Birds, The


"THE BIRDS" - by Evan Hunter - 2nd Revision


                                  "THE BIRDS"

                                       by

                                  Evan Hunter

                           Based on the novel "Birds"

                                       By

                               Daphne Du Maurier

                     FINAL DRAFT 2nd Revision March 2, 1962

                

 FADE IN:

 FULL SHOT - GRANT STREET - SAN FRANCISCO - DAY

    It is mid-afternoon, and there is a tempo and pace to the 
    people walking, the doorman HOOTING for taxicabs, the 
    policemen directing traffic.

 PAN SHOT - PEDESTRIANS

    waiting at street corner for light to change.

 CLOSE SHOT - MAN

    at the end of line of pedestrians. He is looking up at the 
    sky.

 TWO SHOT - MAN AND WOMAN NEXT TO HIM

    as she follows his gaze upward.

 LONG SHOT - THE SKY

    with hundreds of gulls in it, wheeling.

 MED. SHOT - THE STREET CORNER

    as the light changes and people begin to cross. In the crowd 
    walking the other way, a man turns to look up at the wheeling 
    gulls in the sky overhead. The CAMERA LOCATES:

 MED. SHOT - MELANIE DANIELS

    in the crowd of pedestrians, approaching Davidson's Pet Shop.  
    She is a young woman in her mid-twenties, sleekly groomed, 
    exquisitely dressed, though hatless. She walks with the quick 
    sureness of the city dweller, a purposefulness in her stride, 
    a mischievous grin on her face. She continues toward the 
    front door of a pet shop and enters.

 INT. BIRD SHOP - MED. SHOT

    Melanie opens the door and comes through, still looking back 
    toward the street and skywards. The proprietor, a MRS.  
    MacGRUDER, comes toward her.

             MELANIE
        Hello, Mrs. MacGruder, have you ever 
        seen so many gulls?

             MRS. MACGRUDER
        Hello, Miss Daniels.

             MELANIE
        What do you suppose it is?

 MED. SHOT

    Mrs. MacGruder takes a look out at the sky. A puppy is 
    BARKING, o.s.

             MRS. MACGRUDER
            (shaking her head)
        There must be a storm at sea. That 
        can drive them inland, you know.

    They are climbing the short flight of steps into the bird 
    department now. The BARKING of the dog SEGUES into the clamor 
    of innumerable birds, TWEETING, TWITTERING, CAWING as Melanie 
    and Mrs. MacGruder go to the counter at the far end.  There 
    is a circular cage in the center of the room, and the walls 
    are lined with wire-mesh cages and smaller wooden cages so 
    that the effect is one of being surrounded by birds, contained 
    birds to be sure. The birds are quite beautiful, mostly exotic 
    birds, small splashes of color behind the wire-mesh cages, 
    larger bursts of brilliant hue on the parrots and parakeets 
    in the bigger cages. As they walk:

             MRS. MACGRUDER
        I was hoping you'd be a little late, 
        Miss Daniels.
            (apologetically)
        You see, he hasn't arrived yet.

             MELANIE
        You said three o'clock.

             MRS. MACGRUDER
        I know. Oh, I know.
            (she is more distressed 
            now)
        I've been calling all morning. Oh, 
        you have no idea. Miss Daniels, 
        they're so difficult to get, really 
        they are. We get them from India, 
        you know, when they're just little 
        chicks, and then we have to...

             MELANIE
        Well, this one won't be a chick, 
        will he?

             MRS. MACGRUDER
        Certainly not. Oh, no. Certainly 
        not. This will be a full grown myna 
        bird. Full grown.

             MELANIE
        And he'll talk?

             MRS. MACGRUDER
        Well, yes, he'll talk. Well, no, no. 
        You'll have to teach him to talk.

             MELANIE
        Yes.

             MRS. MACGRUDER
        Yes.
            (pause)
        Oh my, I suppose I should call them 
        again. They said three o'clock.
            (pause)
        Maybe it's the traffic. I'll call.  
        Would you mind waiting?

             MELANIE
            (judiciously)
        I think maybe you'd better deliver 
        him. Let me give you my address.
            (she begins taking 
            off her gloves)

             MRS. MACGRUDER
            (producing pencil and 
            pad)
        Oh. Oh, well, all right.

    As Melanie starts writing:

             MRS. MACGRUDER
        I'm sure they're on the way, though.  
        Could I just call?

             MELANIE
            (with a resigned sigh)
        Well, all right, but...

    She scurries out behind the counter and out of sight.  Melanie 
    finishes writing her address and stands impatiently by the 
    counter. She taps her teeth with the pencil.

             MRS. MACGRUDER (O.S.)
        Hello, this is Betty MacGruder at 
        Davidson's.
            (pause; accusingly)
        It's past three, you know.
            (pause)
        Well, how long do you think...? All 
        right, would you check it please?  
        Yes, I'll wait.

    Melanie sighs. Leaving her gloves and purse on the counter, 
    she begins wandering around the shop, still tapping her lips 
    with the pencil. There is no menace in the birds surrounding 
    her. They are active and beautiful as they dart behind the 
    bars and mesh of their cages. Off screen, the puppy begins 
    BARKING again as the front door opens. Melanie looks up.

 MED. SHOT - MITCH BRENNER

    as he closes the entrance door behind him and starts up the 
    steps to the bird department. He is a handsome man, about 
    twenty-nine or thirty, well-dressed, and carrying a felt 
    hat.

 CLOSE SHOT - MELANIE

    seeing him, and then turning away to bend before the cage of 
    strawberry finches. She pokes the pencil through the mesh.  
    The birds are startled into scarlet flight.

 TWO SHOT - MELANIE AND MITCH

    as they pass each other in the aisle. He gives a polite little 
    nod, and she gives a polite little smile. But as he passes 
    her, and unknown to her, he turns for a second look -- and 
    then vanishes behind the circular cage as he turns he corner.

 MED. SHOT - MELANIE

    looking at her watch as she wanders around the other side of 
    the cage and then comes face to face with Mitch again.

             MITCH
        I wonder if you could help me.

             MELANIE
        What?

             MITCH
            (deliberately, and 
            with a touch of 
            hauteur)
        I said I wonder if you could help 
        me.

 CLOSE SHOT - MELANIE

    a trifle annoyed by his manner at first. She is about to 
    inform him, if you please, that she is not a shopgirl. But 
    then something rebellious flashes in her eyes and an idea 
    comes to her.

             MELANIE
            (solicitously)
        Yes, what was it you were looking 
        for, sir?

 TWO SHOT - MELANIE AND MITCH

             MITCH
            (deadpan)
        Lovebirds.

             MELANIE
        Lovebirds, sir?

             MITCH
        Yes. I understand there are different 
        varieties, it that true?

             MELANIE
        Well... yes, sir, there are.

             MITCH
        These are for my sister... her 
        birthday you see. As she'll be eleven 
        and... well, frankly, I wouldn't 
        want a pair of birds that were too 
        demonstrative.

             MELANIE
        I understand completely, sir.

             MITCH
        As the same time, I wouldn't want 
        birds that were aloof, either.

             MELANIE
            (leading him around 
            shop)
        No, of course not.

             MITCH
        Do you have a pair that are just 
        friendly?

             MELANIE
        I think so, sir.
            (she looks around)
        Now then, let me see.

             MITCH
            (at the finches)
        Aren't these lovebirds?

             MELANIE
        No, sir, those are... redbirds.

             MITCH
        The sign says strawberry finches.

             MELANIE
            (airily)
        Yes, we call them that too.
            (she moves away)
        Ahhh, here we are, Lovebirds...
            (and stops before a 
            cage of canaries)

             MITCH
        Those are canaries, Miss.
            (pause)
        Doesn't this make you feel awful?

