops, looks at him)
             You heard of the stock market crash
             in '29?

     Jeff nods a bored "yes."

                       STELLA
             I predicted it.

                       JEFF
                  (Around thermometer)
                                                             17.


             How?


25   INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                  25

     Stella stops for a moment, and looks at Jeff challengingly.

                       STELLA
             Simple. I was nursing a director of
             General Motors. Kidney ailment they
             said. Nerves, I said. Then I asked
             myself - what's General Motors got
             to be nervous about?
                  (Snaps her fingers)
             Overproduction. Collapse, I
             answered. When General Motors has
             to go to the bathroom ten times a
             day - the whole country's ready to
             let go.


26   INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       26

     A patient, suffering look comes over his face. He takes out
     the thermometer.

                       JEFF
             Stella - in economics, a kidney
             ailment has no relationship to the
             stock market. Absolutely none.

                       STELLA
             It crashed, didn't it?

     Jeff has no answer. Defeated, he puts the thermometer back
     into his mouth.


27   INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       27

     Stella goes on with her work.

                       STELLA
                                                                18.


             I can smell trouble right in this
             apartment. You broke your leg. You
             look out the window. You see things
             you shouldn't. Trouble. I can see
             you now, in front of the judge,
             flanked by lawyers in blue double-
             breasted suits. You're pleading,
             "Judge, it was only innocent fun. I
             love my neighbors like a father." -
             The Judge answers,
             "Congratulations. You just gave
             birth to three years in Dannemora."

     THE CAMERA PANS HER over to him. She takes out the
     thermometer, looks at it.

                       JEFF
             Right now I'd even welcome trouble.

                       STELLA
                  (Flatly)
             You've got a hormone deficiency.

                       JEFF
             How can you tell that from a
             thermometer!

                       STELLA
             Those sultry sun-worshipers you
             watch haven't raised your
             temperature one degree in four
             weeks.

     She gets down the thermometer. Sterilizes it with a piece
     of alcohol-soaked cotton in her other hand.

     She gets behind the wheelchair the CAMERA PULLS back as she
     pushes it over to the divan. She puts the thermometer away
     in its case. Then she helps him off with his pajama top.
     She helps him stand on one foot.

     He hops one step, then she lowers him, face down, on the
     divan. She gets a bottle of rubbing oil.


28   INT. JEFF'S APARTMENT - (DAY) - CLOSE SHOT                       28

     The CAMERA is very low at one end of the divan. Jeff's
     head, half-buried in the sheet, is large in the fore-
     ground. Beyond him Stella looms large and powerful-looking.

                       JEFF
                                                          19.


        I think you're right. There is
        going to be some trouble around
        here.

Stella takes a handful of oil, slaps it on his back. He
winces.

                  STELLA
        I knew it!

                  JEFF
        Don't you ever heat that stuff up.

                  STELLA
        Gives your circulation something to
        fight.

                   STELLA
             (Begins massaging his
             back)
        What kind of trouble?

                  JEFF
        Lisa Fremont.

                  STELLA
        You must be kidding. A beautiful
        young woman, and you a reasonably
        healthy specimen of manhood.

                  JEFF
        She expects me to marry her.

                  STELLA
        That's normal.

                  JEFF
        I don't want to.

                  STELLA
             (Slaps cold oils on him)
        That's abnormal.

                  JEFF
             (Wincing)
        I'm not ready for marriage.

                  STELLA
        Nonsense. A man is always ready for
        marriage - with the right girl. And
        Lisa Fremont is the right girl for
        any man with half a brain, who can
        get one eye open.
                                                         20.


                  JEFF
             (Indifferent)
        She's all right.

She hits him with some more cold oil. He winces again.

                  STELLA
        Behind every ridiculous statement
        is always hidden the true cause.
             (Peers at him)
        What is it? You have a fight?

                  JEFF
        No.

                  STELLA
             (After a pause)
        Her father loading up the shotgun?

                  JEFF
        Stella!

                  STELLA
        It's happened before, you know!
        Some of the world's happiest
        marriage have started 'under the
        gun' you might say.

                  JEFF
        She's just not the girl for me.

                  STELLA
        She's only perfect.

                  JEFF
        Too perfect. Too beautiful, too
        talented, too sophisticated, too
        everything -- but what I want.

                  STELLA
             (Cautiously)
        Is what you want something you can
        discuss?

Jeff gives an exasperated look.

                  JEFF
        It's very simple. She belongs in
        that rarefied atmosphere of Park
        Avenue, expensive restaurants, and
        literary cocktail parties.

                  STELLA
                                                          21.


        People with sense can belong
        wherever they're put.

                  JEFF
        Can you see her tramping around the
        world with a camera bum who never
        has more than a week's salary in
        the bank?
             (Almost to himself)
        If only she was ordinary.

Stella sprinkles powder on his back, spreads it around.

THE CAMERA PULLS BACK as she helps Jeff to a sitting
position. He buttons on his shirt.

                  STELLA
        You're never going to marry?

                  JEFF
        Probably. But when I do, it'll be
        to someone who thinks of life as
        more than a new dress, a lobster
        dinner, and the latest scandal. I
        need a woman who'll go anywhere, do
        anything, and love it.

THE CAMERA MOVES IN as she helps him into the wheel-chair,
listening to him with exaggerated attention. He stops as he
notice her attitude. Then he goes on with less conviction:

                  JEFF
        The only honest thing to do is call
        it off. Let her look for somebody
        else.

                  STELLA
        I can just hear you now. "Get out
        of here you perfect, wonderful
        woman! You're too good for me!"

                  JEFF
             (After pause)
        That's the hard part.

She swings him around in front of the window. He starts to
look out.

                  STELLA
                                              22.


        Look, Mr. Jefferies. I'm not
        educated. I'm not even
        sophisticated. But I can tell you
        this - when a man and a woman see
        each other, and like each other -
        they should come together - wham
        like two taxies on Broadway. Not
        sit around studying each other like
        specimens in at bottle.

                  JEFF
        There's an intelligent way to
        approach marriage.

                  STELLA
             (Scoffing)
        Intelligence! Nothing has caused
        the human race more trouble. Modern
        marriage!

Jeff swings his chair back to look at her.

                  JEFF
        We've progressed emotionally in --

                  STELLA
             (Interrupting)
        Baloney! Once it was see somebody,
        get excited, get married -- Now,
        it's read books, fence with four
        syllable words, psychoanalyze each
        other until you can't tell a
        petting party from a civil service
        exam

                  JEFF
        People have different emotional
        levels that --

                  STELLA
             (Interrupting again)
        Ask for trouble and you get it. Why
        there's a good boy in my
        neighborhood who went with a nice
        girl across the street for three
        years. Then he refused to marry
        her. Why? - Because she only Scored
        sixty-one on a Look Magazine
        marriage quiz!

Jeff can't help smiling.

                  STELLA
                                                               23.


             When I married Myles, we were both
             maladjusted misfits. We still are.
             And we've loved every minute of it.

                       JEFF
             That's fine, Stella. Now would you
             make me a sandwich?

     She relaxes.

                       STELLA
             Okay -- but I'm going to spread
             some common sense on the bread.
             Lisa Fremont's loaded to her
             fingertips with love for you. I'll
             give you two words of advice. Marry
             her.

                       JEFF
                  (Smiles)
             She pay you much?

     Stella leaves for the kitchen in a huff. Jeff turns his
     chair to the window.


29   INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    29

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


30   EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                      30

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


31   INT. JEFF'S APARTMENT - DAY - CLOSEUP                           31

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


32   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                        32

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


33   INT. JEFF'S APARTMENT - DAY - CLOSEUP                           33
                                                             24.


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


34   EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      34

     He is now looking at the windows of the apartments nearest
     to him. A shade has gone up, and a man, obviously a
     caretaker is raising a window with some effort. Having
     accomplished this, he turns back into the room, and we now
     see him approach a young man and woman who are standing
     just inside the doorway. He hands a key to the young man,
     and then obligingly brings in two suitcases which he places
     on the floor beside them. He gives them a studied, but
     agreeable nod, then departs. We now see that the girl has a
     small hat with a veil, and an ornate corsage pinned to her
     light blue tailored suit. The boy, who like the girl is
     perhaps twenty years old, wears a dark blue serge suit and
     a grey felt hat. He takes off the hat, and scales it over
     to a nearby chair. Quickly they are in each other's arms,
     kissing passionately, crushing the girl's corsage and
     pushing her hat back a little. They part, the boy laughs
     nervously, and takes a furtive glance out toward the
     corridor. He looks back into the room, and beckons her to
     come out. She follows him wonderingly. For a moment, both
     are lost from sight. When they reappear, he is carrying her
     in his arms, over the threshold. He sets her down, closes
     the door, and they kiss again.

     They part, still holding hands and looking into each
     other's eyes. Then slowly, and significantly, she looks
     toward the open window. He releases her hands, goes to the
     window and pull down the shade, as she is reaching upward
     with both hands to unpin her hat.


35   INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                    35

     There is a soft, understanding look on Jeff's face, and he
     gives an involuntary sigh. He is unaware that Stella is now
     standing behind him.

                       STELLA
                  (Quietly)
             Window shopper

     He freezes, turns slowly to look up at her.

                                                       FADE OUT.

                                                        FADE IN:
                                                             25.


36   EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT                36

     The CAMERA makes a short sweep around the neighborhood
     showing that some of the rooms are now with heir lights on.
     The CAMERA PULLS BACK into Jeff's apartment until his head
     fills the screen. He is asleep. A shadow of some other
     person creeps over his face. His eyes start to open. He
     looks up.


37   INT. JEFF'S APARTMENT - SUNSET - CLOSEUP                      37

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


38   INT. JEFF'S APARTMENT - SUNSET - CLOSEUP                      38

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

                       LISA
                  (Softly)
             How's your leg?

                       JEFF
             Mmmm - hurts a little.

                       LISA
             And your stomach?

                       JEFF
             Empty as a football.

                       LISA
             And you love life?

                       JEFF
             Not too active.

                       LISA
             Anything else bothering you?

                       JEFF
             Uh-huh.
                                                                26.


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

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

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

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

                        LISA
             Carol -

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

                        LISA
             Fremont.


39   INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP                    39

     Jeff looks across the room at her.

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


40   INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT                  40

                       LISA
             Only because it's expected of her.

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

                       LISA
             Right off the Paris plane. Think it
             will sell?
                                                             27.


41   INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP               41

     Jeff replies:

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

                       LISA
             -- A steal at eleven hundred
             dollars.

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

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

                       JEFF
             Who buys them? Tax collectors?


42   INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT                42

     She laughs pleasantly.

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

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

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

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

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

                             JEFF
                     (Off)
                                                                28.


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

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

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

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

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

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


43   INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT                   43

     Lisa facing Jeff in the chair.

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

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

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

                       LISA
             I wanted to, Jeff
                  (A sudden intake of
                  breath)
             Oh!
                                                               29.


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

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


44   INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP                 44

                       JEFF
             You have, perhaps, an ambulance
             outside?


45   INT. JEFF'S APARTMENT - (SUNSET) - SEMI-LONG SHOT               45

     She reaches for the doorknob, turns it:

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

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


46   INT. JEFF'S APARTMENT - SUNSET - CLOSEUP                        46

     His reaction is one of tender amusement.


47   INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT                    47

                       LISA
             Thank you for waiting Carl.

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

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

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

                       CARL
                                                        30.


        Good evening, Mr Jefferies.

                  JEFF
        Hello.

Carl goes into the kitchen.

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

                   CARL
             (Off)
        Yes ma'am.

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

                  JEFF
             (Appreciatively)
        A big glassful.

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

Produces two glasses, hold them up.

                  LISA
        Big enough?

                  JEFF
        Fine. Corkscrew's on the right.

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

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

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

                  LISA
             (Struggling with cork)
        Well, I'm going to make this a week
        you'll never forget.
                                                           31.


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

                  CARL
        Let me, madam.

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

                  LISA
        This will take care of the taxi as
        well.

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

                  CARL
        Thank you, Miss Fremont.

He picks up the warning oven.

                  CARL
        Have a pleasant dinner, Mr.
        Jefferies.

                  JEFF
        Thank you.

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

                  LISA
        What a day I've had!

                  JEFF
        Tired?

                  LISA
                                                          32.


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

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

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

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

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

Jeff's opinion of that is a short chuckle.

                  LISA
        You can't buy that kind of
        publicity.

                  JEFF
        That's good news.

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

                  JEFF
        How could I run it from say --
        Pakistan?
                                                        33.


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

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

                  JEFF
        I wish there was one I wanted.

                  LISA
        Make the one you want.

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

                    LISA
        Yes.

                    JEFF
        For what?

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

Jeff interrupts her with soft laughter.

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

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

                  LISA
        I could see you looking handsome
        and successful in a dark blue
        flannel suit.
                                                             34.


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

     She stands up. THE CAMERA PULLS BACK.

                       LISA
             I'd better start setting up for
             dinner.

     She moves away behind him, into the kitchen.


48   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                48

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

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


49   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  49

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


50   INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                       50

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


51   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  51

     A nearer view show us a more intimate picture of the woman
     Jeff is concentrating on. She is thin and unattractive. At
     the moment, she is putting on her make-up in front of the
     bedroom mirror. She gives a half turn and picks up a pair
     of horn-rimmed glasses, which she puts on, and leans nearer
     to her mirror. She picks up a lipstick and proceeds to
     paint her lips carefully.
                                                             35.


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


52   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     52

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


53   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  53

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


54   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     54

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


55   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  55

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


56   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                56

     Jeff, his glass in hand, looks out sympathetically. He is
     unaware that Lisa is standing behind him, and is also
     watching this little drama.
                                                             36.


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

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

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

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

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


57   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  57

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

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

     Miss Torso is now wearing a cocktail dress, which shows off
     her figure to great advantage, especially when she leans
     toward tree assorted men to offer them a plate of hors d'
     oeuvres. She is the perfect hostess, animated, charming,
     and with an added personal touch for each guest. She is
     behaving with a sophistication which was not apparent when
     we first saw her in the morning. Her every movement is
     followed admiringly by the eyes of the three men - one
     wearing black tie, with a touch of grey in his hair, a Long
     Island socialite - a young rather handsome, actor in grey
     flannel suit - and last, a bright, pleasant, young man who
     might possibly be from Wall street, wearing a blue-pin-
     striped suit. The latter two are engaged in an animated
     conversation. The young man in the grey suit is showing the
     other young man some newspaper cuttings he's taken from his
     pocket.
                                                             37.


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


58   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                58

     Jeff turns and looks up to Lisa with a grin.

                       JEFF
             Well, she picked the most
             prosperous looking one.

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

                       JEFF
             How can you tell that - from here?

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

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

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


59   EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                       59

     The newlyweds's apartment has the shades still drawn.

     Although there's a light burning inside.


60   INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  60
                                                                38.


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


61   EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       61

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

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


62   INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          62

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


63   EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                          63

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

     Quietly she moves the tray, gets out of bed, and goes to
     the bedroom door to listen. The wall hides her from our
     view.
                                                               39.


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


64   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  64

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


65   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                    65

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

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


66   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  66

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

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

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

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

                       LISA
                                                               40.


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

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

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

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


67   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       67

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

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


68   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       68

     Jeff looks at her soberly.

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


69   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       69

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


70   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                   70

     Lisa slowly helping Jeff to lobster from the main dish.

                                                  LAP DISSOLVE TO:


71   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                   71
                                                        41.


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

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

Jeff raises both his hands.

                  JEFF
        Well now, look --

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

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

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

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

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

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

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

                  LISA
                                                                42.


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


72   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   72

     Jeff begin to get desperate.

