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Fenêtre sur cour d’Alfred Hitchcock : Jeff et Lisa (2)

Rear Window Fenêtre sur cour Hitchcock James Stewart Grace Kelly

James Stewart (Jeff) et Grace Kelly (Lisa) dans Fenêtre sur cour d’Alfred Hitchcock (1954).

A la suite d’un accident, le photographe Jeff Jeffries (James Stewart) est cloué dans un appartement new yorkais. Il passe le temps de sa convalescence à observer la vie de ses voisins, depuis une fenêtre qui donne sur la cour. Une nuit, il est témoin d’une scène inquiétante, et se met à jouer les détectives avec ses jumelles et le zoom de son appareil photo. La ravissante Lisa (Grace Kelly), qui est amoureuse de Jeff (voir la scène précédente), tente malgré tout d’attirer son attention… (Ci-dessous le script original en anglaisTraduction en français à venir.)

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

JEFF : If she’s pretty enough, she doesn’t have to go anywhere. She just has to « be ».

LISA : Well, « ain’t I? » — Pay attention to me.

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 : Tell me about it.

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

LISA : He likes the way his wife welcomes him home.

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

LISA : Homework. It’s more interesting.

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

LISA : Nothing, thank heaven.

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

LISA : I wouldn’t dare answer that.

JEFF : (After pause) Lisa — there’s something terribly wrong.

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

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 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.

JEFF : He went out a few minutes ago — in his undershirt — and he hasn’t come back yet.

LISA : Jeff — I’ll be honest with you — you’re beginning to scare me a little. (Quietly insistent) Jeff — did you hear what I said? You’re beginning to —

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

LISA : (Sharply) Jeff — if you could only see yourself.

JEFF : Now, Lisa —

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

JEFF : Do you think I consider this recreation?

LISA : I don’t know what you consider it — but if you don’t stop it, I’m getting out of here.

JEFF : You’d better before you catch the disease!

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

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

LISA : What makes you think something’s wrong with her?

JEFF : A lot of things. She’s an invalid who needs constant care — and yet the husband nor anyone else has been in there all day.

LISA : Maybe she died.

JEFF : Where’s the doctor — the undertakers?

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

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

JEFF : Lisa, please!

LISA : There’s nothing to see.

JEFF : There is — I’ve seen things through that window! Bickering, family fights, mysterious trips at night, knives, saws, rope — and since last evening, not a sight or sound of his wife! Now you tell me where she is and what she’s doing!

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

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

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

JEFF : What are you getting at?

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

JEFF : Yeah.

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

JEFF : That’s where he’s being clever. Acting nonchalant.

LISA : And that’s where you’re not being clever. He wouldn’t parade his crime in front of the open shades. (She turns the wheelchair slightly to her left so that he can see the newlyweds’ apartment. Pointing) For all you know — there’s something a lot more sinister going on behind those shades, a newly-wed couple.

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?

He looks out the window, using his binoculars.

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

 

Dialogue extrait de Fenêtre sur cour (Rear Window) d’Alfred Hitchcock (1954). N’oubliez pas qu’il est impossible de travailler un texte sans l’œuvre complète. Vous pouvez trouver le film sur ce lien : 

Fenêtre sur cour – Alfred Hitchcock

Voir aussi notre liste de textes et de scènes issus du théâtre, du cinéma et de la littérature (pour une audition, pour le travail ou pour le plaisir)

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