             MELANIE
            (baffled)
        Doesn't what make me...?

             MITCH
        All these innocent little creatures 
        caged up like this?

             MELANIE
        Well, we can't just let them fly 
        around the shop, you know.

             MITCH
        I suppose not. Is there an 
        ornithological reason for keeping 
        them in separate cages?

             MELANIE
        Oh, certainly. It's to protect the 
        species.

             MITCH
        I imagine that's very important.  
        Especially during the moulting season.

             MELANIE
        Yes, that's a particularly dangerous 
        time.

             MITCH
        Are they moulting now?

             MELANIE
        Some of them are.

             MITCH
        How can you tell?

             MELANIE
        Well... they get a sort of hangdog 
        expression.

 CLOSE SHOT - A CAGED BIRD - MITCH'S P.O.V.

    The bird is wearing a distinctly hangdog expression.

             MITCH
        Yes, I see.
            (pause)
        About those lovebirds, Miss...

             MELANIE
        Are you sure you wouldn't like to 
        see a canary instead? We have some 
        very nice canaries this week.

             MITCH
        All right.
            (he smiles)
        She smiles back.

             MITCH
            (he waits)
        All right, may I see one, please?

 CLOSE SHOT - MELANIE

    as she realizes she is expected to take one of the canaries 
    out of the cage. She smiles feebly, glances toward the counter 
    where she expects Mrs. MacGruder to reappear momentarily, 
    and then takes a deep breath. She opens the door to the canary 
    cage, and cautiously puts her hand into it.

             MELANIE
            (feebly)
        Here, birdie. Here, birdie, birdie.

    One of the canaries suddenly flutters out of the cage and 
    into the room. Melanie leaps back, startled.

             MELANIE
        Oh!  Ohhhhh!

 FULL SHOT - THE BIRD DEPARTMENT

    as the canary flies frantically about the room, Melanie and 
    Mitch in pursuit. Mrs. MacGruder appears at the counter, 
    finally confronted with the chaos she's been expecting all 
    day.

             MRS. MACGRUDER
        What is it? Oh! Oh my, one of the 
        birds is loose!

    She joins in the chase around the room. The bird flutters up 
    to the ceiling, and then lands on the counter and watches 
    them suspiciously.

             MITCH
        Shhh! Shhhh!

    He tiptoes up to the bird, hat in hand. Quickly, he covers 
    the bird with his hat, then reaches under to grab it.

 CLOSE SHOT - MITCH

    the canary in his hand.

             MELANIE
        There we are!

             MRS. MACGRUDER
        Oh, good! Oh, wonderful.

 FULL SHOT - THE BIRD DEPARTMENT

    as Mitch carries the canary back to the cage. He opens the 
    door.

             MITCH
            (putting the canary 
            in)
        Back into your gilded cage, Melanie 
        Daniels.

 CLOSE SHOT - MELANIE

    startled.

             MELANIE
        What did you say?

 TWO SHOT - MELANIE AND MITCH

             MITCH
            (savoring this)
        I was merely drawing a parallel, 
        Miss Daniels.

             MELANIE
        But how... how do you know my name?

             MITCH
            (secretly)
        A little birdie told me.
            (he smiles politely)
        Good day, Miss Daniels.
            (he bows to Mrs.  
            MacGruder)
        Madam.
            (he starts out)

             MELANIE
        Hey, wait a minute!

    She goes after him. Mitch turns, stops, smiles, enjoying her 
    bafflement immensely. Melanie studies him. Then:

             MELANIE
        I don't know you.

             MITCH
        Ahhh, but I know you.

             MELANIE
        How?

             MITCH
        We met in court.

             MELANIE
        We never met in court or anyplace 
        else.

             MITCH
        That's true. I'll rephrase it. I saw 
        you in court.

             MELANIE
        When?

             MITCH
        Do you remember one of your practical 
        jokes that resulted in the smashing 
        of a plate glass window?

             MELANIE
        I didn't break that window!

             MITCH
        No, but your little prank did. The 
        judge should have put you behind 
        bars!

             MELANIE
        What are you? A policeman?

             MITCH
        I simply believe in the law, Miss 
        Daniels, and I'm not too keen on 
        practical jokers.

             MELANIE
        What do you call your lovebird story 
        if not a practical...

             MITCH
        Ahhh, but I really do want those 
        birds.

             MELANIE
        You knew I didn't work here. You 
        deliberately...

             MITCH
        Right. I recognized you when I came 
        in. I thought you might like to know 
        what it felt like to be on the other 
        end of a gag. What do you think of 
        that, Miss Daniels?

             MELANIE
        I think you're a louse.

             MITCH
        I am.
            (he tips his hat)
        Good day.
            (to Mrs. MacGruder)
        Madam.
            (and he goes down the 
            steps)

             MELANIE
        And I'm glad you didn't get your 
        lovebirds!

             MITCH
            (breezily, as he goes 
            out)
        I'll find something else.
            (he gives a slight 
            bow)
        See you in court some day.

    The door closes. The puppy begins BARKING.

             MELANIE
            (angrily)
        That... that... who was that?

             MRS. MACGRUDER
        I have no idea.

 CLOSE SHOT - MELANIE

    seething as she stares after him. Suddenly, she gets an idea.

 MED. SHOT - MELANIE

    going down the steps and to the front door of the shop. She 
    looks through the glass.

 LONG SHOT - MITCH - MELANIE'S P.O.V.

    getting into his car at the curb.

 CLOSE SHOT - MELANIE

    looking after the car at the curb.

 CLOSE SHOT - THE LICENSE PLATE CLOSE SHOT - MELANIE

    seeing the plate, giving a brief, determined, angry nod. She 
    begins to repeat the numbers to herself as she turns.

 FULL SHOT - MELANIE

    as she comes up the steps again and walks toward the counter.

 MED. SHOT - MELANIE - MRS. MACGRUDER'S P.O.V.

    as she comes up to the counter.

             MELANIE
        Have you got a pencil?

             MRS. MACGRUDER
        What? Oh, yes, certainly.

    As Melanie begins writing:

             MRS. MACGRUDER
        They said the myna bird would be 
        here later this afternoon. If you'd 
        care to come back...

             MELANIE
        No, you'd better send him. May I use 
        your phone?

             MRS. MACGRUDER
            (bewildered by 
            everything)
        Yes, certainly.
            (she puts phone on 
            counter)

             MELANIE
            (as she dials)
        Do you have any lovebirds?

             MRS. MACGRUDER
        No, not in the shop. But I can order 
        them for you.

             MELANIE
        How soon?

             MRS. MACGRUDER
        Well... well, how soon would you 
        want them?

             MELANIE
        Immediately.
            (into phone)
        Is this the Daily News? Melanie 
        Daniels. Would you get me the city 
        desk, please?

             MRS. MACGRUDER
        I might be able to have them by 
        tomorrow morning. Would that be all 
        right?

             MELANIE
            (with an edged anger)
        That would be just fine.
            (into phone)
        Hello, Charlie, this is Melanie. I 
        want you to do a favor for me.
            (pause)
        No, this is a small one.
            (pause)
        Pressure you? Why, Charlie darling, 
        would I try to pressure you?  Will 
        you call the Department of Motor 
        Vehicles for me and find out who 
        owns this license plate? DKQ dash 
        one seven six.
            (pause)
        Yes, a California plate.
            (pause)
        No, I'll stop up there in a little 
        while. Is daddy in his office?
            (pause)
        Oh. No, no, I don't want to break in 
        on a meeting. Just tell him I'll see 
        him later. Thank you, Charlie.
            (she hangs up)

 CLOSE SHOT - MELANIE ICY DETERMINATION ON HER FACE.