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


73   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    73

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

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

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

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

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

                       JEFF
                  (Loud, sharp)
             Lisa! Shut up!

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


74   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   74

     After a moment of silence, Jeff says earnestly:

                       JEFF
                                                                43.


             Did you ever eat fish heads and
             rice?

                       LISA
             Of course not.

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


75   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   75

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

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

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

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

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

                       LISA
                  (Quickly)
             Three.

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

     She turns at last, and looks across at him.

                       LISA
             If there's one thing I know, it's
             how to wear the proper clothes.
                                                             44.


76   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                 76

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

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

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

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


77   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     77

     Lisa realizes she is getting nowhere.

                       LISA
             You're too stubborn to argue with.


78   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     78

     Jeff, getting angry.

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


79   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     79

     Lisa, with sarcasm.

                       LISA
                                                                45.


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


80   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        80

     Jeff is definitely angry.

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


81   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        81

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

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


82   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        82

     Jeff looks across at her with some concern.

                       JEFF
             It would be the wrong thing.


83   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    83

     Lisa, from Jeff's viewpoint.

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

                       JEFF
             Right now, it doesn't seem so.

     Lisa begins to move around the room assembling her
     possessions preparatory to leaving. She puts a comb, and
     other effects, into a handbag. She gets her stole.
                                                                46.


     All this as she talks.

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


84   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   84

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


85   INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    85

     Lisa pauses in the act of gathering her things together.

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

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

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


86   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        86

                       JEFF
             You mean "goodnight."

                       LISA
             I mean what I said.

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

                       JEFF
             Lisa!
                                                             47.


87   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT              87

     Lisa turns in the half-opened door.

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

                       LISA
             Without any future?


88   INT. JEFF'S APARTMENT - (NIGHT) - SEMI LONG SHOT              88

     Jeff tries to be pleasant, and offhand.

                       JEFF
             Well - when'll I see you again?


89   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     89

     Lisa, standing in the open doorway.

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

     Continues smiling as she close the door softly behind her.


90   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     90

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

     Receiver up on filter.

                       GUNNISON
                  (Filter)
             Hello.

                         JEFF
             Gunnison?

                       GUNNISON
             Yeah. Is that you, Jeff?

                         JEFF
                                                              48.


             It's me.

                       GUNNISON
             Something wrong?

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

                       GUNNISON
                  (Unhappy)
             Jeff ---

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

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

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

                        GUNNISON
             Yeah.

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


91   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                 91

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


92   EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                   92

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


93   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                      93
                                                             49.


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

                                                       FADE OUT:

                                                        FADE IN:


94   INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                94

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

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


95   EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT                       95

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


96   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     96

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


97   EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                     97

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


98   INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     98

     Jeff smiles at the incident, and then lowers his eyes
     slightly as something else catches his attention.
                                                               50.


99   EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                       99

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


100 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        100

     Jeff is puzzled. He looks down a moment in thought.

     Then he forts his eyes and swings them toward the left.

     He looks steadily toward the distant street corner.


101 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     101

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


102 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   102

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

     INSERT

     Jeff's watch reads 1:55.

                                                   QUICK FADE OUT:

                                                    QUICK FADE IN:

     INSERT

     The watch now reads 2:35.


103 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        103

     More puzzled, allows his eyes to travel from the street to
     the apartment corridor.
                                                              51.


104 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                       104

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


105 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       105

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


106 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                       106

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

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


107 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  107

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


108 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                      108

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


109 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                         109
                                                               52.


    Jeff's eyes travel down to the street.


110 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       110

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


111 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          111

    Jeff's face is expressionless. He just stares.

                                                      FADE OUT.

                                                       FADE IN:


112 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          112

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


113 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                          113

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


114 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          114

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


115 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       115

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

    She turns the key in the lock. She listens a moment then
    comes to the center of the room. She takes her coat off and
    drapes it over chair. She removes the screen in front of
    the ice box, then opens the ice box.
                                                               53.


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


116 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          116

    Jeff's eyes suddenly switch to the street.


117 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT                       117

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

    He enters his apartment.


118 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          118

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


119 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT                            119

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

                                                      FADE OUT:

                                                       FADE IN:


120 INT. JEFF'S APARTMENT - DAWN - CLOSEUP                           120
                                                               54.


    A big head of Jeff. He is still in his wheelchair, sound
    asleep. The CAMERA PANS off his face, out through the
    window. The rain has stopped, and the general light of dawn
    is coming up. The CAMERA COMES TO REST on the salesman's
    apartment and corridor, which is still dimly lit by the
    electric lights. We see the salesman emerge into the
    corridor, pause a moment to allow a woman to proceed him.
    Her back is to the CAMERA and we do not see her face. They
    move away, down the corridor. The CAMERA PANS BACK into
    Jeff's sleeping face.

                                                      FADE OUT:

                                                          FADE IN:


121 EXT. NEIGHBORHOOD - DAY - LONG SHOT                              121

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

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

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

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

                       JEFF
             That's a stiff one.


122 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT                        122

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

                       STELLA
             The insurance Company would be a
             lot happier if you slept in your
             bed, not the wheelchair.
                                                        55.


                  JEFF
             (Between clenched teeth)
        How did you know!

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

                  JEFF
        I was.

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

                  JEFF
        Depends one which one.

She stops massaging, reaches for the oil.

                  JEFF
        Now Miss Torso, for example --

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

                  STELLA
        Keep your mind off her.

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

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

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

                  JEFF
        Alone.

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

                  JEFF
        And some man will lose his.
                                              56.


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

                  JEFF
        Well, the salesman could be
        available soon.

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

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

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

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

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

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

She helps him to a sitting position.

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

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

                  STELLA
             (Looks at him)
        But it takes a particularly low
        type of man to do it.
                                                               57.


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

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

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

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


123 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                       123

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


124 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                         124

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


125 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT                        125

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

                       JEFF
             Get back! Out of sight! Quick!

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

                       STELLA
                  (A startled whisper)
             What is it? What's the matter?
                                                              58.


    Jeff keeps his eyes trained on the window.

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

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

                       STELLA
             A Federal offense.

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

    She moves back into the shadows.

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

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


126 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                        126

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


127 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT                       127

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


128 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                        128

    THE CAMERA MOVES FORWARD, and as it   reaches the edge of the
    window, PANS DOWN and shows us what   the salesman is looking
    at. The little dog that was lowered   in the basket is
    sniffing at the salesman's personal   flower bed.
                                                              59.


129 INT. JEFF'S APARTMENT - DAY - CLOSEUP                           129

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


130 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY)                      130

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


131 INT. JEFF'S APARTMENT - CLOSEUP - (DAY)                         131

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

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

                       JEFF
                  (Grunts)
             Uh-huh.

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


132 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY)                      132

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


133 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (DAY)                    133

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

                       STELLA
             And don't sleep in the chair again.

    Jeff continues to what the salesman, his face showing a
    great concentration of thought.
                                                               60.


                       JEFF
             Uh-huh.

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

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

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

                       JEFF
             Stella

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

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

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

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

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


134 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY)                       134

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


135 INT. JEFF'S APARTMENT - CLOSEUP - (DAY)                          135

    Jeff quickly lowers the binoculars and edges back a few
    inches. He watches a moment, then cautiously lifts the
    binoculars again.
                                                              61.


136 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY)                      136

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

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


137 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP                      137

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


138 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT                            138

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

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


139 INT. JEFF'S APARTMENT - DAY - CLOSEUP                           139

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


140 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT                            140

    Half of a man's body is now seen in the living room.
                                                               62.


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


141 INT. JEFF'S APARTMENT - DAY - CLOSEUP                            141

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

                                                       FADE OUT

                                                       FADE IN:


142 EXT. NEIGHBORHOOD - (NIGHT) - CLOSEUP                            142

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

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

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

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

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


143 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     143
                                                               63.


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

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

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

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

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

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

    Jeff moves his eyes slightly to something outside the
    window.

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


144 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     144

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

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


145 INT. JEFF'S APARTMENT - (NIGHT) - TWO SHOT                       145
                                                           64.


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

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

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

She starts kissing him.

                  JEFF
        Don't you ever have any problems?

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

                   JEFF
        So do I.

                  LISA
             (Kissing)
        Tell me about it.

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

                  LISA
        He likes the way his wife welcomes
        him home.

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

                  LISA
        Homework. It's more interesting.

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

                   LISA
                                                            65.


             Nothing, thank heaven.

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

                       LISA
             I wouldn't dare answer that.

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

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

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

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

                       JEFF
                  (Looks at Lisa)
             What do you think?

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

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


146 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                 146

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


147 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                147

    He stares intently out the window.

                       JEFF
                                                               66.


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


148 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   148

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


149 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        149

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


150 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     150

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

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


151 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          151

    He looks away from Miss Torso, thoughtfully.

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


152 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          152

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


153 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          153

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

                       JEFF
                                                              67.


             How would you begin to cut up a
             human body?


154 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                     154

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

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

    Lisa just stares at Jeff for a moment.

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


155 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                    155

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

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

    Jeff puts out a restraining hand.

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


156 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                      156

    At last the salesman is seen coming along the corridor.

    He does not wear shirt, but only an undershirt. Slung over
    one shoulder, with his arm through is, is a large coil of
    sturdy rope. He goes through the living room into the
    bedroom. He does not put the bedroom lights.
                                                             68.


157 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   157

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


158 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                     158

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

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


159 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                    159

    Lisa, still stretched out on the divan looking at Jeff,
    suddenly sits upright and then getting up from the divan,
    mover over to Jeff, THE CAMERA GOING WITH her.

    In a sudden surprise move, she swings his chair completely
    around so that his back is to the window. He drops the
    binoculars into his lap in surprise. THE CAMERA MOVES IN as
    Lisa leans over Jeff, gripping both sides of his chair

                       LISA
                  (sharply)
             Jeff - if you could only see
             yourself.

                       JEFF
             Now, Lisa --

                       LISA
                  (Abruptly)
             Sitting around, looking out a
             window to kill time, is one thing -
             - but doing it the way you are --
                  (She gestures)
             -- with, with binoculars, and with
             wild opinions about every little
             movement you see - is, is diseased!

                       JEFF
             Do you think I consider this
             recreation?

                       LISA
                                                         69.


        I don't know what you consider it -
        but if you don't stop it, I'm
        getting out of here.

                  JEFF
        You'd better before you catch the
        disease!

                  LISA
             (Insistent)
        What is it you're looking for?

                  JEFF
        I want to find out what's wrong
        with the salesman's wife. Does that
        make me sound like a madman?

                  LISA
        What makes you think something's
        wrong with her?

                  LISA
        A lot of things. She's an invalid
        who needs constant care - and yet
        the husband nor anyone else has
        been in there all day.

                  LISA
        Maybe she died.

                  JEFF
        Where's the doctor - the
        undertakers?

                  LISA
        She could be under sedatives,
        sleeping.
             (Looks up)
        He's in the room now.

Jeff tries to turn around, but she won't let the chair
move.

                  JEFF
        Lisa, please!

                  LISA
        There's nothing to see.

                  JEFF
                                      70.


There is - I've seen things through
that window! Bickering, family
fights, mysterious trips at night,
knives, saws, rope - and since last
evening, not a sight or sound of
his wife!

          JEFF
Now you tell me where she is and
what she's doing!

          LISA
Maybe he's leaving his wife. I
don't know, and I don't care. Lots
of people have saws, knives and
robs around their houses. Lots of
men don't speak to their wives all
day. Lots of wives nag, and men
hate them, and trouble stars - but
very, very, very few of them end up
in murder - if that's what you're
thinking.

          JEFF
It's pretty hard to stay away from
that word isn't is?

          LISA
You could see all the things he
did, couldn't you?

          JEFF
What are you getting at?

          LISA
You could see that he did because
he had the shades in his apartment
up, and walked along the corridor,
and the streets and the backyard?

         JEFF
Yeah.

          LISA
Jeff, do you think a murderer would
let you see all that? That he
shouldn't keep his shades down and
hide behind them?

          JEFF
That's where he's being clever.
Acting nonchalant.
                                                               71.


                       LISA
             And that's where you're not being
             clever. He wouldn't parade his
             crime in front of the open shades.

    She turns the wheelchair slightly to her left so that he
    can see the newlyweds' apartment.

                       LISA
                  (Pointing)
             For all you know - there's
             something a lot more sinister going
             on behind those shades.


160 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                          160

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


161 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                      161

    Jeff looks, turns back to her, trying to suppress a
    chuckle.

                       JEFF
             No comment.

                       LISA
             Don't you see how silly you're
             being?

                       JEFF
             Okay, Lisa - probably you're right.
             He's probably in the bedroom now,
             entertaining his wife with the
             indian rope trick. I'll admit to
             criminal insanity. Now when do I
             start the cure?

    Lisa hal looked up and out the window. She opens her mouth
    to answer, but a new look overtakes her face. It is
    concern, surprise, and a little shock. Jeff sees the
    change, is sobered, and quickly turns the chair around.

    He looks out the window, using his binoculars.


162 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       162
                                                               72.


    The shades in the bedroom are now up. Both beds are empty,
    and stripped of their linen, the mattresses thrown up over
    the end of the beds. The salesman, sweating heavily, stands
    over a large, square trunk in the center of the room. It is
    stoutly bound by the heavy rope we previously saw him bring
    into the apartment. He wipes one forearm across his brow,
    and then heads for the kitchen. In the kitchen, he produces
    a bottle, pours himself two or three straight drinks, then
    leans with a display of exhaustion against the kitchen
    sink.


163 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                      163

    Jeff lowers the glasses. His look is sober. Lisa stands
    behind him, one hand on the back of the wheelchair. She,
    too, is serious. THE CAMERA MOVES IN until Lisa's head
    fills the screen. She says, slowly:

                       LISA
             Let's start from the beginning
             again, Jeff. Tell me everything you
             saw -- and what you think it means.

    She is still staring out the window, as the scene

                                                        FADES OUT

                                                         FADE IN:


164 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    164

    Jeff is seated in the dark, his face lit by the faint glow
    from the distant street. He is looking out of the window
    tensely, as THE CAMERA MOVES IN, until he is in big
    profile.


165 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT                          165

    From Jeff's viewpoint, all the windows are dark. The couple
    are sleeping on the fire escape. The salesman's apartment
    is dark as well. Suddenly a match flares, and we see the
    salesman light a cigar. The flame of the match illuminates
    his face for a moment. When is dies out, we see just the
    glow of the cigar burning.


166 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   166
                                                              73.


    The CAMERA is now facing Jeff. We see that his left hand
    rests on the telephone receiver which is close to him. The
    phone starts to RING, but makes only the slightest sound,
    as he instantly picks it up. As he talks, in a low voice,
    he keeps his eyes on the salesman's apartment.

                       JEFF
             Yeah?


167 INT. PHONE BOOTH - (NIGHT) - CLOSEUP                            167

    We get an impression of Sixth Avenue behind Lisa at the
    phone. Lisa also talks in a low, quiet voice.

                       LISA
             The name on the second floor rear
             mailbox reads Mr. And Mrs. Lars,
             that's L-A-R-S, Lars Thorwald.

                       JEFF
                  (Filter)
             What's the apartment house number?

                       LISA
             125 West Ninth Street.


168 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       168

    Jeff, still looks toward the salesman's apartment.

                       JEFF
             Thanks, Lisa.


169 INT. PHONE BOOTH - (NIGHT) - CLOSEUP                            169

    Lisa smilingly says:

                       LISA
             Okay, chief. What's my next
             assignment.

                       JEFF
             To get on home.

                       LISA
             All right -- but what's he doing
             now?


170 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       170
                                                               74.


    Jeff is still looking toward the salesman's apartment.

                       JEFF
             Just sitting in the living room. In
             the dark. And he hasn't gone near
             the bedroom. Now get some sleep.
             Goodnight.