             MELANIE
        Now. What time tomorrow morning?

 FADE IN:

 FULL SHOT - MELANIE'S SPORTS CAR

    pulling up in front of Mitch's building, the top down. She 
    glances up at the address, gets out of the car, comes around 
    to the other side, and opens the door.

 CLOSE SHOT - THE LOVEBIRDS

    in a cage as Melanie reaches for them.

 MED. SHOT - MELANIE

    turning from the car and going into the building. She pauses 
    in the lobby, studies the names alongside the bell buttons.

 CLOSE SHOT - HER GLOVED HAND

    running down the list of names slowly. It stops.

 INSERT - THE CARD

    her finger beside it.

 BRENNER, M. 3B

    CLOSE SHOT - HER GLOVED HAND the forefinger extended as she 
    runs it down over every bell button in one column, and then 
    does the same for the next column.

 MED. SHOT - MELANIE

    as she turns from the bells to the inner door of the lobby, 
    grabbing the knob. A BUZZ SOUNDS. She opens the door.

 REVERSE SHOT - MELANIE

    coming through the door and into the lobby. She walks swiftly 
    toward the elevator where a well-dressed man is standing, 
    waiting. Behind her, the inner door is BUZZING wildly with 
    answering BUZZES. Melanie and the man stand waiting for the 
    elevator, silently. Behind her, the BUZZING STOPS. The 
    elevator doors open. The man smiles pleasantly and allows 
    her to enter first. She does so with a small nod.  The 
    elevator doors close.

 TWO SHOT - MELANIE AND THE MAN - IN THE ELEVATOR

    The birds are CHIRPING wildly in their cage. The man and 
    Melanie stand silently side by side. The man's eyes wander 
    down to the bird-cage. Melanie's eyes move toward him.  Self-
    consciously, she stands with the cage of CHATTERING birds. 
    The man is dead-panned, unsmiling. The elevator stops. The 
    doors begin to open.

 FULL SHOT - MELANIE

    stepping out of the elevator as the doors open. The man is 
    right behind her. She begins looking for apartment 3B. The 
    man is walking down the corridor beside her. She stops in 
    front of the apartment, hesitates, hoping the man will turn 
    the corner in the corridor. Instead, he stops at the apartment 
    just opposite. He begins fumbling in his pocket for his key. 
    He looks at Melanie.

 CLOSE SHOT - MELANIE

    smiling at him feebly.

 FULL SHOT - THE CORRIDOR

    The man spread change and an assortment of junk on the palm 
    of his hand as he searches for his key. Impatiently, Melanie 
    watches him. Making a decision, she puts the birdcage down 
    before the door to apartment 3B, and then opens her purse.

 CLOSE SHOT - MELANIE'S GLOVED HAND

    reaching into the purse for a white envelope.

 INSERT - THE FACE OF THE ENVELOPE

    written there in Melanie's handwriting: MR. MITCHELL BRENNER.

 MED. SHOT - MELANIE

    as she props the envelope against the cage, and then hurriedly 
    goes down the hallway, intent on retreat.

             MAN'S VOICE
        Miss...?  She stops, distressed.

 FULL SHOT - THE CORRIDOR

    the man at the one end, key in his hand; Melanie at the other 
    end, near the elevator.

             MAN
        Is that for Mitch Brenner?

             MELANIE
            (curtly)
        Yes.

             MAN
        He's not home.

             MELANIE
        That's all right.

    She presses button for the elevator.

             MAN
        He won't be back until Monday. I 
        mean, if those birds are for him....

             MELANIE
        Monday?

             MAN
        Yes. I don't think you should leave 
        them in the hall, do you?

             MELANIE
            (trapped)
        Well, I...

    The elevator doors open.

             MELANIE
        Well, where did he go?

             MAN
        Bodega Bay. He goes up there every 
        weekend.

             MELANIE
        Bodega Bay? Where's that?

             MAN
        Up on the coast. About sixty miles 
        north of here.

             MELANIE
        Sixty...
            (her face falls)
        Oh.

             MAN
        About an hour and a half on the 
        freeway. Or two if you take the coast 
        highway.

             MELANIE
        Oh.

             MAN
        I'd hold the birds for him, but I'm 
        going away myself. Someone's got to 
        feed them, I suppose.

             MELANIE
            (in utter despair now)
        Yes. Yes, someone's got to feed them.

             MAN
            (apologetically)
        I'm awfully sorry.

    He puts the key into his lock, opens the door, and goes 
    inside. The door closes. Melanie is alone in the hallway.

 CLOSE SHOT - MELANIE

    exasperated. She looks at the open elevator. She turns to 
    look at the birds.

 LONG SHOT - THE LOVEBIRDS

    in their cage outside the apartment door, CHATTERING.

 MED. SHOT - MELANIE

    surrendering with a gesture of resignation. She walks down 
    the hall, picks up envelope and puts it in her purse, picks 
    up the bird cage, carries it back to the elevator. The birds 
    are COOING and CHIRPING madly.

             MELANIE
        Oh, shut up!

    And she steps into the elevator.

                           DISSOLVE

 FULL SHOT - MELANIE'S OPEN CAR - (MATTE)

    on the coast highway. It is a spectacularly beautiful day, 
    with a cloudless blue sky. The montage of SHOTS that follow 
    should alternate between the winding, twisting road and the 
    ocean below, and CLOSEUPS of Melanie driving with the caged 
    birds on the seat beside her. The last shot should be a FULL 
    SHOT of the car rounding a particularly sharp curve.

 CLOSE SHOT - MELANIE

    She turns wheel forcefully.

 CLOSE SHOT - THE LOVEBIRDS

    in the cage as the car rounds the bend. They lean to one 
    side as the car turns, come up straight again as the car 
    rounds the curve.

 FULL SHOT - (MATTE)

    Car approaching Bodega Bay seen high up.

 CLOSE SHOT - MELANIE

    at the wheel, she glances out toward the bay.

 FULL SHOT - A CLUSTER OF BUILDINGS AT WATERFRONT

    ahead, through the windshield as the car approaches.

 CLOSE SHOT - MELANIE

    behind the wheel, leaning forward slightly for a look at the 
    town.

 LONG SHOT - DOCKS ON LEFT

    through the windshield as Melanie slows her speed.

 CLOSE SHOT - MELANIE

    behind wheel.

 LONG SHOT - STORES

    on right of the road as Melanie enters the town. SLOW PAN 
    matching car's cruise past BAKERY, SHOE REPAIR, CLEANERS, 
 RADIO AND TELEVISION.

 CLOSE SHOT - MELANIE

    behind wheel.

 LONG SHOT - THE TIDES

    past the gas station and beyond to the parking area and the 
    docks, continuing Melanie's slow observation of the place.

 CLOSE SHOT - MELANIE - (PROCESS)

    studying the town. The car turns into road by gas station.

 FULL SHOT - THE TOWN

    through the windshield. The car turns right. There is life 
    in the town now, fishermen crossing the road, women with 
    their hair in curlers, old ladies carrying shopping bags.  
    This is Saturday morning, and the town -- such as it is -- 
    is alive with its inhabitants. We see them from Melanie's

 P.O.V. AS SHE SCANS THE PLACE FOR ITS POST OFFICE. (THIS TO 
 BE TAKEN ON BACK LOT.)

 FULL SHOT - THE CAR

    pulling in, in front of the post office. Melanie opens the 
    door and steps out. She is smartly dressed in a traveling 
    suit and sweater. She looks up at the sign, and then walks 
    quickly toward the front door.

 MED. SHOT - MELANIE

    enters post office.

 CLOSE SHOT - POSTAL CLERK

    behind cage as Melanie approaches it. He is busy filling out 
    a form of some kind, affixing stamps to it, etc. He does not 
    look up as she approaches.

 CLOSE SHOT - MELANIE

    through the bars of the cage.

             MELANIE
        Good morning.

 CLOSE SHOT - POSTAL CLERK

             CLERK
            (without looking up)
        Morning.

 TWO SHOT - MELANIE AND THE CLERK

             MELANIE
        I wonder if you could help me.

             CLERK
        Try my best.

             MELANIE
        I'm looking for a man named Mitchell 
        Brenner.

             CLERK
        Yep.

    He is still busy with his form, still does not look up.

             MELANIE
        Do you know him?

             CLERK
        Yep.

             MELANIE
        Where does he live?

             CLERK
        Right here. Bodega Bay.

             MELANIE
        Yes, but where?

             CLERK
        Right across the bay there.

             MELANIE
        Where?

    It seems as if the Clerk will not answer her. Suddenly, he 
    leaves the window.

 CLOSE SHOT - MELANIE

    through the bars, exasperated.

 REVERSE SHOT - FULL - MELANIE

    as she tries to peek through the bars to see where he's 
    vanished. A door to the left of the window opens, and the 
    Clerk steps out. He walks a little distance as Melanie watches 
    him, then stops, turns and looks at her surprised, as if 
    he'd expected her to be right behind him. He stands stock 
    still, looking at her, saying nothing. She understands then 
    that he wants her to follow him, and she catches up, neither 
    speaking. They go to the front door. He opens it, looks at 
    her, then looks out across the town and the bay. He extends 
    his arm and points.

             CLERK
        See where I'm pointing?

             MELANIE
        Yes?

 FULL SHOT - THE BAY - THEIR P.O.V. - (MATTE)

             CLERK (O.S.)
        See them two big trees across there?

             MELANIE (O.S.)
        Yes?

             CLERK (O.S.)
        And the white house?

             MELANIE (O.S.)
        That's where the Brenners live.

 TWO SHOT - MELANIE AND THE CLERK

             MELANIE
        The Brenners? Mr. and Mrs. Brenner?

             CLERK
        Nope, just Lydia and the two kids.

             MELANIE
        The two kids?

             CLERK
        Yep. Mitch and the little girl.

             MELANIE
        I see. How do I get down there?

             CLERK
        Follow the road straight through 
        town 'til it curves off on the left.  
        That'll take you right around the 
        bay to their front door.

             MELANIE
        The front door.
            (pause)
        Isn't there a back road I can take?

             CLERK
        Nope. That's the road. Straight 
        through town, stay on your left, 
        right around the bay to the front 
        door.

             MELANIE
        You see, I wanted to surprise them.

             CLERK
        Mmmm.

             MELANIE
        I didn't want to come right down the 
        road, where they could see me.

             CLERK
        Mmmm.

             MELANIE
        It's a surprise, you see.

             CLERK
        Mmmmmm.
            (long pause)
        'Course, you could get yourself a 
        boat, cut right across the bay with 
        it. The Brenners got a little dock 
        there you could tie up at. If that's 
        what you wanted to do.

             MELANIE
        Where would I get a boat?

             CLERK
        Down at the dock by the Tides 
        Restaurant. Ever handled an outboard 
        boat?

             MELANIE
            (looking at him)
        Of course.

             CLERK
            (looks back at her)
        D'you want me to order one for you?

             MELANIE
            (surprised)
        Thank you.

             CLERK
        What name?

             MELANIE
        Daniels.

             CLERK
        Okay.

    He nods briefly and goes inside. Melanie looks across the 
    bay.

 FULL SHOT - THE BAY - MELANIE'S P.O.V. - (MATTE)

 CLOSE SHOT - MELANIE

    smiling. She gets a new idea. She reaches into her purse for 
    the envelope. She looks at the envelope, then tears it up 
    and stuffs the torn envelope into her handbag. She turns 
    back toward the post office.

 INT. THE POST OFFICE - FULL SHOT

    as Melanie approaches the Clerk's window. He is still busy, 
    still does not look up.

             MELANIE
        I wonder if you could tell me...

             CLERK
        Yep?

             MELANIE
        The little girl's name.

             CLERK
        The little Brenner girl?

             MELANIE
        Yes.

             CLERK
        Alice, I think.
            (he turns, shouts to 
            someone in rear)
        Harry, what's the little Brenner 
        girl's name?

             HARRY'S VOICE
            (shouting)
        What?

             CLERK
            (shouting)
        The little Brenner girl.

             HARRY'S VOICE
            (shouting)
        Lois!

             CLERK
            (shouting)
        It's Alice, ain't it?

             HARRY'S VOICE
            (shouting)
        No, it's Lois!

             CLERK
            (to Melanie)
        It's Alice.

             MELANIE
        Are you sure?

             CLERK
        Well, I ain't positive, if that's 
        what you mean.

             MELANIE
        I need her exact name, you see.

             CLERK
        That case, I tell you what you do.  
        You go straight through town 'til 
        you see a little hotel on your left 
        there. Not the motel, that's the 
        other end of town. This is the hotel. 
        Now you take a right turn there, you 
        got that?

             MELANIE
        Yes?

             CLERK
        Near the top of the hill, you'll see 
        the school and right behind it, the 
        church. You head for the school.  
        Now just past the school, you'll see 
        a little house with a red mail box.  
        That's where Annie Hayworth lives, 
        she's the school teacher. You ask 
        her about the little Brenner girl.

             MELANIE
        Thank you.

             CLERK
        Yep.
            (pause)
        Could save yourself a lot of trouble. 
        Her name's Alice for sure.

             MELANIE
        Can I have the boat in about twenty 
        minutes?

    The Clerk nods.

             MELANIE
        How much for the phone calls?

             CLERK
            (brushing this aside)
        It's nothing.

 CLOSE SHOT - MELANIE

    grinning, as she makes for the door and EXITS.

 EXT. GENERAL STORE - MED. SHOT - MELANIE

    getting into the car and slamming the door.

                           DISSOLVE

    LONG SHOT (MATTE) - MELANIE'S CAR turning in school road.

 FULL SHOT - MELANIE'S CAR

    passing the school and pulling up outside the teacher's house.

 CLOSE SHOT - THE RED MAIL BOX

    with the name "Hayworth" on it. PULL BACK to reveal:

 FULL SHOT - MELANIE

    passing the mail box and going up the walk to the front door.  
    The house is a two-story frame with steps leading to the 
    front door. There are white curtains in every window of the 
    house, and a sign in the window to the left of the doorway 
    advises, ROOM TO LET. Melanie rings the doorbell.

 CLOSE SHOT - MELANIE

    waiting. She RINGS the bell again:

             ANNIE'S VOICE
            (shouting)
        Yes? Who is it?

             MELANIE
        Me!

             ANNIE'S VOICE
        Who's me?

 FULL SHOT - MELANIE

    walking along the porch of the house. The walk in front of 
    the house is lined with beautifully planted and cared-for 
    flowers. ANNIE HAYWORTH comes round from the back of the 
    house as Melanie reaches the corner. She is a woman of thirty-
    two, tall, big-boned, with a strong beautiful face.  Her 
    hair is disarrayed at the moment, and she is dressed for the 
    garden, wearing slacks and a loose-fitting sweater, and earth-
    stained gloves. But there is something about her, a feeling 
    of expansive comfort, rather than sloppiness.

             MELANIE
        Miss Hayworth?

             ANNIE
        Yes?