    He puts the receiver down, and resumes his vigil.


171 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT                          171

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

                                                        FADE OUT.

                                                          FADE IN:


172 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT                      172

    Jeff is seated by the window in his wheelchair. He is
    talking on the telephone while his eyes are still on the
    neighborhood. There is a touch of urgency in his voice.

                       JEFF
             Look, Coyne -- it's just one of
             those things I can't tell you on
             the phone. You have to be here, and
             see the whole set-up.

    The CAMERA PULLS BACK slightly as Stella emerges from the
    kitchen. She is carrying a tray with breakfast on it. Eggs,
    bacon, toast and coffee.

                       JEFF
             It's probably nothing important --
             just a little neighborhood murder.
             That's all. -- As a matter of fact,
             I did say "murder".

    Stella squeezes past the right side of Jeff, and places the
    food tray on a windowseat in front of him. She peers out
    cautiously toward Thorwald's apartment for a moment. Then
    she squeezes back, moving to the sideboard against which
    leans a small table on an adjustable stand.

                       JEFF
             My only thought was to throw a
             little business your way. A good
             detective, I reasoned, wold jump at
             the chance to detect.
                                                               75.


    Stella returns with the table, and sets it up so that it is
    across Jess's lap. She gets the tray of food pausing to
    look toward Thorwald's apartment. Then she places the
    breakfast on the tray table in front of Jeff. He has move
    back a little to avoid getting the phone cable tangled in
    the food and dishes.

                       JEFF
             Well, I usually took my best
             pictures on my day off.
                  (Nods)
             Okay, Coyne -- soon as you can.


173 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                     173

    He hangs up. Stella takes the phone and puts it down for
    him. He looks at the breakfast, reaches for a knife and
    fork.

                       JEFF
             Stella, I - I can't tell you what a
             welcome sight this is. No wonder
             your husband's still in love with
             you.

                        STELLA
             Police?

                         JEFF
                    (Pauses in cutting food)
             Huh?

                       STELLA
             You called the police?

                       JEFF
             Oh. Well, yes and no. It wasn't an
             official call. He's just a friend.
                  (Almost to himself)
             An old, ornery friend.

    He begins eating, appreciatively. She moves behind his
    chair, pausing to look toward Thorwald's apartment again.
    Jeff is just lifting a piece of bacon to his lips when
    Stella speaks.

                       STELLA
                  (Half to herself)
             Now just where do you suppose he
             cut her up?
                                                            76.


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

                       STELLA
                  (Answering herself)
             Oh - of cause! In the bathtub.
             That's the only place he could wash
             away the blood.

    The hand holding the bacon moves back to the plate.

    Jeff just starts ahead. Stella turns and walks into the
    kitchen. Jeff pushes the food away, and picks up the coffee
    cup instead.


174 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       174

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


175 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                    175

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

    The rope-tied trunk still sits in the bedroom.

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


176 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       176

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


177 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT                      177

    The CAMERA PANS UP past the woman lowering the dog, up to
    the roof where one of the sunbathers can be seen sitting
    up, rubbing her body with sun tan oil.


178 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       178

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


179 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                    179
                                                               77.


    Thorwald's apartment. We are now aware that the sales-man
    is now in his living room, lying out of sight on the sofa,
    because the smoke from a newly lighted cigar is starting to
    ascend toward the ceiling of his room.

    Stella's voice is heard calling out from the kitchen:

                       STELLA'S VOICE
             He'd better get that trunk out of
             there before is starts to leak.


180 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                     180

    Again the bacon stops before is reaches Jeff's mouth.

    He puts it down on the plate again, as his eyes move
    slightly toward the left.


181 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                       181

    Miss Torso, in ballet outfit, is hanging up a small wash on
    a clothes line. It consists mostly of lingerie. She is
    doing her inevitable leg practice at the same time.

    THE CAMERA PANS OVER SUDDENLY TO Thorwald's apartment, and
    except for the smoke rising from the unseen sofa, there is
    no activity.


182 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                          182

    Jeff seems to be getting a bit listless, or bored, by
    constantly watching Thorwald's apartment. His eyes sort of
    stray around the neighborhood, and end up looking toward:


183 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT                          183

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


184 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                          184

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


185 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT                          185

    The shade suddenly going up in the newlywed's apartment.
                                                               78.


    The young husband leans his hands on the windowsill, and
    looks out. He is wearing only his pajama bottoms, because
    of the heat, and we see that he is a well-muscled,
    attractive young man. He looks around with some
    satisfaction. He turns at the sound of a woman's voice
    behind him.

                       GIRL'S VOICE
             H-a-a-r-r-e-e......

    He turns his head, is thoughtful for a brief moment, then
    he pulls down the shade.


186 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                     186

    His smile almost becomes a private chuckle. Stella's abrupt
    voice breaks in urgently:

                       STELLA'S VOICE
             Look! Look - Mr. Jefferies!

    Jeff's head snaps toward the center of his window.

    Stella has appeared behind his wheelchair.


187 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                       187

    Two men wearing tan coveralls are standing outside
    Thorwald's door. One of them carries a clipboard.

    Suddenly Thorwald is seen sitting up on the living room
    sofa. His fair is disheveled and he is unshaved. He stands
    up, and moves toward the door.

    He opens it, and after a short exchange of dialogue, he
    admits the two men, leaving the door open behind them.

    He leads the two man across the living room to the bedroom.


188 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                     188

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


189 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT                       189

    A close view shows the two man carrying the trunk across
    the living room toward the corridor.
                                                             79.


190 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                   190

    Jeff lowers the binoculars quickly.

                       JEFF
                  (Agitated)
             I thought Coyne would get here
             before the trunk went - or I'd have
             called the police.
                  (To Stella)
             Now we're going to lose it.

    Stella moves toward the door quickly. Jeff turns quickly
    over his shoulder to watch her. She is already going up the
    steps.

                       JEFF
             Stella, don't do anything reckless!

    As Stella goes out the door, she calls back:

                       STELLA
             I'm just going to get the name of
             their truck!

                       JEFF
                  (Up)
             I'll watch the alleyway - in case
             it goes that way.

    We hear nothing from Stella, but the sound of her heavy
    tread down the hallway stairs. Jeff returns to Thorwald. He
    eases himself back into the shadows a bit and then raises
    his binoculars.


191 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT                     191

    Jeff concentrates his attention on the alley-way that leads
    to the street. Just normal traffic. The binoculars swing to
    Thorwald apartment. The salesman is now at the telephone.
    He has picked up the receiver, and proceeds to dial 221.


192 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                        192

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

                       JEFF
             Long Distance.
                                                              80.


193 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT                      193

    The salesman speaks some words to the operator. Placing the
    call. As he does this, he reaches with his other hand for a
    nearly bottle, and working the cork out with one hand, he
    pours a stiff drink into a tumbler. He drinks it as soon as
    he finishes talking with the operator.


194 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    194

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


195 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT                           195

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


196 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    196

    Jeff quickly puts the glasses up.


197 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT                      197

    By the time the binoculars are up, another trucks has
    crossed from the left. In momentarily blocks out the side
    of our freight truck. By the time the two trucks part, we
    can only see the back half of the freight truck before it
    pulls out of sight. Jeff is only able to read the words
    "FREIGHT LINES". The binoculars are held for a moment until
    we see a puffing and blowing Stella arrive at the opening
    of the alleyway. She looks toward the front of Thorwald's
    apartment house.

    And by her attitude we can see that there is no truck
    outside. She looks about her for a moment.


198 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                         198

    Jeff lowers the binoculars, discouraged.


199 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT                           199

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

                                                 LAP DISSOLVE TO:
                                                               81.


200 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT                   200

    SHOOTING TOWARDS the big window, with the neighborhood
    beyond, Jeff is as usual seated in his wheelchair on the
    left of the window, but now turned toward a newcomer.

    The second man is standing near the divan looking out the
    window with the binoculars. This newcomer is POLICE
    DETECTIVE LIEUTENANT THOMAS J. COYNE, the man Jeff phoned
    earlier in the day. He is an intelligent-appearing, well-
    dressed modern detective. He has a sense of humor. He
    lowers the glasses, and turns to Jeff.

                       COYNE
             You didn't see the killing, or the
             body? How do you know there was a
             murder?

                       JEFF
             Because everything that man's done
             has been suspicious. Trips at night
             in the rain, saws, knives, trunks
             with rope, and a wife that isn't
             there any more.

                       COYNE
             I'll admit it all has a mysterious
             sound -- but is could mean a number
             of different things. Murder is the
             least likely.

                       JEFF
             Go ahead, Coyne -- tell me he's an
             unemployed magician -- amusing the
             neighborhood with sleight-of-hand.

    Coyne paces a little.

                       COYNE
             It's too stupid and obvious a way
             to murder - in full view of fifty
             windows - and then sit over there--
                  (He points)
             --smoking a cigar -- waiting for
             the police to pick him up.

                       JEFF
             Well, officer - do your duty.

                       COYNE
                                                        82.


        You've got a lot to lean about
        homicide, Jeff. Morons have
        committed murder so shrewdly that
        it took a hundred trained police
        minds to catch them. That salesman
        wouldn't just knock off his wife
        after dinner, toss her in a trunk
        and put her in storage.

                  JEFF
        I'll bet is's been done.

                  COYNE
        Almost everything's been done -
        under panic. But this is a thousand
        to one shot. That man's still
        sitting around his apartment; he
        isn't panicked.

                  JEFF
             (A pause)
        You think I made all this up?

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

                  JEFF
        For instance?

                  COYNE
             (Shrugs)
        His wife took a trip.

                  JEFF
        She - was - an - invalid!

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

                  JEFF
        All right - you don't believe me.

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

                  COYNE
                                                              83.


             I - uh - won't report it to the
             Department. Let me poke into a
             little on my own. No point in you
             getting any ridiculous publicity.

                       JEFF
                  (Coldly)
             Thanks.

                       COYNE
             We know the wife is gone. I'll see
             if I can find out where.

                        JEFF
             Do that.

    He goes up the steps to the door, putting on his hat.

    He pauses his hand on the door knob.

                       COYNE
             You have any headaches lately?


201 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    201

    Jeff answers, showing only the slightest irritation.

                       JEFF
             Not 'til you showed up.


202 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    202

    Coyne, still at the door:

                       COYNE
             Uh-huh. Well, it'll wear off in
             time -- along with the
             hallucinations. See you around.

    He starts to go out the door, and closes it behind him.


203 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT                  203

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


204 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                    204
                                                            84.


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

                       COYNE
             By the way - what happened to your
             leg?


205 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                  205

                       JEFF
             I was jaywalking.

                       COYNE'S VOICE
                  (O.s.)
             Where?

                       JEFF
                  (With nonchalance)
             The Indianapolis Speedway.


206 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                  206

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

                       COYNE
             During the race?


207 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                  207

    Jeff answers with a straight face.

                       JEFF
             Yup. It sure stopped traffic.

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


208 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                       208

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


209 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                    209
                                                               85.


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


210 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP                          210

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


211 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                       211

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

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


212 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP                     212

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


213 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT                            213

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

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

                                                 LAP DISSOLVES TO:


214 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT                      214

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

                       COYNE
                                                           86.


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

                  JEFF
        I think they missed their chance
        with her.

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

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

                  COYNE
             (Continues)
        --- until yesterday morning.

                  JEFF
             (Alert)
        What time?

                    COYNE
        Six ayem.

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

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

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

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

                  COYNE
        Feel a little foolish?
                                                               87.


                        JEFF
             Not yet.

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

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


215 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT                       215

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


216 INT. JEFF'S APARTMENT - (DAY) - TIGHT TWO SHOT                   216

    Jeff notices Coyne's interest.

                       JEFF
             How's your wife?

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

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

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

                       JEFF
             Who said they left then?

                       COYNE
             Who left - where?

                       JEFF
             The Thorwalds - at six in the
             morning?

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

                        COYNE
                                      88.


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

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

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

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

          COYNE
Jeff - huh?

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

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

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

          COYNE
If possible - both.

          JEFF
                                      89.


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

          COYNE
I can't do that.

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

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

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

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

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

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

          JEFF
Give him evidence.

          COYNE
I can hear myself starting out.
"Your Honor - I have a friend who's
an amateur sleuth, an one night,
after a heavy supper---"
                                                  90.


             (He shakes his head "no")
        He'd throw the New York State Penal
        Code right in my face. -- And it's
        six volumes.

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

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

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

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

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

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

                  COYNE
        Ever get an answer?

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

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

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

He moves to the sideboard, picks up a felt hat.
                                                               91.


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

                       COYNE
             Oh - I almost forgot!

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

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

    He looks at Jeff with some smugness.

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

                       COYNE
                  (Nods "yes")
             Mrs. Thorwald.

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

                       COYNE
                  (Maliciously)
             Anything you need?


217 INT. JEFF'S APARTMENT - DAY - CLOSEUP                            217

    Jeff is sober.

                       JEFF
             Yeah. A good detective.

                                                  LAP DISSOLVE TO:


218 INT. JEFF'S APARTMENT - DUSK - CLOSEUP                           218
                                                            92.


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

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


219 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT                     219

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


220 INT. JEFF'S APARTMENT - DUSK - CLOSEUP                        220

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


221 EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT                        221

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

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

    Satisfied, she takes off the glasses, and examines her face
    as a whole, through squinting eyes. She has faded good
    looks, has fairly nice clothes, but is badly in nee of
    advice on hair dressing. Her hair-so makes her seem middle-
    aged. She reaches for a tall glass of liquor next to her,
    and takes a long drink. Putting the glass down, she squints
    to see if she has disturbed the lipstick. Unable to see
    clearly, she puts on the glasses again, looks, and touches
    up her lips slightly.
                                                               93.


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

    She turns out the lights behind her.


222 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP                      222

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


223 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT                           223

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


224 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP                      224

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


225 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT                        225

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

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

    THE CAMERA PANS from this to the street beyond.

    Standing there, on the sidewalk, looking up and down the
    street is a Kelly Green clad figure.
                                                              94.


226 INT. JEFF'S APARTMENT - (DUSK) - CLOSEUP                        226

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


227 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT                        227

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

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


228 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP                   228

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


229 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT                        229

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

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

    A number of suits and top coats are lying on an orderly
    pile on the bed. He takes the laundry out of the box and
    puts in on the bed next to the suits. Then he goes to the
    dresser, and instead of putting the laundry away, he
    proceeds to take out the contents of the drawers - pajamas,
    shirts, sox, etc. He piles these on the beds.


230 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP                   230

    Jeff lowers the camera quickly. He picks up the phone and
    dials a number, still keeping his eyes on Thorwald.
                                                        95.


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

                  MRS. COYNE
             (Filter)
        Hello.

                  JEFF
        Mrs. Coyne?

                  MRS. COYNE
        Yes.

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

                  MRS. COYNE
        Not yet, Jeff.

                  JEFF
        You haven't even heard from him?

                  MRS. COYNE
        Not a word.

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

                  MRS. COYNE
        It is something really important,
        Jeff?

                  JEFF
        I'm afraid it is, Tess.

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

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

                  MRS. COYNE
        Who's Thorwald

                  JEFF
        He knows.
             (As an after-thought)
                                                               96.


             Don't worry, Tess. It's a man.

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

                       JEFF
                  (A slight smile)
             Goodnight, Mrs Coyne.

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

    He lifts up the long-focus lens.


231 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                        231

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

                       JEFF
             Long distance again.

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


232 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   232

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


233 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                        233

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

    There is a squeal from the woman who great each other, and
    hearty "helloes" from the men. The song-writer dashes off a
    LOUD VAMP of greeting on the piano, then gets up to offer
    drinks.
                                                              97.


234 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  234

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


235 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                       235

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


236 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  236

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


237 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT                237

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


238 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  238

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

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


239 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                  239

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


240 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                    240

    The lights are out in Thorwald's bedroom, and Thorwald is
    in the act of pouring himself out a drink in the living
    room. He comes to the window, glass in hand, and looks down
    into the garden, nonchalantly. Over this, we HEAR Lisa's
    voice, questioningly:
                                                            98.


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

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


241 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 241

    He stops, turns to her quickly.

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

                       LISA
             What about it?

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

                       LISA
             Someone not his wife?

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

    Jeff turns back to the window.


242 EXT. NEIGHBORHOOD - SEMI LONG SHOT - (NIGHT)                  242

    Thorwald is standing at the window with his drink in his
    hand. Then he turns, puts his unfinished drink down on a
    table, and goes to the door. He puts the light out in the
    living room and goes out the door. He walks briskly down
    the corridor.
                                                            99.


                       LISA
             I wonder where he's going now?

                       JEFF
             I don't know.

                       LISA
             Suppose he doesn't come back again?

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


243 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 243

    Lisa moves toward a nearby lamp.

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

                       JEFF
                  (Looking to left)
             Not yet!

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


244 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT)                     244

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


245 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 245

    He lowers the lens.

                       JEFF
             He must have gone somewhere to the
             right.

    The CAMERA PULLS BACK as Lisa starts around the apartment
    turning on the lights. As she light increases, we see that
    she is wearing another extravagantly beautiful dress. She
    seems quite animated, moving gracefully, her skirt and hair
    swinging with her movement. Jeff turns around to face the
    room.

                       LISA
                                                        100.


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

                  JEFF
        Thinking about Thorwald?

                  LISA
             (Nods yes)
        And you, and you friend Coyne --
             (Stops, to Jeff)
        Did you hear from him again - since
        he left?

                  JEFF
        Not a word. He was going to check
        on the railroad station, and the
        trunk. He must be still on it.

As he talks, she seems to be thinking something over to
herself. He starts pacing, trying to distill her thoughts.
We see that she has brought an oversized handbag with her,
which lies prominently on the table.

Jeff watches her.

                  JEFF
        Something on your mind, Lisa?

                  LISA
        It doesn't make sense to me.

                  JEFF
        What doesn't?

                  LISA
        Women aren't that unpredictable.

                  JEFF
             (Losing a little
             patience)
        Lisa -- I can't guess what you're
        thinking.

THE CAMERA CLOSES IN, Lisa stops, faces him. Her eyes
sparkle, and her body is tense with concentration.

                  LISA
        A woman has a favorite handbag - it
        always hangs on her bedpost where
        she can get at it. Then she takes a
        trip and leaves it behind. Why?

                    JEFF
                                              101.


        Because she didn't know she was
        going on a trip - and where she was
        going she wouldn't need a handbag.

THE CAMERA eases back.

                   LISA
        But only her husband would know
        that.
              (Starts to pace again)
        And the jewelry! Women don't keep
        all their jewelry in a purse, all
        tangled, getting scratched and
        twisted up.

                  JEFF
        Do they hide it in their husband's
        clothes?

                  LISA
        They do not! And they don't leave
        it behind them. A woman going
        anywhere but the hospital would
        always take makeup, perfume and
        jewelry.

                  JEFF
        Inside stuff?

                  LISA
        Basic equipment. You don't leave it
        behind in your husband's drawer in
        your favorite handbag.

                  JEFF
        I'm with you, sweetie, but
        Detective Thomas J. Coyne has a pat
        answer for that.

                  LISA
        That Mrs. Thorwald left at six ayem
        yesterday with her husband?

                  JEFF
        That's what the witnesses told him.

                  LISA
        Well, I have a pat rebuttal for Mr.
        Coyne - that couldn't have been
        Mrs. Thorwald - or I don't know
        women.

                  JEFF
                                                         102.


        Still -- those witnesses.

                  LISA
        We'll agree they saw a woman - but
        she wasn't Mrs. Thorwald. - That
        is, yet.

She comes over to Jeff. He reaches up, takes her hand.

                  JEFF
        Come here.

He pulls her into his lap. She puts her arms around him.
She is very happy, and kisses Jeff's cheek.

                  LISA
        I'd like to see your friend's face
        when we tell him. He doesn't sound
        like much of a detective.

                  JEFF
        Don't be too hard on him. He's a
        steady worker. I wish he'd get
        there, though.

                  LISA
             (Nuzzling Jeff)
        Don't rush me. We have all night.

There's a pause. Then Jeff moves back a little to look her
straight in the eye.

                  JEFF
        We have all - what

                  LISA
        Night. I'm going to stay with you.

                  JEFF
        You'll have to clear that through
        my landlord----.

She cuts him off with a kiss. When she pulls back

                  LISA
        I have the whole weekend off.

                  JEFF
        Well that's fine, but I only have
        one bed, and ---

Lisa smothers him with another kiss. She lets up.
                                                        103.


                  LISA
        Say anything else, and I'll stay
        tomorrow night too.

                  JEFF
        Lisa, I won't be able to give you
        any---

She smothers him with still another kiss. Then moves back.

                  JEFF
        ---pajamas.

She laughs, gets up. Goes to the large handbag on the
table. Is is a Mark Cross ladies 'attache' case.

                  LISA
        You said I'd have to live out of
        one suitcase
             (Picks up case)
        I'll bet yours isn't this small?

                  JEFF
        That's a suitcase?

                  LISA
             (Starting to open it)
        A Mark Cross overnight case, anyway
        Compact, but ample enough.

She has opened it, and surprisingly enough, it is a compact
outfit of pajamas, slippers, toothbrush, toothpaste, and
all the general necessities for a comfortable overnight
stay. She comes to Jeff, sits in his lap again, displaying
the inside of the case

                  LISA
        I'll trade you - my feminine
        intuition for a bed for the night.

                  JEFF
             (Gives in smiling)
        I'd be no better than Thorwald, to
        refuse.

The SOUND from the party in the song-writer's apartment
becomes more noticeable as his party grows. And at this
point he begins playing the song he has been composing for
the past few days.

                  LISA
        There's that song again.
                                                           104.


    She gets up from Jeff's lap, and puts the overnight case on
    the table. Open. She goes to the window, and looks toward
    the song-writers' apartment. Jeff turns with her.


246 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  246

    The party at the song-writer's has grow considerably
    larger. An assortment of well-dressed people have now
    crowded into the studio. They are drinking, eating, etc. At
    the moment, a number of them are crowded around the piano,
    listening to the composer's newest song - which isn't quite
    completed. However, the melody has become more beautiful
    than ever. During the following scene, we HEAR the melody
    being played a number of different ways on the piano.


247 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                 247

    Lisa stands, listening, entranced.

                       LISA
             Where does a men get the
             inspiration for a song like that?

    Jeff watches her.

                       JEFF
             From his landlord -- once a month.

                       LISA
             It's utterly beautiful.
                  (Turns to Jeff)
             I wish I could be creative.

                       JEFF
             You are. You have a talent for
             creating difficult situations.

                          LISA
                     (Happily)
             I do?

                       JEFF
             Staying the night here, uninvited.

    She sits down on the edge of the divan near Jeff. She leans
    toward him.

                       LISA
             Surprise - is the most important
             element of attack.
                  (She smiles)
                                                           105.


             And beside, you're not up on your
             private eye literature. When
             they're in trouble, it's always
             their Girl Friday who gets them out
             of it.

                       JEFF
             The same girl who keeps him out of
             the clutches of seductive show
             girls, and over-passionate
             daughters of the rich.

                         LISA
             The same.

                       JEFF
             But he never ends up marrying her.
             Strange.

                       LISA
                  (Stands up;   deadpan)
             Weird.
                  (She does a   complete
                  spin, then,   ingenuously)
             Why don't I slip   into something
             comfortable?

                       JEFF
             You mean - like the kitchen? And
             make us some coffee?

                       LISA
             Exactly what I had in mind - along
             with some brandy.

    She goes to the kitchen, humming with the song-writer's
    melody which we can HER off. Jeff turns back to the window,
    looks out.


248 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT                     248

    The shade is going up in the newlyweds apartment. The young
    husband throws up the window an lights a cigarette. He
    takes a deep and satisfying drag on the cigarette, glancing
    toward the song-writer's party.

    Just as he starts to exhale the smoke, we HEAR his young
    wife's voice off:

                       GIRL'S VOICE
             H-a-a-r-r-e-e-!
                                                              106.


    He chocks on the smoke, sputtering and coughing. When he
    recovers, he throws the cigarette down to the back-yard
    with a show of irritation. Then slowly he pulls the shade
    down. Behind us is SOUND of a door shutting


249 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   249

    Over Jeff's shoulder we see Coyne coming down the steps
    slowly, and seemingly preoccupied. Jeff swings the chair
    around so that his back is to us.

    SEMI-CLOSEUP

    Without looking at Jeff, Coyne comes into the apartment
    takes off his hat and places it on the table. He runs a
    hand over the side of his head and down the back of his
    neck, which seems to indicate some fatigue.

    SEMI-CLOSEUP

    Jeff. Looking expectantly at Coyne.

    SEMI CLOSEUP

    Coyne reaches for a cigarette on the table, and puts it to
    his lips. While searching his pockets for a match, he HEARS
    Lisa humming. His eyes turn upward.

    MEDIUM SHOT

    Over the cabinet which divides the living room from the
    kitchen, we can see a glimpse of Lisa's shadow on the
    ceiling.

    SEMI-CLOSEUP

    Jeff, has follows Coyne's look.

    SEMI CLOSEUP

    Coyne picks up cigarette lighter from table, and lights his
    cigarette. As he is placing the lighter back on the table,
    he sees:

    CLOSEUP

    From his viewpoint, Lisa's bag containing her lingerie and
    overnight effects.

    CLOSEUP
                                                              107.


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

    CLOSEUP

    Coyne's look is completely noncommittal. His eyes turn at
    the sound of the song-writer's party. He moves forward to
    get a better view, as the CAMERA RETREATS in front of him.
    He stops to glance out of the window.


250 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                          250

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


251 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          251

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


252 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT                       252

    The window of Thorwald's apartment, completely dark.


253 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          253

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


254 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                      254

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

                        COYNE
              What else do you have on this man
              Thorwald?

    Jeff's tension eases off a little, by he is eager to talk.

                        JEFF
              Enough to scare me that you
              wouldn't get here in time, and we'd
              lose him.
                                                             108.


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

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

    Coyne looks back toward Thorwald's bedroom. We see the dark
    apartment beyond him. Coyne nods thoughtfully. He turns his
    head suddenly at the sound of Lisa coming out of the
    kitchen. She holds two large brandy snifters containing
    some brandy. They are cupped in her hand, the stem between
    her fingers. She is rotating them gently toward the body to
    warm the brandy. She is quite beautiful.


255 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                         255

    Coyne reacts to her appreciatively.


256 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                     256

    She continues rotating the brandy.

                       LISA
             I'm just warming some brandy.

    She comes forward hands one snifter to Jeff. She offers the
    second to Coyne. (NOTE: In the following set of scenes,
    whenever anyone holds a brandy sniffer, it is being
    rotated- regardless of their attitudes.)

                       LISA
             Mr. Coyne? - I presume.

    Coyne sort of smiles, and takes the snifter awkwardly.

                       JEFF
             Tom, this is Miss Lisa Fremont.

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

                       COYNE
             How do you do?

    Lisa smiles in return.

                       LISA
             We think Thorwald's guilty.
                                                              109.


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


257 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   257

    Coyne stares after her, ignoring her remark, still not
    recovered from the fist sight of her attractiveness.

    Then quickly, his eyes move down and to the left.


258 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   258

    The open overnights case with its displayed lingerie.


259 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     259

    Slowly Coyne's eyes travel back to Jeff.


260 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                        260

    Quickly guessing what's on Coyne's mind

                       JEFF
                  (Cautiously)
             Careful, Tom.


261 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   261

    Coyne's eyes travel past Jeff to look out the window.

    He still holds the brandy snifter in one hand, and a
    cigarette in the other. Absentmindedly he still rotates the
    brandy. The SOUND of the phone ringing is heard.


262 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    262

    Jeff picks up the phone.

                       JEFF
             Hallo?

    He listens, and then looks up to Coyne.

                       JEFF
             Just a minute, please.
                                                          110.


Coyne crosses and stands behind Jeff, as Jeff hands him the
Phone. He juggles the cigarette, the brandy snifter and the
phone all at once. This is all done deadpan.

                  COYNE
        Coyne speaking.
             (He listens)
        Uh-huh. - Yeah. Mummmm.- Mmm. Hmm.
        - Okay. Thank you, and goodbye.

He hands the receiver back to Jeff, who hangs up. Lisa
comes back in with her own brandy snifter, rotating it.

                  LISA
        The coffee will be ready soon.
             (Urgent)
        Jeff, aren't you going to tell him
        about the jewelry?

Coyne looks suddenly interested. He asks tersely:

                   COYNE
        Jewelry?

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

                  COYNE
        You sure it belongs to his wife?

He turns his head to Lisa, who answers.

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

                   COYNE
        Namely?

His head snaps cask to Jeff, who answers:

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

                  COYNE
        You figured that out, huh?

His head moves back to Lisa as she answers with a touch of
pride in her voice.
                                                            111.


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

    Before Coyne can comment, Jeff asks impatiently:

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

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

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

    Coyne goes to the window and looks out, as they watch him,
    expectantly. He speaks without looking at them.

    His voice is flat and to the point.

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


263 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                 263

    Jeff and Lisa stare at him in astonishment. Then Jeff
    recovers, and answers with some anger:

                       JEFF
             You mean you can explain everything
             that went on over there - and is
             still going on?


264 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                 264

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

                       COYNE
             No!

    He starts to place the room.

                       COYNE
             And neither can you.
                  (Points out window)
                                                    112.


             That's a secret and private world
             you're looking into out there.
             People do a lot at things in
             private that they couldn't explain
             in public.


265 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP           265

    Lisa and Jeff. She replies with some sarcasm.

                       LISA
             Like disposing of their wives?

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

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


266 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP           266

    Coyne breaks in, takes a step forward.

                       COYNE
             Did you ever own a saw?

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

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


267 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP           267

    Jeff, reasoning:

                       JEFF
             But I'm not a killer!

                          COYNE
                  (Off)
                                                           113.


             Your logic is backward.

    Lisa cuts in spiritedly.

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


268 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  268

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

                       COYNE
             I checked the railroad station. He
             bought a ticket. He put her on the
             train ten minutes later.
             Destination: Merritsville.
             Witnesses. This deep.
                  (He holds his hand a few
                  feet off the floor)


269 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  269

    Jeff and Lisa.

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


270 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  270

    Coyne comes up to the CAMERA, looking at Lisa.

                       COYNE
             Look, Miss Fremont. That feminine
             intuition sells magazines - but in
             real life, it's still a fairy tale.
             I don't know how many wasted years
             I've spent running down leads based
             on women's intuitions.


271 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  271

    Jeff is resentful of Coyne's comments to Lisa.

                       JEFF
                                                            114.


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


272 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   272

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

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


273 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   273

    Lisa speaks again with continuing sarcasm:

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

                        COYNE
                  (Off)
             When the look is broken - yes.

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


274 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   274

    Coyne comes toward the CAMERA again.

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

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

    Coyne gives her a scathing look.

                       COYNE
             I sent it on its merry and legal
             way.
                                                              115.


275 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     275

    Jeff challenges Coyne:

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


276 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          276

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

                       COYNE
             Let the female psychology
             department handle that one.


277 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     277

    Lisa answers, but very coldly:

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

                        COYNE
                  (Off)
             That's what they call a family
             problem.