             MELANIE
        I'm Melanie Daniels. I'm sorry to 
        bother you, but...

 CLOSE SHOT - ANNIE

    She is puzzled by Melanie who, exquisitely dressed and 
    groomed, seems singularly out of place in Bodega Bay. She 
    studies her openly.

             ANNIE
        Yes?

 TWO SHOT - MELANIE AND ANNIE

             MELANIE
        The man at the post office sent me.  
        He said you'd know the name of the 
        little Brenner girl.

             ANNIE
        Cathy?

             MELANIE
        The one who lives in the white house 
        across the bay?

             ANNIE
        That's the one. Cathy Brenner.

             MELANIE
            (smiling)
        They seemed sure it was either Alice 
        or Lois.

             ANNIE
        Which is why the mail in this town 
        never gets delivered to the right 
        place.
            (She takes out package 
            of cigarettes, offers 
            one to Melanie)
        Did you want to see Cathy about 
        something?

 CLOSE SHOT - MELANIE

    taking cigarette, hesitating.

             MELANIE
        Well... not exactly.

 CLOSE SHOT - ANNIE

    studying her, thinking she understands.

             ANNIE
        Are you a friend of Mitch's?

             MELANIE
        No, not really.

 TWO SHOT - MELANIE AND ANNIE

    There is an awkwardness here. Annie wants to know more. She 
    puffs on the cigarette, smiles, tries a friendly approach.

             ANNIE
        I've been wanting a cigarette for 
        the past twenty minutes, but I 
        couldn't convince myself to stop.  
        This 'tilling of the soil' can get a 
        little compulsive, you know.

             MELANIE
        It's a lovely garden.

             ANNIE
        Thank you. It gives me something to 
        do with my spare time.
            (pause)
        There's a lot of spare time in Bodega 
        Bay.
            (another pause)
        Did you plan on staying long?

             MELANIE
        No. Just a few hours.

             ANNIE
        You're leaving after you see Cathy?

             MELANIE
        Well... something like that.
            (pause)
        I'm sorry. I don't mean to sound so 
        mysterious.

             ANNIE
        Actually, it's none of my business.

    There is a pause. Melanie, by her silence, affirms that it 
    is none of Annie's business.

             ANNIE
            (putting out cigarette)
        I'd better get on my way. Thank you 
        very much.

             ANNIE
        Not at all.

    They begin walking toward the car.

             ANNIE
            (still curious)
        Did you drive up from San Francisco?

             MELANIE
        Yes.

             ANNIE
        It's a nice drive.
            (pause)
        Is that where you met Mitch?

             MELANIE
            (hesitating, then)
        Yes.

             ANNIE
        I guess that's where everyone meets 
        him.

 CLOSE SHOT - MELANIE

    as she gets in behind the wheel. Annie's remark is not lost 
    on her, and a quick look of sudden understanding crosses her 
    face.

             MELANIE
        Now you sound a bit mysterious, Miss 
        Hayworth.

 TWO SHOT - MELANIE AND ANNIE

    as Annie leans over the seat.

             ANNIE
        Do I?
            (she shakes her head, 
            smiles wistfully)
        No, I'm an open book, I'm afraid.
            (pause)
        Or maybe a closed one.
            (she smiles again, 
            sees the lovebirds)
        Pretty. What are they?

             MELANIE
        Lovebirds.

    Taking this as a further indication of Melanie's relationship 
    with Mitch:

             ANNIE
        Mmm.
            (pause)
        Well, good luck, Miss Daniels.

             MELANIE
        Thank you.

    She nods pleasantly, starts the car, pulls away.

 CLOSE SHOT - ANNIE

    watching the car, a look of sad resignation on her face.

                           DISSOLVE

 MED. SHOT - MELANIE

    coming out of Brinkmeyer's General Store, carrying a small 
    paper bag, walking toward her car out front. The CAMERA 
    FOLLOWS her as she gets in. She opens her purse and reaches 
    in for the paper bag.

 CLOSE SHOT - HER HANDS

    She pulls out a birthday card from the paper bag.

 MED. SHOT - MELANIE

    reaching into her purse again for a fountain pen. She unscrews 
    the cap, braces the card on her closed purse.

 INSERT - THE CARD

    Happy Birthday, the usual rhyming sentiments. The pen writes: 
    To Cathy

                           DISSOLVE

 FULL SHOT - MELANIE'S CAR

    crossing the highway down into the parking area behind the 
    Tides, close to the docks.

 HIGH SHOT

    She gets out of the car and walks onto one of the docks, the 
    bird cage in her hand. Melanie approaches a waiting fisherman. 
    She asks for her boat. The fisherman nods. He leads her to 
    the dock and the waiting boat.  She gets into the outboard 
    motorboat, the fisherman helping her. He hands down the 
    lovebirds in their cage.

 FULL SHOT - THE BOAT

    pulling away from the dock, heading across the bay.

 VERY LONG SHOT (MATTE) - THE BOAT

    and the wide expanse of the bay, as it heads on a direct 
    course for the house on the other side.

 VERY LONG SHOT (MATTE)

    Another spectacular SHOT of the small boat.

 FULL SHOT - THE BOAT

    coming head-on toward CAMERA, Melanie at the tiller. She 
    cuts the motor. The motor drifts to a stop. The bay is silent 
    except for the cry of the gulls.

 LONG SHOT - THE BRENNER HOUSE - MELANIE'S P.O.V.

    There is not a sign of activity as the boat drifts just a 
    little closer. As Melanie watches, the front door opens and 
    a woman comes out, walks to a red pickup truck, starts the 
    engine. A little girl comes out of the house, goes to the 
    truck, gets in. The woman shouts something to a man -- Mitch 
    Brenner, probably, though it is difficult to tell from this 
    distance -- and he comes over to the truck.

    The truck grinds into gear, goes around the turnabout, and 
    heads down the road away from the farm, a huge cloud of dust 
    behind it. The farm is still again. Mitch stands looking 
    after the truck for a moment, and then begins walking up 
    toward the barn in the distance.

 CLOSE SHOT

    watching, biting her lip.

 LONG SHOT - THE BRENNER HOUSE

    Mitch reaching the barn and entering. Silence.

 CLOSE SHOT - MELANIE

    watching, waiting.

 LONG SHOT - THE BRENNER HOUSE

    Not a sign of life.

 MED. SHOT - MELANIE

    picking up paddle from deck, beginning to paddle in toward 
    dock.

 FULL SHOT - THE BOAT

    edging in toward the dock. Closer, closer, Melanie puts down 
    the paddle. The boat drifts in.

 MED. SHOT - MELANIE

    leaping ashore, tying up the boat, reaching down for the 
    cage. She climbs onto the dock and approaches the CAMERA 
    until she is in WAIST SHOT. The CAMERA STARTS to RECEDE in 
    front of her as she walks forward.

 THE CAMERA MOVING TOWARD THE HOUSE AND BARN

    The barn door closed, still no sign of Mitch.

 WAIST SHOT - MELANIE

    Coming off the dock and onto the lawn, the CAMERA still 
    RETREATING in front of her. She makes her way carefully across 
    the lawn, glancing toward the barn, carrying the bird cage.  

 FULL SHOT - CAMERA GETTING NEAR THE HOUSE AND BARN

 WAIST SHOT - MELANIE

    crossing the lawn, the CAMERA RETREATING in front of her.

 FULL SHOT - CLOSER - CAMERA APPROACHING THE HOUSE AND BARN

 CLOSE SHOT - MELANIE - WALKING

    CAMERA RETREATING in front of her: Excitement and anticipation 
    on her face. She wets her lips. The CAMERA PANS WITH her as 
    she goes to front door and lets herself in.