                       JEFF
                  (Persisting)
             If his wife wasn't coming back --
             why didn't he tell his landlord? --
             I'll answer it for you - because he
             had something to hide.


278 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          278

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


279 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          279

    The overnight case, with Lisa's lingerie.


280 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          280

    His eyes going back to Jeff.
                                                            116.


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


281 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   281

    Jeff replies, pointedly:

                       JEFF
             I told you to be careful.

    Lisa looks down at Jeff, not comprehending.


282 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   282

    Coyne points to one of the photographs on the wall.

                       COYNE
             If I'd been careful piloting that
             reconnaissance plane, you wouldn't
             have taken the kind of pictures
             that got you a medal, a big job,
             fame, money --

                       JEFF
                  (Expressionless)
             All the things I hate.

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

                       COYNE
             Now - what do you say we sit down
             to a quiet, friendly drink or two -
             - forget all about this, and tell
             lies about the old days in the war?
             Hmmm?

    He looks from one to the other.


283 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   283

    Neither Jeff or Lisa display even the slightest
    friendliness. Their faces are cold and set. Then Lisa
    speaks, icily:

                       LISA
             You're through with the case?
                                                              117.


284 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     284

    Coyne is relaxed.

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


285 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   285

    Jeff and Lisa remain unmoved.


286 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   286

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

                       COYNE
             Maybe you're right. I guess I'd
             better get home and get some sleep.

    He waits. No response comes across. His face sobers a
    little, he reaches for his unfinished drink of brandy.

    He tries to toss it off like a straight shot of liquor.

    Part of is shoots out of the brandy snifter, down each side
    of his face, and into his suit. He sputters a little, and
    puts the glass down.


287 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   287

    Jeff and Lisa deadpan.


288 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                   288

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

                       COYNE
             I'm not much of a snifter.

    He starts away toward the door.

                        COYNE
                                                       118.


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


289 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP            289

    Lisa, still burning:

                       LISA
             I hate funny exit lines.

                       JEFF
             Who was the trunk addressed to?


290 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT             290

    Coyne picks up his hat.

                       COYNE
             Mrs. Anna Thorwald.

    He starts up the steps to the door.


291 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                 291

    Jeff points out a challenging finger.

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


292 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT          292

    Coyne poises on the step. He snaps his fingers.

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

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

                       COYNE
                  (Pleasantly)
                                                             119.


             The police Department at
             Merritsville. They called to
             report. The trunk was just picked
             up - by Mrs. Anna Thorwald.

    He puts on his hat, smiles, and says.

                       COYNE
             Don't stay up too late.

    He quietly closes the door behind him.


293 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                    293

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


294 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                         294

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


295 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                    295

    None of the gaiety is reflected in Lisa and Jeff. Some new
    music is heard coming across the courtyard and Jeff turns
    toward it with some irritation.


296 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                      296

    Miss Torso's apartment has the door closed, and all that we
    can see of her, as she is lying on the divan, is her legs
    swinging in arcs as she exercise to record music.


297 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                    297

    Lisa is not looking in the same direction as Jeff. All
    during this, she has been staring out at Thorwald's
    apartment. Now her eyes are looking at the apartment
    underneath. She murmurs to Jeff:

                       LISA
             Look.

    Jeff turns his eyes in the same direction as hers.


298 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                      298
                                                           120.


    A light has gone on in Miss Lonely Hearts' apartment. They
    look. Surprise of surprises, she has returned with a lover
    hooked. He is much younger then she, and a little more
    keyed up to the promise of an adventure still fresh to him.
    Her actions are coy, and over-feminine. She slips away from
    his hasty embraces and exploratory kisses with the proper
    flush of confusion and nervous giggle that seems to say,
    "It's quite a surprise you find me so desirable, but me
    mustn't do anything improper, you know. After all, we're
    practically strangers - and what would you think of me?"
    She pours a drink for each of them with gestures over-
    gentell. As she sips her drink and look at him over the rim
    of the glass, he tosses his off with nervous dispatch.

    He moves toward her, this time more cautiously. An embrace,
    a long kiss. She puts her drink down on the edge of the
    chair. It spills over onto the rug. He begins kissing her
    cheek, her ear, her neck.

    Suddenly and fiercely she pushes him away. Slaps him across
    the face. He moves back with shock as she loudly and
    emphatically orders him out, out, out. He flushes with
    anger and embarrassment, and his mouth twists into
    unpleasant shapes as he slaps degrading words back at her,
    telling her what she is. She screams at him to get out. He
    leaves, slamming the door behind him.

    She goes back dumbly to the spilled liquor, makes a futile
    effort to clean it up, and the collapses onto the rug
    sobbing hard enough to shake her whole body.


299 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                   299

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

                       JEFF
             As much as I hate to give Thomas J.
             Coyne too much credit, he might
             have gotten ahold of something when
             he said this was pretty private
             stuff going on out there.

    He indicates the outside neighborhood with a movement of
    his head. She doesn't answer, but studies the photographs
    on the wall of his room.

                       JEFF
                                                       121.


        Do you suppose it's ethical to
        watch a man with binoculars, and a
        long-focus lens - until you can see
        the freckles on the back of his
        neck, and almost read his mail - do
        you suppose it's ethical even if
        you prove he didn't commit a crime?

                  LISA
        I'm not much on ethics.

                  JEFF
        Of cause, they have the same
        chance. They can look at me like a
        bug under glass, if they want to.

                  LISA
             (Turns to him)
        Jeff - if anybody walked in here, I
        don't think they'd believe what
        they see.

                  JEFF
        Huh?

                  LISA
        You and me with long faces -
        plunged into despair - because we
        find out that a man didn't kill his
        wife. We're two of the most
        frightening ghouls I've ever known.

Jeff starts to smile at the realization.

                  LISA
        You'd think we could be a little
        bit happy that the poor woman is
        alive and well.

Jeff smile is broad, and he starts to chuckle. She relaxes
and joins him. She sits on his lap, her arms around his
shoulders.

                  LISA
        Whatever happened to that old
        saying "Love Thy Neighbor."

                  JEFF
        I think I'll start reviving it
        tomorrow, with say - Miss Torso for
        a start?
                                                              122.


    She gets up, goes to the blinds, and proceeds to lower them
    one by on.

                       LISA
                  (As she get up)
             Not if I have to move into an
             apartment across the courtyard and
             do the dance of the seven veils
             once an hour.
                  (As she lowers the
                  blinds)
             Show's over for tonight.

    He smiles. She goes to the table, picks up he overnight
    case.

                       LISA
             Preview - of the coming
             attractions.

    She goes to the kitchen entrance, pauses.

                       LISA
             Did Mr. Coyne think I stole this
             case.

                       JEFF
                  (Mock seriousness)
             No, Lisa -- I don't think he did.

    She shrugs, goes into the kitchen, the CAMERA PANNING her.

                                                  LAP DISSOLVE TO:


300 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     300

    Jeff is sitting on the wheelchair near the bar, a drink in
    his hand. He starts to take a sip from the glass, when Lisa
    comes out of the kitchen. She is an ethereal beauty, in
    sheer peach night grow, covered by a gossamer matching
    kimono. She turns gracefully in front of Jeff.

    He lowers his drink.

                       LISA
                  (Softly)
             What do you think?

    Jeff puts his drink on the bar. He tries to decide how to
    answer her question. He can't.

                       LISA
                                                              123.


             I'll rephrase the question.

                       JEFF
             Thank you.

    Lisa holds out the folds of her kimono.

                       LISA
             Do you like it?

                       JEFF
                  (Studying it)
             Well, -- if there was one less
             thread this way --
                  (Motions horizontally)
             -- and two less that way --
                  (Motions vertically)
             -- I might give up bachelorhood.

    Lisa turns playfully toward the kitchen.

                       LISA
             I'll be right back.

    Blood-curdling scream from the courtyard outside suddenly
    cuts through the night.

    Startled, both Jeff and Lisa move quickly for the window -
    Lisa lifting the blinds up. The long scream subsides into
    near-hysterical sobbing.


301 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT                            301

    We get a high comprehensive view of all the apartments.

    Light are going on in some windows, shades are lifted on
    others, people are beginning to lean out looking for the
    source of the cream and sobbing. The song-writer's party
    comes to a sudden halt, as his guest crowd to the window.

    SEMI-LONG SHOT

    Lisa and Jeff at the window, looking out, startled.

    SEMI-LONG SHOT

    The landlord, beneath the newlyweds, looks out. Tilting his
    head up toward the center of the yard.

    SEMI-LONG SHOT
                                                          124.


A couple comes out on the high balcony to the right.

Look down.

MEDIUM SHOT

The newlywed's blinds come up, and for the first time we
see both of them at the window, the girl looking over the
boy's shoulder.

SEMI-LONG SHOT

Some members of the song-writer's party move out to the
patio-balcony, to get a better look down in the yard.

SEMI-LONG SHOT

The bird woman comes to the window. Her white face looks
forward toward the center of the courtyard.

SEMI-LONG SHOT

Miss Torso, pulling a around her, comes out onto her porch,
and looks to her left.

SEMI-LONG SHOT

Miss Hearing aid comes quickly into her backyard.

SEMI-LONG SHOT

The couple who own the dog are standing   on their fire
escape. They are both looking down, but   while the husband
is quiet, the wife is holding her hands   to the side of her
head, sobbing loudly. We have heard her   sobbing since the
moment of the scream which she uttered.

SEMI-LONG SHOT

Lying near the sidewalk in the backyard below the couple's
fire escape, is the silent body of the little dog they own.
Miss Lonely Hearts comes running out of the basement door.
She goes directly to the dog, picks it up in her arms. Then
she slowly turns and looks up at the sobbing woman above
her.

                  LONELY HEARTS
             (Her voice clear)
        It's dead! It's been strangled and
        the neck is broken!

SEMI-LONG SHOT
                                                        125.


Instead of increasing her sobbing, this news quiets,
momentarily, the woman who owned the dog. Her hands go down
to the railing of the fire escape, gripping it fiercely.
She lifts her face to the neighborhood, her lips set and
her eyes burning. Her chest moves convulsively from the
crying.

                  SIFFLEUSE
        Which one of you did it?
             (Loud)
        Which one of you killed my dog?
             (No one answers; her
             voice is acid)
        You don't know the meaning of the
        word "neighbor". Neighbors like
        each other - speak to each other -
        care if anybody lives or dies. But
        none of you do! You don't talk, you
        don't help, you - you don't ---
             (Fighting tears)
        Even see. But I couldn't imagine
        any of you being so low that you'd
        kill a little helpless, friendly
        dog! The only thing in this whole
        neighborhood who liked anybody!

SEMI-LONG SHOT

The guests at the song-writer's party begin to move
silently back to the studio apartment.

SEMI-LONG SHOT

The people move off their balcony into the apartment.

SEMI-LONG SHOT

The woman almost screams at the people now, as she looks up
at the apartment.

                  SIFFLEUSE
        Did you kill him because he liked
        you? Just because he liked you?

She breaks out sobbing anew, and returns to her apartment
and out of sight, the crying growing fainter with her
retreat. The husband leans over the fire-escape, and
motions Mess Lonely Hearts to place the dog in the basket,
which is already lowered.

SEMI-LONG SHOT
                                                           126.


    Miss Lonely Hearts puts the dog in the basket, and watches
    as the husband draws it slowly up.

    SEMI-LONG SHOT

    The bathing beauties go inside their apartment.

    MEDIUM SHOT

    The newlyweds draw their shades again.

    MEDIUM SHOT

    The landlord moves away from the window.

    SEMI-LONG SHOT

    The dog moves closer to the fire escape, slowly, the
    husband pulling the rope in hand over hand.

    SEMI-LONG SHOT

    Miss Torso goes back to her apartment.

    SEMI-LONG SHOT

    Miss Hearing Aid turns down the volume of her hearing aid
    and goes back to her apartment.

    SEMI-LONG SHOT

    The dog reaches the fire escape, and the husband tenderly
    takes it out of the basket. He turns to carry it's into the
    apartment.


302 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 302

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

                       JEFF
             For a minute, Coyne almost had me
             convinced I was wrong.

                       LISA
             But you're not?

                       JEFF
             In the whole courtyard, only one
             person didn't come to the window.
                  (He points)
                                                              127.


303 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     303

    Thorwald's apartment. It is dark. The only light that can
    be seen in it is the glowing end of a cigar in the center
    of the room, back from the window - as if Thorwald was
    sitting quietly on his sofa, smoking.


304 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    304

    Lisa looks down at Jeff.

                       LISA
             Why would Thorwald want to kill a
             dog?
                  (Almost a laugh)
             Because it knew too much?

    He nods solemnly and then turns back to the window, as both
    he and Lisa look again towards


305 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                     305

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


306 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT                       306

    Jeff, Stella and Lisa are grouped at the window, looking
    out. THE CAMERA is behind them. Jeff holds the long-focus
    lens to his eye.


307 EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT                       307

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

    The lover part of the window is covered by a wall. In the
    bathroom, Thorwald is wiping the enameled wall with a damp
    cloth. He rubs at particular spots now and then.

    Over this we hear:

                       JEFF
             Do you think this was worth waiting
             all day to see?

                       LISA
             Is he cleaning house?
                                                              128.


                       JEFF
             He's washing down the bathroom
             walls.

                       STELLA
             Must have splattered a lot.


308 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT                       308

    We now see their faces. Jeff lowers the camera with a long-
    focus lens. Neither he nor Lisa make any comment.

    Finally Stella blurts out:

                       STELLA
             Well, why not? That's what we're
             all thinking. He killed her in
             there, and he has to wipe up the
             stains before he leaves.

    Lisa turns away from the window.

                       LISA
             Stella, your choice of words --

    Stella also turns, interrupting her

                       STELLA
             Nobody's invented polite words yet
             for killing.


309 INT. JEFF'S APARTMENT - DUSK - CLOSEUP                           309

    Jeff, who is still staring out the window, has a look of
    sudden discovery on his face. He calls quickly:

                       JEFF
             Lisa - Lisa - on the shelf over
             there - get me the small yellow box
             --

    He turns halfway around, and points. We see Lisa moving
    behind him toward the shelf. He adds:

                       JEFF
             And that little viewer.
                                                           129.


    He turns back to the window, holding out his right hand to
    the side, waiting for the box and viewer. The CAMERA PULLS
    BACK a little as Lisa comes up, and places the box and
    viewer in his hand. He opens the box, which contains color
    slides, and holds one or two of the slides up to the light.
    Lisa looks down at him curiously and Stella comes forward
    from the background.

                       JEFF
                  (Half to himself as he
                  searches slides)
             These aren't more than two weeks
             old. -- I hope I didn't take all
             leg art.
                  (Discovers the right
                  slide)
             I think this is the one.

    Puts the other slides to one side and puts the selected one
    onto the viewer, with sounds of satisfaction. As he lifts
    the viewer to his eyes Lisa asks impatiently:

                       LISA
             Jeff - what are you looking for?

    He squints out through the viewer, then looks away a moment
    without it.

                       JEFF
             Something - that if I'm right -
             might solve a murder.

    He looks back through the viewer.

                       STELLA
             Mrs. Thorwald?

                       JEFF
             Uh-uh. The dog. I think I know now
             why Thorwald killed it.

    He takes the viewer from his eye, hands it to Lisa.

                       JEFF
             You take a look and tell me what
             you see.


310 INT. JEFF'S APARTMENT - DUSK - CLOSEUP                        310

    Lisa raises the viewer to her eye.
                                                              130.


311 EXT. NEIGHBORHOOD - DUSK - CLOSEUP                               311

    Through the viewer we see the identical view out of the
    window.

                       JEFF
                  (Over)
             Now take it away.

    The viewer moves away, and we are left with the identical
    scene, but not quite so still, a slight breeze stirring the
    foliage.


312 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT                       312

    Jeff looks up to a puzzled Lisa.

                       JEFF
             Well?

                       LISA
             It's just a picture of the
             backyard, that's all.

                       JEFF
             I know. But there's one important
             change. The flowers in Thorwald's
             pet flower bed.

                       STELLA
             You mean the one the dog was
             sniffing around?

                       JEFF
                  (To Stella)
             And gigging in
                  (Points out window)
             Look at that flower bed.

    They all lean forward to look.


313 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT                           313

    The flower bed. The flowers have a slight dip in the
    center. Jeff speaks off:

                       JEFF
             There's a dip at this end. And
             since when do flowers grow shorter
             in two weeks?
                                                           131.


                       STELLA
             There's something buried there.


314 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT                    314

    All three ease back in awe. Lisa, still looking out, says:

                       LISA
                  (Breathing it)
             Mrs. Thorwald!

    Suddenly Stella begins to chuckle. They look around at her.
    Her face sobers as she answers their unasked question:

                       STELLA
             You haven't spent much time in
             cemeteries, have you?
                  (they don't answer)
             Mr. Thorwald could hardly put his
             wife into a plot of ground scarcely
             one foot square.

    Jeff and Lisa slowly turn their heads to look out at the
    garden.


315 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT                     315

    The garden again with its small indentation of flowers over
    this we hear the ghoulish voice of Stella:

                       STELLA
             Unless, he puts in standing on end.
             -- which would be very original and
             not require the use of either a
             knife or a saw. My guess is she's
             scattered all over town. A leg in
             the East River - an arm --

                       LISA
                  (Cuts in)
             Stella, please.


316 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT                    316

    Jeff looks at Stella.

                       JEFF
             Something's in there. Those flowers
             have been taken up, and put back
             again.
                                                           132.


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

                       STELLA
                  (Quickly)
             Call Lieutenant Coyne!

                       LISA
             No - let's wait. Let's wait until
             it gets dark. I'll go over and dig
             it up!

    Halfway through Lisa's speech, Jeff begins speaking.

                       JEFF
                  (To Stella)
             I'm not going to call Coyne until I
             show him the body of Mrs. Thorwald
             --
                  (To Lisa)
             And you're not going to dig up
             anything, an get your neck broken
             too.

    THE CAMERA EASES BACK to allow Lisa to sit on the divan,
    and Jeff turn his chair toward her. Stella still look out
    the window, thinking.

                       JEFF
             What we've got to do is fine some
             way to get in there, and --

    Stella's quiet voice brings him to a halt.

                       STELLA
             He's starting to pack.

    Jeff whips back to the window; Lisa turns to look.


317 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  317

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


318 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     318
                                                             133.


    Jeff is staring out, gripping his chair tightly. There is a
    touch of desperation on his face. He looks down at the
    flowers, briefly, then swings around abruptly. He wheels
    away from the camera to the wall cabinet. We see him take a
    piece of notepaper, a pencil and an envelope.

    He puts a name on the envelope, and then proceeds to write
    something on the sheet of paper. Stella and Lisa edge up
    behind him, and look down at what he is writing.
             INT. JEFF'S APARTMENT -
                  (NIGHT)
             - CLOSEUP
             THE CAMERA RUSHES DOWN over Jeff's
             shoulder, just in time to catch the
             last word as he finishes writing
             the message. The envelope is
             addressed to "LARS THORWALD." The
             massage reads, simply, "WHAT HAVE
             YOU DONE WITH HER?"

                                                      FADE OUT.

                                                       FADE IN:


319 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                       319

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

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


320 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                       320

    The alleyway and street. Just regular traffic.

    Suddenly Lisa comes into the picture from the left. She is
    carrying a white envelope. She stops, waves her hands at
    Jeff, smiles, and then hurries on. The lens slowly pans to
    the right and stops on Miss Torso's apartment. She is
    standing on a small stepladder, nailing curtains above her
    window. Her legs are bare, though she wears high-heel
    shoes. We do not see more than half-way up her thighs. The
    lens takes this in for the briefest split-second of
    hesitancy then moves on to await the arrival of Lisa along
    Thorwald's corridor.

    She moves not appear yet. The lens moves back to get
    another glimpse of Miss Torso, who is now descending the
    ladder. She is wearing a leotard. Over this, we hear
    Stella's voice:

                       STELLA
                                                            134.


             What are you going back for?

    The lens quickly swings back to Thorwald's corridor. Lisa
    is seen turning the corner, and approaching Thorwald's door
    on tiptoe.


321 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   321

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


322 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                     322

    Lisa approaches the door of Thorwald's apartment. The
    salesman comes into the living room. He finds a package of
    cigarettes, extracts one, and lights it. Lisa kneels down,
    and carefully slides the litter under the door.

    At this moment, Thorwald extinguishes the match, tosses it
    into an ashtray, and turns toward the door. He freezes as
    he sees the letter on the floor. This momentary hesitation
    allows Lisa to straighten up, turn, and walk carefully but
    swiftly, away. Thorwald moves rapidly toward the door. He
    bends down, scoops up the letter, and examines it briefly.
    Lisa is just turning out of sight at the end of the
    corridor, as Thorwald throws open the door. He looks sees
    no one. He takes a few questioning steps down the corridor,
    then stops to examine the letter again. Slowly he turns and
    makes his way back to the apartment, tearing open the
    envelope.


323 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                 323

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


324 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                      324

    Thorwald stops in front of his door to read the note.

    There is some curiosity on his face. As he reads, all
    movement and emotion drain from his body. He stands there,
    frozen. Jeff's voice is heard over:

                       JEFF
             You did it, Thorwald! You did it!

    Suddenly Thorwald turns and dashes down the corridor.
                                                           135.


325 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     325

    Jeff whips the long-focus lens from his eye.


326 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  326

    As Thorwald dashes down the corridor, we hear Jeff's voice.
    He cries out instinctively, but almost to himself:

                       JEFF
             Lisa! Look out! He's coming!


327 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                327

    Both Stella and Jeff frantic.

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

                          JEFF
                     (Interrupting)
             Look!


328 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  328

    Lisa suddenly appears at the ground floor door below
    Thorwald's. She hides, pressing back against the wall
    tensely. In the corridor above, Thorwald returns,
    frustrated. He comes out onto the fire escape directly
    above Lisa. She is aware of him, and immediately retreats
    into the doorway. She disappears down the lower corridor,
    as Thorwald searches his fire escape.


329 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP                329

    There is a sigh of relief from both of them.

                       STELLA
             Thank heaven that's over!

                       JEFF
             I have a feeling we've just begun.


330 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  330
                                                              136.


    Thorwald is now passing through the living room into the
    bedroom. He picks up a shirt and puts it on. He then
    returns to packing his suitcases, moving unhurriedly.


331 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                    331

    Jeff rubs his chin thoughtfully. Stella is scanning the
    neighborhood. We hear a radio, or a television show, off;
    and there is distant, rhythmic music coming from the cafe
    on Thorwald's street.

                       JEFF
             No doubt of it. He's leaving. The
             question is - when?

    Stella's brow knits a little as she sees something. She
    reaches for the long focus lens.

                       STELLA
             Mind if I use the portable keyhole?

    Jeff hands it to her.

                       JEFF
             Not as long as you tell me what
             you're looking at.

    She lifts it to her eye.


332 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                        332

    Miss Lonely Hearts' apartment. She has opened a small brown
    bottle, and taken out four red capsules which she places on
    the white table cloth of her little table.

    There is a candle burning in a holder, and other lamps also
    light the apartment. She is dressed in sedate street
    clothes. She sits at the table, and by the light of the
    candle proceeds to open a black-covered book, and read it.
    The print is fine. She bends over it a moment, looks up at
    the capsules, and returns to the book. She seems quite at
    peace. Stella and Jeff are heard over:

                         STELLA
             I wonder.

                         JEFF
             What?

                         STELLA
                                                           137.


             Miss Lonely Hearts just laid out
             something that looks like rodium
             tri-eckonal capsules.

                       JEFF
             You can tell that from here?

                       STELLA
             I handled enough of those red pills
             to put everybody in New Jersey
             asleep for the winter.

                       JEFF
             Would four of them---?

                       STELLA
                  (Breaks in)
             No - but it makes the rest easy to
             take. And she's reading the Bible.

                       JEFF
                  (After a slight pause)
             Then I wouldn't worry too much. But
             let's keep an eye on her.


333 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                 333

    Stella lowers the long-focus lens.

                       STELLA
             You know? You might not be too bad
             a bargain for Lisa after all.

                       JEFF
                  (You don't say!)
             I might just take that compliment
             as an insult.

    The door bursts open, and they both turn quickly toward the
    entrance.


334 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT              334

    Lisa comes in, panting and flushed. She stands a second at
    the door, catching her breath, but smiling with the
    pleasure of sampling danger and escaping unharmed.

                       LISA
             Wasn't that close?

                       JEFF
                                                             138.


                  (Off)
             Too close.

    She comes down the stairs.

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


335 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT                   335

    As Lisa comes up to the two of them.

                       STELLA
             Well, it wasn't the kind of
             expression that would get him a
             quick loan at the bank.

    Lisa comes close to Jeff, speaks warmly.

                       LISA
             Jeff - how did I do?

    He takes her hands.

                       JEFF
             Real professional. Would have made
             a great layout for the Bazaar. The
             model pressed back against a brick
             wall, eyes wild, tense. Low cut
             bodice, in new suspicious black,
             with a --

    Some of the pleasure goes out of her face. Stella notices
    it.

                        STELLA
                   (Interrupts Jeff)
             You'd make a good door prize at a
             wake.

    It relieves the slight friction, as both Jeff and Lisa
    laugh. Lisa happens to look toward the window, and the
    laugh dies.

                       LISA
             Jeff - the handbag.

    Jeff and Stella turn toward the window. Jeff grabs the
    long-focus lens, lifts it up.
                                                           139.


336 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT                     336

    Thorwald has the new alligator bag belonging to his wife,
    in his hand. He moves slowly across the bedroom, out of
    sight behind the door. He doesn't appear in the living
    room. In a moment he reappears, moving back to his packing.
    He puts the handbag into one of the suitcases - the one
    which he has almost completed filling. He goes on with his
    packing.


337 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                   337

    Jeff puts down the long-focus lens, and turns around toward
    the room. The two women watch him expectantly.

                        JEFF
             Suppose Mrs. Thorwald's wedding
             ring was among the jewelry he has
             in the handbag.
                   (Supporting his
                   proposition)
             During that phone conversation he
             held up three rings - one with a
             diamond - one with a big stone of
             some kind - and one plain gold
             band.

                       LISA
                  (Excited)
             And the last thing she'd leave
             behind would be her wedding ring! -
                  (To Stella)
             Do you ever leave yours at home?

    Stella lifts her left hand, and looks fondly at her ring
    finger.

                       STELLA
             The only way anybody could get that
             off would be to chop my finger---

                       STELLA
             Let's go down and find out what's
             buried in the garden.

                       LISA
             Why not? I always wanted to meet
             Mrs. Thorwald.

    Jeff looks at them aghast.

                       JEFF
                                                      140.


        What are you two talking about?

                  STELLA
        Got a shovel?

                    JEFF
        No.

                  STELLA
        There's probably one in the
        basement.

                  JEFF
        Now wait a minute --

                  LISA
        Jeff, if you're squeamish, just
        don't look.

                  JEFF
        Now hold on. I'm not a bit
        squeamish about what might be under
        those flowers -- but I don't care
        to watch two women end up like that
        dog --

Stella grows a little uneasy. Her eyes drift toward
Thorwald's apartment.

                  STELLA
             (To Lisa)
        You know, Miss Fremont - he might
        just have something there.

                  JEFF
        There's no point in taking
        unnecessary chances.
             (He points)
        Give me the phone book, Lisa.

Lisa moves for the phone book on the stand near the
kitchen.

                    LISA
        What for?

                  JEFF
        maybe I can get Thorwald out of the
        apartment.

Lisa hands him the book.

                    STELLA
                                                           141.


             We only need a few minutes.

    Jeff looks for Thorwald's number in the directory.

                       JEFF
             I'll try to give you at least
             fifteen minutes.

                        LISA
             How?

                       JEFF
                  (Finds the number)
             Chelsea 2-7099.
                  (He looks up, reaches for
                  the phone)
             We scared him once. Maybe we can
             scare him again.
                  (Picks up receiver;
                  pauses)
             I'm using that word "we" a little
             too freely, I guess. I don't take
             any of the chances.

                       LISA
             Shall we vote him in, Stella?

                       STELLA
             Unanimously.

    The two women smile. Jeff picks up the phone and dials
    Chelsea 2-7099. The women watch him tensely. He holds the
    receiver away from his ear a little, and the buzzer is
    heard sounding on filter. Lisa looks toward Thorwald's
    apartment; then Stella; then Jeff.


338 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    338

    Thorwald's apartment. He comes out of the bedroom toward
    the phone. He wears a light summer coat and tie, despite
    the heat. In the bedroom, everything is packed with the
    exception of one open suitcase. We see another suitcase,
    his sample case, and a couple of topcoats across the bed.
    He approaches the phone hesitantly, undecided whether or
    not to answer it.

                         JEFF
                    (Off, half-aloud)
                                                       142.


        Go ahead, Thorwald - pick it up.
        You're curious. You wonder if it's
        your girl friend calling. The one
        you killed for. Pick it up,
        Thorwald!

Quickly Thorwald does pick it up.

                  THORWALD
             (Cautiously, on filter)
        Hello.

                   JEFF
             (Off)
        Did you get my note?

There is a pause as Thorwald gropes for an answer. We can
almost hear his breathing.

                  JEFF
        Well - did you get it, Thorwald?

                  THORWALD
        Who are you?

                  JEFF
        I'll give you a chance to find out.
        Meet me in the bar at the Brevoort
        - and do it right away.

                  THORWALD
        Why should I?

                  JEFF
        For a little business meeting - to
        settle the estate of your late
        wife.

                  THORWALD
             (After a pause)
        I don't know what you mean.

                  JEFF
             (Firmly)
        Now stop wasting time, Thorwald, or
        I'll hang up and call the police.

                  THORWALD
             (Breathing heavily)
        I only have a hundred dollars or
        so.

                  JEFF
                                                              143.


             That's a start. I'm at the Brevoort
             now. I'll be looking for you.

    He hangs up before Thorwald can reply. Thorwald looks at
    the receiver a moment, then he slowly hangs up. He stands
    at the phone thinking. He doesn't suspect he is being
    watched through the window. Then he makes up his mind and
    starts for the door. After he goes out he tests the door to
    make certain it is locked.

                       LISA
                  (Over)
             Let's go, Stella.


339 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                      339

    Jeff turns his wheelchair halfway around as Lisa and Stella
    start quickly for the door, THE CAMERA PANNING THEM across
    the room. They pause at the sound of Jeff's voice.


340 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     340

    Jeff calls after them:

                       JEFF
             One of you watch this window. If I
             see him coming back, I'll signal
             with a flashbulb.

    The door slams off and we hear the footsteps of the women
    dying down the corridor as Jeff picks up the long-focus
    lens and takes a sight on the alleyway.


341 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT                          341

    Thorwald goes past the alley opening.


342 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                      342

    Jeff puts down the lens and wheels quickly to the wall
    cabinet. He finds a box of flash bulbs and a reflector.

    He puts them in his lap and returns to the window, putting
    the chair sideways. He leans out a little and looks down.


343 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                          343

    Lisa is in the courtyard directly below Jeff's window.
                                                           144.


    She has reached the stairway leading up and to the right.
    She looks, waves at Jeff as Stella comes up to her carrying
    a shovel. The two women hurry up the stairs toward the iron
    ladder they will use to climb the wall between Jeff's yard
    and that of Thorwald's.