 FULL SHOT - INT. THE BRENNER HOUSE ENTRY

    as the door opens. Melanie ENTERS quickly, and closes the 
    door behind her. She glances around for a moment, getting 
    her bearings. The house is silent.

 MED. SHOT - MELANIE

    entering the dining room. Hastily, she puts the cage on the 
    dinning room table, props the card up against it, then glances 
    through the lace curtains on the dinning room window.

 FULL SHOT - THE BARN - CLOSER - THROUGH THE CURTAINS

    as before.

 EXT. BRENNER HOUSE - WAIST SHOT - MELANIE - MOVING P.O.V.

    as the front door opens and Melanie EMERGES. CAMERA PANS AND 
    FOLLOWS her back down front walk. Melanie glances over her 
    shoulder toward the barn.

 EXT. BARN - MOVING P.O.V.

    Mitch has not emerged.

 MOVING P.O.V. - MELANIE

    CAMERA CONTINUES MOVING on Melanie's back toward the end of 
    the dock. Melanie again glances over her shoulder toward the 
    barn.

 MOVING P.O.V.

    further along the dock toward the barn. Still no Mitch.

 BACK TO MELANIE

    CAMERA CONTINUES on her back for a short distance and STOPS 
    as Melanie continues to the end of the dock and climbs into 
    the boat.

 MOVING P.O.V. - MELANIE

    CAMERA CONTINUES on her back for a short distance and STOPS 
    as Melanie continues to the end of the dock and climbs into 
    the boat.

 MOVING P.O.V. - MELANIE

    CAMERA FOLLOWS Melanie as she paddles away from the dock.

 CLOSE SHOT - MELANIE (PROCESS)

    as she looks toward the house and barn. She starts to duck 
    down.

 EXT. BARN - MELANIE'S P.O.V.

    as Mitch EMERGES from the barn and goes toward the house. He 
    goes INSIDE.

 CLOSE SHOT - MELANIE (PROCESS)

    peering over the stern of the boat.

 EXT. HOUSE - MELANIE'S P.O.V.

    Mitch dashes OUT of the front door and looks around.

 CLOSE SHOT - MELANIE

    as she watches Mitch.

 MELANIE'S P.O.V.

    as Mitch runs back INTO the house.

 CLOSE SHOT - MELANIE (PROCESS)

    peering over stern of the boat.

 MITCH - MELANIE'S P.O.V.

    as he EMERGES from the front door and raises binoculars.

 EXTREME CLOSE SHOT - MITCH

    as he looks towards Melanie's boat through the binoculars.  
    The Bay is reflected in the glass.

 CLOSE SHOT - MELANIE (THROUGH BINOCULARS)

    She is pulling at the cord which starts the motor. She sits 
    down and grabs the tiller. She looks back over her shoulder, 
    as the boat moves away.

 CLOSE SHOT - MITCH

    He is smiling with amused recognition; he lowers the 
    binoculars and dashes OUT OF FRAME.

 CLOSE SHOT - MELANIE (PROCESS)

    The CAMERA IS MOVING WITH her as she looks toward Mitch.

 LONG SHOT - THE BRENNER HOUSE

    Mitch is running for his car. The car door SLAMS. The ENGINE 
    STARTS. The car practically leaps out of the driveway.

 CLOSE SIDE-ON SHOT - MELANIE

    as she watches the car race along the shore.

 LONG SHOT - CAR - MELANIE'S P.O.V.

    Mitch's car racing along the shore.

 CLOSE SHOT - THREE QUARTER BACK LEFT - MELANIE (PROCESS)

    She looks off RIGHT toward car.

 CAR - MELANIE'S P.O.V.

    Mitch's car racing along the shore road, turns inland at 
    Keesport.

 CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

    Melanie looks CAMERA RIGHT, her eyes slowly turn CAMERA LEFT.

 CAR - MELANIE'S MOVING P.O.V.

    Mitch's car races past wrecked ferry boat.

 CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

    Her head continues to turn CAMERA LEFT. She looks off and 
    sees:

 LONG SHOT - THE DOCK - MELANIE'S MOVING P.O.V.

    moves forward slower. Mitch drives onto dock, gets out of 
    the car and stands waiting.

 CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

    partially posing for Mitch, her hair blowing in the wind, 
    her head tilted back, a smile on her face.

 FULL SHOT - GULL

    swooping down from UPPER LEFTHAND CORNER OF FRAME TO LOWER 
 RIGHT.  CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

    as gull strikes the back of her head. She recoils and looks 
    up with shock and pain.

 GULL - MELANIE'S P.O.V.

    The gull soars away from LOWER RIGHTHAND corner of frame to 
 UPPER LEFT.

 CLOSE SHOT - MELANIE

    reacting to the sudden attack and looking after receding 
    gull. Blood is starting down her temple from her hair.

 MED. SHOT - MITCH

    as the boat comes closer. The boat drifts in toward a second 
    boat tied up at the dock. Mitch crosses the docked boat, 
    leaps into Melanie's boat.

 MED. SHOT - MITCH AND MELANIE

    in the boat.

             MITCH
        That was the damndest thing I ever 
        saw.

             MELANIE
        What made it...

             MITCH
        It deliberately came down at you --
        you're bleeding...

 CLOSE SHOT - MELANIE

    a thin line of blood trickling from the cut on top of her 
    head, down onto her forehead and cheek. She seems dazed.  
    She shakes her head in answer to him, then touches the top 
    of her head, looks at her bloody fingers, and then nods 
    weakly.

 CLOSE SHOT - MITCH

    concerned.

             MITCH
        Come on, let's take care of that.

 FULL SHOT - THE DOCK

    as they climb onto it. A fisherman standing by looks at 
    Melanie curiously.

             FISHERMAN
        What happened, Mitch?

             MITCH
            (over his shoulder)
        A gull hit her.

             FISHERMAN
        A what?

    The CAMERA FOLLOWS them as they walk across the parking area 
    behind the Tides, and to the closest office. Mitch tries the 
    door knob. The door is locked.

 INSERT - SIGN ON DOOR OUT TO LUNCH TWO SHOT - MELANIE AND 
 MITCH

    as he tries door of next office. It, too, is locked.

             MITCH
        Come on, we'd better go up to the 
        restaurant.

    They walk quickly up the slope to the Tides, establishing 
    gas station across the road, the collection of stores 
    opposite, the cars pulling in and out. Mitch opens the door 
    for her, and they ENTER.

 INT. THE TIDES - FULL SHOT

    This is a small neighborhood restaurant, with the feeling of 
    a local hangout. There are fishermen lounging at the bar, 
    and a teenage boy playing one of the pinball machines. Two 
    ladies in housedresses, with their hair in curlers, are 
    sitting at one of the booths, having coffee. The rear wall 
    of the restaurant is almost all window, looking out over the 
    bay and the parking area below. A television set over the 
    bar is going. The shots and horsehoof beats of an old Western 
    movie should be HEARD muted throughout following.  DEKE 
    CARTER, who owns the restaurant with his wife, alternates 
    his attention between serving his customers and watching the 
    Western. He looks up immediately when Mitch and Melanie ENTER.

 MED. SHOT - THE BAR

    Mitch and Melanie coming over to it.

             MITCH
        Deke, have you got a first aid kit 
        back there?

             DEKE
            (instantly alarmed)
        What happened?

             MITCH
        Young woman cut herself.

             DEKE
        Shall I call the doctor?

             MITCH
            (accepting the first 
            aid kit)
        I don't think it's that serious.  
        You want to sit up here?

    Melanie climbs onto the stool.

             DEKE
        You cut yourself outside, Miss?

             MITCH
        Stop worrying, Deke. She was in a 
        boat.

    He is rummaging around in the kit.

             DEKE
        I had a man trip and fall in the 
        parking lot once, sued me before I 
        could bat an eyelash.

             MITCH
        I don't think Miss Daniels is going 
        to sue anybody.

             DEKE
            (doubtfully)
        Well, you're the lawyer.
            (goes to other end of 
            bar)

 TWO SHOT - MELANIE AND MITCH

    as he unscrews cap from bottle of peroxide.

             MELANIE
        What's that?

             MITCH
        Just some peroxide. I want to clean 
        out the cut.

    He pours peroxide onto a gauze pad and begins swabbing the 
    cut. They are silent for several seconds. Then:

             MELANIE
        So you're a lawyer.

             MITCH
        That's right. What are you doing in 
        Bodega Bay?

             MELANIE
        Do you practice here?

             MITCH
        No, San Francisco. What are you...?

             MELANIE
        What kind of law?

             MITCH
        Criminal.

             MELANIE
        Is that why you'd like to see everyone 
        behind bars?

             MITCH
        Not everyone, Miss Daniels.

             MELANIE
        Only violators and practical jokers.

             MELANIE
        That's right.

    As he swabs cut.

             MELANIE
        Ouch!

             MITCH
        I'm sorry.
            (pause)
        What are you doing up here?

             MELANIE
        Didn't you see the lovebirds?

             MITCH
        You came all the way up here to bring 
        me those birds?

             MELANIE
        To bring your sister those birds.  
        You said it was her birthday.  
        Besides, I was coming up anyway.

             MITCH
        What for?

             MELANIE
        To see a friend of mine.
            (she winces)
        Will you please be careful?

             MITCH
        I'm sorry.
            (pause)
        Who's your friend?

             MELANIE
        Why...
            (pause, stymied)

             MITCH
        Yes?

             MELANIE
            (blurting the only 
            name she knows)
        Annie. Annie Hayworth.

             MITCH
        Well, well, small world. Annie 
        Hayworth.

             MELANIE
            (realizing this was a 
            mistake)
        Yes.

             MITCH
        How do you know Annie?

             MELANIE
            (the lie getting deeper)
        We... we went to school together.  
        College.

             MITCH
        Did you! Imagine that! How long will 
        you be staying?

             MELANIE
        Just a few... just a day or two... 
        the weekend.

             MITCH
        I think we'll have to shave the hair. 
        Deke, have you got a razor?

             MELANIE
            (pulling away)
        Oh, no you don't!

             MITCH
        It's still bleeding a little. Here, 
        let me put this on.

    He takes up a tiny Band-Aid and, tearing the gauze off, says:

             MITCH
        Bend your head down. This little 
        Band-Aid won't show.

    He presses the tiny Band-Aid over the cut. Melanie takes a 
    mirror from her handbag and, bending her head down, looks at 
    it. She covers her hair over it as Mitch says:

             MITCH
        So you came up to see Annie, huh?

             MELANIE
        Yes.

             MITCH
        I don't believe you.
            (grins)
        I think you came up to see me.

             MELANIE
        Why would I want to see you, of all 
        people?

             MITCH
            (shrugging)
        I don't know. But it seems to me you 
        must have gone to a lot of trouble 
        to find out who I was, and where I 
        lived and...

             MELANIE
        It was no trouble at all. I simply 
        called my father's paper. Besides, I 
        was coming up here anyway, I already 
        told you...

             MITCH
            (grinning)
        You like me, huh?

             MELANIE
        I loathe you. You have no manners.  
        And you're arrogant and conceited 
        and... I wrote you a letter about 
        it, in fact, but I tore it up.

             MITCH
        What did it say?

             MELANIE
        None of your business.
            (pause)
        Am I still bleeding?

    She lowers her head.

             MITCH
        Can't see a thing.

             MELANIE
        I can't say I like your seagulls 
        much, either. I come all the way up 
        here to...

             MITCH
        But you were coming up anyway, 
        remember?

             MELANIE
        I was! And all I get for my pains is 
        a... a... a hole in the head!

             MITCH
            (grinning)
        Right next to the one you already 
        had.

             MELANIE
            (angrily)
        Look, Mr. Brenner...

             LYDIA (O.S.)
        Mitch?

    They turn toward the door.

 MED. SHOT - LYDIA BRENNER

    closing the door behind her, coming toward the bar. She is a 
    woman in her late forties, attractive, wearing shirt, blouse, 
    cardigan sweater, low heels. There is nothing agrarian-looking 
    about her. She speaks with the quick tempo of the city 
    dweller, and there is lively inquiry in her eyes.

             LYDIA
            (puzzled)
        I thought I saw your car. What are 
        you doing in town?

             MITCH
            (rising to greet her)
        I had to acknowledge a delivery.
            (grins)
        Mother, I'd like you to meet...

             LYDIA
        A what?

             MITCH
            (continuing)
        Melanie Daniels. Melanie, my mother.

 CLOSE SHOT - LYDIA

    Her eyebrows raising ever so slightly, not in displeasure, 
    but simply in enormous curiosity as she acknowledge the 
    introduction.

             LYDIA
        How do you do, Miss Daniels?
            (to Mitch)
        Acknowledge a what?

 BACK TO SCENE

             MITCH
        A delivery, Mother. Miss Daniels 
        brought some birds from San Francisco.

    Lydia thinks she understands. This is one of Mitch's San 
    Francisco chippies.

             LYDIA
        Oh. I see.

             MITCH
        For Cathy. For her birthday. By the 
        way, where is she?

             LYDIA
        Across at Brinkmeyer's.

             MITCH
        Miss Daniels is staying for the 
        weekend. In fact, I've already invited 
        her to dinner tonight.

 CLOSE SHOT - MELANIE

    turning to him in surprise, beginning to shake her head.

 CLOSE SHOT - MITCH

             MITCH
        After all, you did go to the trouble 
        of bringing up those birds.

             MELANIE (O.S.)
        I'm sorry. I couldn't possibly...

 BACK TO SCENE

             LYDIA
        You did say birds?

             MITCH
        Yes, lovebirds. We couldn't let you...

             LYDIA
            (understanding 
            completely now)
        Lovebirds, I see.

             MITCH
        ...get away without thanking you in 
        some small way. After all, you haven't 
        even met Cathy and you are staying 
        for the weekend...

             MELANIE
        Yes, but...

             MITCH
        You are, aren't you?

             MELANIE
        Certainly, but...

             MITCH
        Then it's settled. What time is 
        dinner, Mother?

             LYDIA
        Seven o'clock, same as usual.

             MITCH
        I'll pick you up, Miss Daniels.  
        Where are you staying?

             MELANIE
        With... with Annie, of course.

             MITCH
        Of course, how stupid of me. A quarter 
        to seven, will that be all right?

             MELANIE
        Annie... Annie may have made other 
        plans. I'll have to see. Besides, I 
        can find my own way.

             MITCH
        You're sure now? You won't hire a 
        boat or anything?

             MELANIE
        I'm sure.

             MITCH
        Seven o'clock then.

             MELANIE
        Maybe.

 CLOSE SHOT - MITCH

    grinning.

             MITCH
        We'll be waiting. How's your head 
        now?

 MED. SHOT - THE GROUP

    Lydia looks at Mitch inquiringly.

             MELANIE
            (with an overwarm 
            smile)
        It's nothing, Mrs. Brenner. A gull 
        hit me, that's all.

    Lydia stares at her doubtfully.

                           DISSOLVE

 EXT. ANNIE HAYWORTH'S HOUSE - FULL SHOT

    Melanie is standing on the front steps, a paper bag in her 
    hands. She rings the doorbell. The ROOM TO LET sign is still 
    in the window. The door suddenly opens.