344 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT               344

    Jeff picks up the phone and quickly dials. The buzzer
    sounds on filter, then the phone is lifted. A woman's voice
    is heard and Jeff seems a little puzzled at the sound of
    it.

                       BABY SITTER
             This is Coyne's house.

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

    He squints out the window.


345 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    345

    Lisa has climbed over the wall and is helping Stella down
    into Thorwald's yard. The shovel is lying on the ground
    beside Lisa. Jeff's conversation continues over the action
    of the two women.

                       BABY SITTER
             This is the baby sitter.

                       JEFF
             Oh. When are they expected home?

                       BABY SITTER
             I'm hired 'til one. They went to
             dinner and maybe night-clubbing.

                       JEFF
             Well, if he calls in, tell him to
             get in touch with L. B. Jefferies
             right away. I might have quite a
             surprise for him.

                       BABY SITTER
             Does he have your number, Mr.
             Jefferies?

                       JEFF
             He has it. Thank you.
                                                           145.


                       BABY SITTER
             Goodnight.

    Jeff hangs up. Stella is now beginning to dig, carefully
    lifting the flowers off the center of the bed where they
    had dipped down. She places the flower plants on the
    sidewalk. Lisa stands facing Jeff's window and occasionally
    glances over her shoulder uneasily at Stella's work.

    At this moment, the sounds of musical instruments begin to
    be heard from the songwriter's apartment.


346 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT               346

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


347 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    347

    In the songwriter's apartment, several of his musician
    friends have gathered. One plays a guitar, another a
    clarinet, and so on. One by one they try out the theme of
    the songwriter's new melody, running through it in turn to
    become familiar with the notes. We, therefore, hear the
    melody played informally in different ways with different
    instruments.


348 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                       348

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


349 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    349

    Stella is busy, expertly handling the shovel. Lisa has her
    back to the nurse, but looks apprehensively over her
    shoulder. She then looks up toward Jeff's apartment.


350 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  350

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


351 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    351
                                                              146.


    Miss Lonely Hearts is sitting on the sofa, writing a note
    with a pad on her knee. Next to her, on the table, the
    pills are still in evidence.


352 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     352

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


353 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT                          353

    The alleyway and street intersection, with normal night
    traffic, but no sign of Thorwald. THE CAMERA LENS PANS
    across and down to the hole being dug by Stella. We get an
    impression of Lisa's legs as we go by. The spade comes out
    of the hole and rests on the side. THE CAMERA LENS PANS up
    just in time to catch Stella turning up to Jeff. She throws
    out a helpless hand and shakes her head. "Nothing."


354 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     354

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


355 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       355

    Lisa glances up to Thorwald's apartment. She turns and
    gestures some instructions to Stella. Then she looks up at
    Jeff and gestures her intention to enter Thorwald's
    apartment. She turns and dashes toward Thorwald's fire
    escape as Stella makes a fruitless grab to restrain her.


356 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          356

    Jeff, shocked and alarmed, calls out:

                       JEFF
             Lisa - no!

    He looks quickly toward the intersection and then right
    back to Lisa. Apparently no sight of Thorwald.


357 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       357
                                                              147.


    While Lisa starts up the fire escape, we see Stella running
    toward the wall in the foreground to climb over it. Stella
    has abandoned the shovel and left the flowers and dirt
    strewn over the walk.


358 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          358

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


359 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       359

    Lisa climbs the fire escape to the second floor and the
    outside of Thorwald's apartment.

    She tries, unsuccessfully, to get through the window which
    opens into the kitchen from the fire escape. And then, with
    some difficulty, stretches and succeeds in getting in
    through the living room window, which is open. She goes
    directly to the bedroom and we see her bending over one of
    the suitcases.


360 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT                  360

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


361 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT                          361

    Lisa turns from the suitcase with the alligator handbag in
    her hand. There is an expression of triumph on her face.
    She opens it and her expression changes to dismay. She
    looks toward Jeff's apartment and, to communicate her
    dismay, she turns the handbag upside down. Nothing falls
    out. Empty.


362 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP                          362

    He lowers the long-focus lens and he is sweating with
    anxiety. He mutters, almost to himself:

                       JEFF
             Come on. Come on! Get out of there!

    His eyes turn quickly to the alleyway and back again to
    Lisa.
                                                           148.


363 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                    363

    Lisa has dropped the bag on the bed and is now looking
    around the bedroom, looking for some place to start
    searching for the jewelry. She moves quickly to the dresser
    and begins opening the drawers to check them.

    She finds nothing.


364 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                  364

    As Jeff watches tensely, the door bursts open behind him
    and Stella hurries into the apartment.

                       STELLA
             Ring Thorwald's phone the second
             you see him on the way back!

    Jeff swings toward Stella. He reaches for the phone.

                       JEFF
             I'm going to ring him now!

    As he picks up the receiver, Stella pushes his hand down
    again.

                       STELLA
             Give her another minute. -- She's
             doing this for you.

    Stella looks out the window and her face registers shock.
    Jeff turns quickly to the window again, forgetting the
    phone for the moment.

                       STELLA
             Miss Lonely Hearts!


365 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                       365

    Miss Lonely Hearts is in the act of popping an envelope up
    against the table lamp on the table next to the sofa.

    From the same table, she takes a pill bottle and empties
    the contents into her left hand. Replacing the bottle, she
    picks up a glass of water.

                        STELLA
                  (Off)
             Call the police!
                                                            149.


    We hear the sound of the receiver picked up, and Jeff
    starting to dial New York Police. At this moment, from the
    song-writer's apartment which has been quiet for a while,
    comes a new burst of melody. It is the melody which the
    song-writer has been composing during the past few days.
    Now it is rich, and full, and completed, as the musical
    group plays it. Miss Lonely Hearts lifts her head to
    listen, and slowly lowers the pills and glass of water into
    her lap, her whole purpose arrested by the beauty of what
    she hears.


366 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                    366

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


367 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                     367

    A quick flash of the song-writer's apartment, and his
    musical group gathered around the piano.

                       STELLA
             Maybe that music will delay her
             taking the pills.


368 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                   368

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


369 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT                        369

    At the bottom of the picture, Miss Lonely Hearts is still
    listening to the music, while in the apartment above Lisa
    appears into the living room from behind the doorway that
    leads to the bedroom. She looks across to the source of the
    music. She is as arrested by the melody as Miss Lonely
    Hearts. Then looking across to Jeff, she holds up her hands
    triumphantly to show him the jewelry she has discovered. At
    this point, Thorwald appears coming along the corridor of
    his apartment house! Lisa is completely unaware of his
    approach.


370 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT                    370

    Stella is so shocked, she can only gasp for breath.
                                                              150.


    Jeff, in near panic, shouts in anguish!

                       JEFF
             Lisa! Lisa!

    At this moment, the phone is picked up on filter, and a
    voice speaks:

                       POLICE
             Precinct Six - Sergeant Allgood.

    Jeff opens his mouth to speak, but no words come out, as
    his attention is focused on:


371 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT                       371

    Thorwald at the door, unlocking it with his key. We see
    that Lisa has heard the sound, and looks toward the door,
    all but frozen with alarm. The Policeman on the phone
    repeats with studied irritation:

                       POLICE
             Precinct Six - Sergeant Allgood.

    Lisa dashes back into the bedroom just in time to avoid
    being seen by Thorwald as he opens the door and enters the
    apartment.


372 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP                     372

    Jeff, urgently into phone, with a serious and rapid voice:

                       JEFF
             A man is assaulting a woman at one
             two five west ninth street. Second
             floor rear. Make it fast.

                       POLICE
             Your name?

                       JEFF
             L. B. Jefferies.

                       POLICE
             Phone number?

                       JEFF
                  (Impatiently)
             Chelsea 2-5598.

                       POLICE
                                                           151.


             Two minutes.

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


373 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT                  373

    Thorwald crosses the living room, and goes into the
    bedroom. Suddenly he looks onto the bed. He picks up the
    open alligator handbag. He turns, facing the window,
    looking down at the bag. He looks up in the direction of
    the living room. Then suddenly his whole frame stiffens,
    his head turns a little further around to his right. He is
    looking directly at Lisa who is out of our sight in the
    corner of the bedroom. He holds out the bag, and without
    moving, starts to question the unseen Lisa. He takes a
    little step forward, and his head begins to turn slightly
    to the left as Lisa begins to emerge into the living room,
    backing away slowly. By her gestures, and nervous laughter,
    she appears to be offering a lame excuse for being found in
    his apartment.

    He comes towards her, and enters the living room as well.
    Lisa edging toward the door, points to it as she apparently
    argues with him as to the way she came in.

    He points to the window. She makes one more step toward the
    door, but Thorwald reaches out quickly and grabs her by the
    wrist. He twists it brutally, and flings her sideways into
    the sofa beneath the window. Her head snaps back against
    the head rest. With his right hand he throws the handbag
    across the room in anger, and with his left open-palmed he
    demands something from Lisa.

    Slowly her right hand comes up and opens.

    He takes the jewelry from her, looks at it for a surprised
    moment, puts it into his coat pocket. He reaches down with
    both hands, and by the wrists jerks her to her feet. He is
    talking viciously to her. We can hear Lisa calling out
    faintly: "Jeff! Jeff!"

    Thorwald suddenly looks out at the neighborhood. He
    realizes that somebody might be watching him. He drags her
    across the room, reaches up with one arm, and the lights go
    off. The faint light from the bedroom illuminates their
    struggle, but not clearly.


374 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     374
                                                           152.


    An angry Jeff is staring, and trying to penetrate the semi-
    darkness of Thorwald's room. Then he bends his head forward
    in despair, and after a brief moment speaks:

                       JEFF
                  (With deep sincerity)
             Stella - what can we do?


375 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP                     375

    Stella staring out, tense, frightened. Then her expression
    changes sharply as she looks slightly to the left.

                       STELLA
             There they are.

    Jeff looks up quickly.


376 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                  376

    Two policemen move quickly and professionally up the
    corridor toward Thorwald's apartment. They stop at the
    door, listen a moment, and then push the buzzer
    insistently. Inside the apartment, lights go on, and
    Thorwald is in the center of the room looking toward the
    door. Lisa staggers away from him, trying to rearrange her
    clothes and her hair. She is as surprised at the
    interruption as Thorwald. He listens, looks back
    questioningly toward Lisa, then goes to the door. He passes
    into the kitchen.


377 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 377

    Jeff and Stella visibly relax. Jeff doesn't say anything,
    but a gesture of rubbing his eyes with the back of his hand
    gives an indication of how deep his tension was.


378 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                  378

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


379 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     379

    Jeff quickly puts a hand out and takes up his long-focus
    lens. He looks through the finder.
                                                              153.


380 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT)                        380

    Thorwald's head and shoulders fill the screen. For a moment
    Thorwald is genuinely frightened by the sight of the
    police. We see him listening to the policeman out of the
    picture. Thorwald turns slowly and we see him lose much of
    his fright and regain some control of his face. He
    completes his turn and is looking at the girl a little
    puzzled. He then swings back toward the police.


381 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT)                   381

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


382 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                     382

    Thorwald is displaying indignation and complaint to the
    police as he nods his head vigorously toward Lisa. At this
    the police start to advance into the apartment, going
    directly for Lisa. She flashes a quick look toward Jeff's
    window. She turns back as the first policeman reaches her.
    He starts to question her.


383 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT)                   383

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


384 EXT. NEIGHBORHOOD - BINOCULAR SHOT - (NIGHT)                     384

    We see Lisa start to excuse her presence in the same manner
    she used with Thorwald previously, as if to say she came
    into the apartment by mistake. Thorwald, listening, comes
    quickly forward to contradict her, vigorously. He holds out
    the jewelry in his hand, and then picks up and shows the
    empty handbag. The policeman, impressed, looks back to Lisa
    for an explanation. She has none. Over this we hear Stella
    frantically asking:

                       STELLA
             What's she trying to do? Why
             doesn't she turn him in?

                       JEFF
             Smart girl.

                       STELLA
             Smart? She'll be arrested!
                                                           154.


                       JEFF
             That'll get her out of there, won't
             it?

    The first policeman indicates that Lisa is to come along
    with him. He pauses momentarily to tell the second
    policeman to take a statement from Thorwald about the
    attempted burglary. The second policeman reaches for the
    jewelry in Thorwald's hand, and takes it for examination.
    In the brief pause while the two policemen speak to each
    other, Lisa starts to wave her left hand behind her back.


385 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     385

    Jeff looking through his camera.


386 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT)                     386

    We get a closer view of the waving hand. She stops waving
    and holds her fingers spread out. With her other hand she
    points to the wedding ring on her left hand.

                       STELLA
             Mrs. Thorwald's ring!

    THE LENS PANS UPWARD AND ACROSS until it brings Thorwald's
    profile into the picture. He is looking down directly at
    Lisa's hands. His head slowly turns, and he looks right up
    - directly into the lens. Suddenly he becomes aware that
    Lisa is signalling to someone who is watching him.


387 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 387

    Jeff and Stella. He drops the camera into his lap.

                       JEFF
             Stella! The lights! He'd seen us!

    Stella hurries from the window, turning off lights, as Jeff
    backs his chair into the room.


388 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                  388

    As Thorwald's attention is drawn back to the second
    policeman to answer further questions, the first policeman
    takes Lisa by the arm and leads her out of the apartment.
    He goes down the corridor pushing the curious people away
    from the door.
                                                           155.


389 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 389

    The last light out, Stella stops to catch her breath, and
    turns to Jeff.

                       STELLA
             When you took your first snapshot -
             - did you ever think it would bring
             you to this?

                       JEFF
                  (Urgently)
             Stella - how long do you think
             he'll stay there?

                       STELLA
                  (Squinting out window)
             Unless he's dumber than I think, he
             won't wait 'til his lease is up.

    Jeff points to a drawer in the wall cabinets.

                       JEFF
             My billfold! In the right hand
             drawer.

    Stella moves to get it.

                       STELLA
             What do you need money for?

                       JEFF
             To bail Lisa out of jail.

    She finds a billfold, hands it to Jeff. He takes it,
    extracts some bills and begins counting them. As he counts,
    Stella comments:

                       STELLA
             You know - you could just leave her
             there until after next Tuesday - so
             you could sneak away safely - as
             planned.

    He looks up sharply at her, and then without comment goes
    back to counting the money.

                       JEFF
                  (With obvious
                  disappointment)
             One hundred and twenty-seven.

                       STELLA
                                                           156.


             How much do you think you'll need?

                       JEFF
             First offense burglary --
                  (He shrugs)
             -- probably two-fifty.
                  (Gets an idea, points)
             The piggy bank.

    Stella, following his pointing finger, gets a piggy bank
    down from a shelf on the sideboard. He takes it, cracks it
    on the knee of his cast. It splits open, and some money
    comes out. Mostly bills, a few silver halves.

    What he doesn't get, Stella picks up.

                         STELLA
             Ten here.

                       JEFF
             Thirty-three here. Totals one-
             ninety. Not enough.

                       STELLA
             I got twenty or so in my purse.
             Give me what you've got.

    Jeff does, as Stella gets her purse.

                       JEFF
             What about the rest?

                       STELLA
             When those cops get a look at Miss
             Fremont -- they'll even contribute.

    Stella goes up to the door. The phone RINGS. Jeff grabs it,
    picks it up. Stella pauses.

                       JEFF
                  (To phone)
             Just a minute.
                  (To Stella)
             I'll tell you who it is when you
             get back.

    Stella goes quickly out the door. He returns to the phone
    call, glancing at the same time toward the courtyard.


390 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     390

                         JEFF
                                      157.


Jefferies.

          COYNE
     (Filter)
This is Coyne, Jeff.

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

          COYNE
     (Wearily)
Look Jeff, don't louse up my night
with another man killer stuffing a
grisly trunk that turns out to be -
-

          JEFF
     (Interrupting harshly)
Listen to me! Lisa's been arrested.

          COYNE
     (Slightest pause)
Your Lisa?

          JEFF
My Lisa. She went into Thorwald's
apartment, and he came back. The
only way I could get her out was to
call the police.

          COYNE
     (Angry)
I told you that --

          JEFF
     (Interrupting)
I know what you told me! She went
in to get evidence, and she came
out with it.

          COYNE
Like what?

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

          COYNE
     (Grudgingly)
A possibility.
                                                           158.


                       JEFF
                  (Talking fast)
             A fact! Last night he killed a dog
             for pawing in his garden. Why?
             Because he had something buried in
             there. Something a dog could scent.

                       COYNE
             Like an old hambone?

                       JEFF
                  (Fast)
             I don't know what pet name Thorwald
             had for his wife. And that night he
             went out half a dozen times with
             the metal suitcase. He wasn't
             taking his possessions, because
             they're up in his apartment now!

                       COYNE
             You think perhaps it was "old
             hambone?"

                       JEFF
             In sections! And one other thing,
             doubting Tom - it just occurred to
             me that all the calls Thorwald made
             were long distance! If he called
             his wife the day she left - after
             she arrived in Merritsville - why
             did she need to send him a postcard
             saying she'd arrived?

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

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

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


391 EXT. NEIGHBORHOOD - LONG SHOT - (NIGHT)                       391

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

                       JEFF
                                                            159.


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

                       COYNE
             If that ring checks out, we'll give
             him an escort. So long.

    He hangs up, and just as he does, Jeff looks toward
    Thorwald's apartment. He rolls forward to the window.

    He seems a little puzzled by what he sees.


392 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                   392

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


393 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT)              393

    Jeff scratches the side of his chin, studies Thorwald's
    apartment as if he might see some small clue as to where
    the salesman is. He looks toward the intersection to his
    left. Apparently he sees nothing. He turns to look down
    into the garden.


394 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                   394

    Miss Lonely Hearts is standing in the yard outside her
    apartment, looking up to the porch of Miss Torso. The
    ballet dancer is in high heels and a fresh summer dress.

                       MISS TORSO
                  (Faintly heard)
             Have you heard that song he's been
             writing?

    She indicates the song-writer's apartment. Miss Lonely
    Hearts turns, looks up at the studio apartment a moment,
    then looks up at Miss Torso.

                       MISS LONELY HEARTS
                  (Nods yes)
             I'm glad I was here when he played
             it.


395 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT)                   395
                                                              160.


    He sits quietly a moment, thinking. Suddenly he jumps a
    little as the phone rings. He reaches for it, picks up the
    receiver.

                       JEFF
                  (Still looks out window)
             Hello.
                  (No answer)
             Hello, Coyne? Tom? Tom, I think
             Thorwald's left. I don't see
             anything of --
                  (He looks at receiver,
                  then:)
             Hello.

    Slowly he looks up toward Thorwald's apartment. Then, back
    to the receiver. On filter, a receiver can be heard
    carefully being replaced. Jeff slowly lowers the phone into
    the cradle. He looks once more toward Thorwald's apartment.
    Then he turns his chair around quickly and looks toward the
    door to his apartment.


396 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    396

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

    Light showing beneath the door from the hall light.


397 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT)                     397

    Jeff watching, waiting, nervous at first. He reaches for
    the phone, changes his mind. He looks around for some kind
    of a weapon, finds none to suit him. He hears the slightest
    squeak of a floorboard, and looks quickly toward the door
    again.


398 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    398

    The door. Another squeak of a floorboard, so light and
    quickly passing that at any other time it would have no
    significance, even if it could be heard. Then the light
    beneath the door disappears. Black.


399 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT)                     399

    Jeff squints at the door, blinks, squints again.


400 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    400
                                                           161.


    The door. No doubt about it, black.


401 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT)             401

    He looks again for a weapon, and almost by instinct he
    snatches up his flash holder and the small packet of bulbs
    he had taken out to signal Lisa earlier. He tries to move
    his wheelchair farther into the shadows. His eyes are glued
    to the door of his apartment, and his senses are sharp as a
    hunting dog's. He scarcely breathes.


402 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 402

    Only the slightest sound is heard as the doorknob turns.

    The door slowly and carefully swings open, but the corridor
    is too dark to tell at first who is entering.

    The door closes just as quietly. From the shadowed recess
    comes a heavy voice. A threatening voice.

                       THORWALD
             What do you want from me?

    Jeff doesn't answer. Thorwald steps to the top of the
    stairs, and is now somewhat visible. He looks tall and huge
    and explosive.

                       THORWALD
             Your friend - the girl - could have
             turned me in. Why didn't she?


403 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     403

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


404 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 404

    Thorwald comes down the two steps, pauses at the bottom.

                       THORWALD
             What is it you want? A lot of
             money? I don't have any money.

    Jeff doesn't answer.

                       THORWALD
             Say something!
                                                           162.


    He moves forward a couple of steps.

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


405 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     405

    Jeff still doesn't speak. He grips the flash holder a
    little more tightly, lifts it just the fraction of an inch
    as if he is prepared to use it.


406 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT)                406

    Thorwald has advanced to the middle of the room, his eyes
    on Jeff and his hands clenching with the effort to control
    his anger.

                       THORWALD
             Can you get me that ring back?

                        JEFF
                   (Quietly)
             No.

                       THORWALD
                  (Loud)
             Tell her to bring it back!

    He advances a step.

                       JEFF
             I can't. The police have it by now.

                       THORWALD
             Then if the police get me -- you
             won't be around to laugh!

    Thorwald starts to move threateningly for Jeff.


407 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT)                407

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


408 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                     408
                                                              163.


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


409 INT. JEFF'S APARTMENT - (NIGHT)                                  409

    A vision of Jeff and the apartment as seen by Thorwald.

    It is distorted and out of focus, filled with large
    twisting balls of bright yellow color.


410 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                        410

    Thorwald blinking, trying to regain his sight.


411 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT)                   411

    Jeff ejects the used bulb and quickly inserts another.

    He works furiously, sweating. He gets the bulb in the flash
    holder just in time to meet Thorwald coming at him. Jeff
    closes his eyes and another bulb explodes in Thorwald's
    face.


412 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT)                        412

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


413 INT. JEFF'S APARTMENT - (NIGHT)                                  413

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


414 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    414

    Thorwald stumbles back against the side table, knocking
    objects off onto the floor, struggling for balance and
    sight. Jeff works rapidly to put a fresh bulb in the
    holder.


415 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT)                415

    Thorwald regains his equilibrium and some of his sight.
                                                           164.


    Orienting himself, he starts for Jeff again. This time,
    when the flash holder goes off, we see it from Jeff's
    angle. Thorwald is lighted almost white, shockingly
    outlining every detail of his face, clothes, hands. His
    rage and frustration are fixed for a brief but terrifying
    moment. He stumbles backward again, trying to brush the
    light away from his face almost as if it were a solid
    enveloping substance.


416 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT)             416

    Jeff ejects a bulb, puts his last bulb into the flash
    holder. He tries to move the wheelchair a little further
    away from Thorwald. Then he raises the flash holder again.

    In b.g. we see: Coyne, Lisa, Stella and the detectives come
    to Thorwald's door, try it. Locked.

    One of the men steps forward with a flat steel jimmy and
    snaps the lock open. They move quickly into the darkened
    apartment. Coyne hits the lights inside the kitchen. The
    group goes into the living room. The lights go on. No sign
    of Thorwald. Coyne, Lisa and Stella instinctively turn and
    look toward Jeff's apartment.


417 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 417

    From Thorwald's apartment shooting at Jeff's window. A
    sudden bright flash is seen as the last flash bulb goes
    off. And it lights the scene of Jeff in the wheelchair and
    Thorwald diving through the air at him. Darkness rushes in,
    blacker than before.


418 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                 418

    Thorwald has finally reached Jeff, knocking the flash
    equipment out of his hands and coming to grips with him.

    It is apparent that he is trying to pull Jeff out of the
    wheelchair. Jeff fights him off.

    The wheelchair crashes over, spilling Jeff to the floor.

    Thorwald is on top of him, lifting, dragging him to the
    window. Jeff grabs everything he can to keep himself away
    from the window, but Thorwald is far too powerful for him.
    He strains to raise Jeff to the windowsill.

                       THORWALD
                                                              165.


             I'll give you a good look out the
             window.

    Slowly, inexorably, he raises Jeff to the windowsill.

    Jeff frantically grabs for the upright window frame,
    wrapping his arms around it. Thorwald shoves the rest of
    his body over the windowsill.


419 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                        419

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

                       LISA
             Jeff! Jeff!


420 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT)                   420

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

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


421 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    421

    Thorwald fights to dislodge Jeff's grip.


422 EXT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT)                     422

    Looking down on Jeff's face, showing his strain and the
    pain of Thorwald's attack. The brick floor of the patio
    seems a hundred feet below.


423 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    423

    Thorwald and Jeff struggling.


424 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                    424

    Coyne pulling himself to the top of the wall. Lisa, Stella
    and the two men below, looking up. Lisa is white-faced and
    frightened.
                                                              166.


425 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    425

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


426 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                    426

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


427 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT)                   427

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


428 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                    428

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

                       COYNE
             Creel! Your Thirty-eight!


429 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                    429

    Looking down at the two detectives from Doyle's point of
    view. Creel grabs for his gun expertly. The holster breaks
    away. It is in his hand and with a deft movement he tosses
    it upward.


430 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                    430

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


431 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT)                    431

    Thorwald still trying to loosen Jeff's grip. The salesman,
    in a complete, wild, sweating rage, is beyond all reason.
    His glasses hang from one ear, his coat is torn, his tie
    pulled to one side.


432 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT)                   432

    Shooting over Coyne's shoulder as he steadies himself
    against the wall, lifting the service revolver up for a
    shot at Thorwald. His aim is careful, slow, painfully
    deliberate. Jeff seems about to fall.
                                                              167.


433 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                        433

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


434 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                     434

    Two detectives appear behind Thorwald and grab him. The
    startled Thorwald stops his attack on Jeff as he looks
    wildly around to find the source of his new attack.


435 EXT. NEIGHBORHOOD - CLOSEUP - (NIGHT)                            435

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


436 EXT. NEIGHBORHOOD - COMPREHENSIVE SHOT - (NIGHT)                 436

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

    Coyne directs them to improvise something to break Jeff's
    fall -- leaves, greenery, their coats, cushions from the
    patio furniture -- anything they can find. The four
    uniformed policemen rush into the backyard. Lisa and Stella
    come over the wall into the patio beneath Jeff. They look
    up at Jeff, encouraging him to hold on.

    A detective goes into Jeff's cellar door, trying to reach
    his apartment before Jeff loses his grip.

    The siffleuse and her husband are standing on the fire
    escape in plain, almost somber clothes. They watch
    expressionlessly. Beneath them the empty basket which once
    held their dog swings silently in the night air.


437 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                        437

    Jeff, hanging from his windowsill. He loses his grip and
    plunges down into the patio below. Two detectives throw
    themselves beneath him. They are knocked to the ground as
    Jeff's fall tumbles both of them. After Jeff hits, he lies
    still, twisted over to one side.

    Coyne and Lisa rush over to Jeff. There is an audible SOUND
    of shock in the neighborhood as Jeff has fallen --
                                                           168.


    various oh's, ah's, and possibly a stifled scream or two.


438 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT)                 438

    Lisa kneels down, cradles Jeff's head in her lap. There are
    tears in her eyes. Her clothes are disheveled and her dress
    torn. Her hair is disarranged. But withal, her face is as
    beautiful as ever, with love.

                       LISA
             Jeff - Jeff darling!

    He opens his eyes. Winces with pain.

                       LISA
                  (To the detectives)
             Get an ambulance.
                  (Down to Jeff)
             Don't move. Try to lie still.

                       JEFF
             Lisa -- I -- I -- can't tell you
             how scared I was that you -- you
             might --

                       LISA
                  (Affectionately)
             Shut up. I'm all right.

                       JEFF
                  (To Coyne)
             Think you've got enough for a
             search warrant now?

                       COYNE
             Oh sure. Sure. I can make it.


439 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                  439

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

                       DETECTIVE
             Lieutenant Coyne?

                          COYNE (OFF)
                     (Looking up)
             Yeah?

                         DETECTIVE
                                                              169.


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


440 EXT. NEIGHBORHOOD - SEMI CLOSEUP - (NIGHT)                       440

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

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

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

    Coyne turns quizzically at Stella.

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

                                                   DISSOLVE TO:


441 EXT. NEIGHBORHOOD - PAN SHOT - DAY                               441

    Beginning on Jeff's window thermometer, the CAMERA PANS
    FROM RIGHT TO LEFT around the neighborhood.

    In the songwriter's apartment we see the songwriter with a
    guest -- Miss Lonely Hearts. Both in dress and manner she
    seems quite happy and adjusted to life. The songwriter is
    placing the first recording of his new song on a record
    player for her to hear. It is a full symphonic arrangement
    which is heard over. They CONTINUE TO PAN.

    Thorwald's apartment is empty, stripped of its furnishings.
    Two painters are repainting the walls.

    The siffleuse and her husband are on their fire escape,
    training a new white dog to ride in their basket.
                                                              170.


    Miss Torso is practicing her ballet again. She wears a
    white leotard. The sound of someone at the door interrupts
    her. She goes to the door, opens it an inch or two
    cautiously. When she sees who is outside, she throws open
    the door. An innocuous, unhandsome and somewhat shy army
    private enters with a barracks bag slung over one shoulder.
    She kisses him fondly after closing the door. He puts down
    the barracks bag, tosses his hat into a chair and, with the
    attitude of a man who belongs there, goes to the icebox to
    see what's to eat.
             The newlyweds are arguing.

    The CAMERA PANS past Jeff who is asleep in his wheelchair
    facing away from the window. CAMERA MOVES DOWN to the lower
    part of his body and we see that both his legs are now in
    casts. The CAMERA LIFTS SLIGHTLY to show Lisa sitting on
    the sofa nearby. She wears levis and a plaid cotton shirt.
    She is reading a book on travel. She looks up briefly at
    Jeff. When she realizes he is asleep, she puts down the
    travel book and reaches for the latest copy of Harper's
    Bazaar. She settles down to study it as we

                                                         FADE OUT.

    THE END


442 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT)                     442

    The siffleuse and her husband are standing on the fire
    escape in plain, almost somber clothes. They watch
    expressionlessly. Beneath them the empty basket which once
    held their dog swings silently in the night air.


443 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                        443

    Miss Torso, behind the wall of her yard, has been unable to
    see much of anything. Frustrated, she looks up toward the
    composer's apartment.

                        MISS TORSO
              What happened?


444 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                        444

    The song-writer, at the edge of his roof, answers:

                        SONG-WRITER
              Somebody shot the photographer -
              and he fell out his window.
              Something like that.
                                                           171.


445 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                     445

    Torso impulsively says:

                        MISS TORSO
              That music you wrote. It's the most
              beautiful thing I ever heard.


446 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                     446

    The song-writer beams:

                        SONG-WRITER
              Come on up.


447 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT)                     447

    Coyne turns back to Jeff and Lisa.

                        COYNE
              How's your stomach?

                       JEFF
              Bent.

                        COYNE
              You were right. There was something
              in that garden. I just got a signal
              -- it's in Thorwald's icebox now.

    Lisa looks away. Jeff smiles at her discomfort.

                        JEFF
              That reminds me -- two heads are
              better than one.

                                                      FADE OUT.

    THE END