             ANNIE
            (surprised)
        Oh, hi!
            (pause)
        Did you find her all right?

 TWO SHOT - MELANIE AND ANNIE

             MELANIE
        Yes, I did.

    There is a long awkward pause. Annie smiles expectantly at 
    Melanie. Melanie seems hesitant.

             MELANIE
        I was wondering...

             ANNIE
        Yes?

             MELANIE
        That sign.
            (pause)
        Do you think I could have the room 
        for a single night?

             ANNIE
        Well, I'd really hope to rent it 
        for...

             MELANIE
        I would appreciate it. I've tried 
        everywhere in town, and they're all 
        full.

             ANNIE
            (after a pause)
        Sure. You can have it.
            (smiles)
        Where's your bag? In the car?

    Melanie holds up the paper bag. Annie looks at it and then 
    smiles.

             ANNIE
        It's utilitarian, I'll say that for 
        it.

             MELANIE
            (smiling)
        I just picked up some things for the 
        night at the general store. You see, 
        I hadn't planned on spending much 
        time here.

             ANNIE
        Yes, I know. Did something unexpected 
        crop up?

    There is a moment where both women look at each other...  
    When Melanie answers, it is abrupt and a trifle cold -- she 
    is again telling Annie to mind her own business.

             MELANIE
        Yes.
            (pause)
        May I use your phone? I'd like to 
        call home.

    There is another moment where Annie appraises Melanie's 
    attitude, and then accepts it. She suddenly smiles warmly.

             ANNIE
        Why don't you come in then?  I was 
        just about to mix a martini.

    She is about to lead Melanie into the house when they both 
    hear a SOUND overhead. They turn to look skyward.

 LONG SHOT - A FLOCK OF LARGE BIRDS

    flying in beautiful precise formation against the sky.

 TWO SHOT - ANNIE AND MELANIE

             ANNIE
            (shaking her head)
        Don't they ever stop migrating?

    But Melanie is watching the sky and the birds with a curiously 
    serious expression.

                           DISSOLVE

    LONG SHOT - THE APPROACH ROAD to the Brenner house. Melanie's 
    car is driving along the shore. Behind her, the sky is stained 
    with sunset. There are gulls on the bay, cawing into the 
    silence.

 FULL SHOT - THE CAR

    as it pulls into the Brenner yard.

 MED. SHOT - MELANIE

    reaching up for the rear view mirror, tilting it to examine 
    her lipstick, touching the edge of her mouth with one hand.  
    She gets out of the car, CAMERA FOLLOWING her to the house.  
    She climbs the porch steps, KNOCKS on the door. There is no 
    answer. Puzzled, she begins walking back into the yard. In 
    the distance, she sees Mitch, Lydia and Cathy coming from 
    behind the chicken sheds. She raises her arm in greeting.

             MELANIE
            (calling)
        Hi!

 FULL SHOT - MITCH, CATHY, LYDIA

    in the distance. Mitch and Cathy raise their arms.

             CATHY
            (excitedly)
        Hi!
            (she breaks into a 
            trot toward Melanie)

    CLOSE SHOT - CATHY as she approaches. She is an eleven-year-
    old child, clear-eyed, bright, uninhibited, wearing a shirt 
    and blouse, her hair cropped close to her head. She hesitates 
    for just a moment.

             CATHY
        Miss Daniels?

             MELANIE
        Yes?

    And Cathy flings herself into Melanie's arms, almost knocking 
    her off her feet, hugging her fiercely.

             CATHY
        They're beautiful! They're just what 
        I wanted! Is there a man and a woman? 
        I can't tell which is which.

             MELANIE
        Well, I suppose...

 FULL SHOT - ALL OF THEM

             MITCH
            (coming up)
        Hi. Annie had no plans, huh? I'm 
        glad you came. Are you hungry?

             MELANIE
        Famished.

             MITCH
        Dinner's just about ready.
            (explaining)
        We were out back looking at the 
        chickens. Something seems to be wrong 
        with them.

             LYDIA
            (going toward house)
        There's nothing wrong with those 
        chickens, Mitch. I'm going to call 
        Fred Brinkmeyer right now.

             MITCH
            (as they follow into 
            house)
        I don't know what good that'll do.
            (aside to Melanie)
        Chickens won't eat.

 FULL SHOT - THE BRENNER HOUSE

    as they ENTER, CAMERA FOLLOWING them throughout into dining 
    room where Lydia dials phone, talking to Mitch all along.

             LYDIA
        He sold the feed to me, didn't he?

             MITCH
        Caviat emptor, Mother. Let the buyer 
        beware.

             LYDIA
        Whose side are you on?

             MITCH
        I'm simply quoting the law.

             LYDIA
        Never mind the law. Cathy, you can 
        start serving the soup.

    She has finished dialing now, is waiting while the phone 
 RINGS.

             LYDIA
        This won't take a minute, Miss Dan...
            (into phone)
        Hello, Fred? This is Lydia Brenner.  
        I didn't interrupt your dinner, did 
     I?
            (pause)
        Fred, that feed you sold me is no 
        good.
            (pause)
        The chicken feed. The three bags I 
        brought.

 CLOSE SHOT - LYDIA

    holding the telephone.

             LYDIA
        Well, it's just no good. The chickens 
        won't eat it.
            (pause)
        They're always hungry, Fred. I opened 
        one of the sacks when I got home, 
        and I poured it out for them, and 
        they wouldn't touch it. Now you know 
        chickens as well as I do, and when 
        they won't eat, there's just something 
        wrong with what they're being fed, 
        that's all.
            (pause)
        No, they're not fussy chickens.
            (pause)
        Who? What's he got to do with it?
            (pause)
        Fred, I don't care how much feed you 
        sold him. My chickens...
            (pause)
        He did? Dan Fawcett?
            (pause)
        This afternoon?
            (pause)
        Well, that only proves what I'm 
        saying. The feed you sold us is...
            (pause)
        Oh. Oh, I see. Uh-huh. Uh-huh.  Uh-
        huh. Maybe I ought to go over to see 
        him. You don't think there's something 
        going around, do you?
            (pause)
        No, never.
            (pause)
        No, Fred, they don't seem sick at 
        all. They just won't eat.
            (pause)
        Mmmm. Mmmmm. Well, I'll try to get 
        over to Dan's farm.  Maybe he'll... 
        mmmmm... mmmmm... all right, Fred, 
        thanks.
            (she hangs up, puzzled)

 FULL SHOT - THE DINING ROOM

    as Lydia comes to the table. Mitch and Melanie are sitting 
    opposite each other in the center chairs. Cathy is serving 
    the last bowl of soup.

             LYDIA
            (as she sits)
        He got a call from Dan Fawcett a 
        little while ago. His chickens won't 
        eat, either.

             CATHY
        It's what you said, Mom. Mr.  
        Brinkmeyer's feed is no good.

             LYDIA
            (slowly)
        No, Cathy. He sold Mr. Fawcett a 
        different brand.
            (extremely worried)
        You don't think they're getting sick, 
        do you, Mitch?

 CLOSE SHOT - LYDIA

    her eyes troubled as she picks up her napkin.

                           DISSOLVE

 FULL SHOT - THE LIVING ROOM

    The meal is over. The lovebirds in their hanging cage have 
    been covered for the night. In the b.g. Mitch and Lydia are 
    carrying the stacked dishes to the kitchen. In the f.g.  
    Cathy and Melanie are by a small upright piano. Melanie is 
    playing a Debussy Arabesque: She picks up a cigarette from 
    the ashtray now and again to take a puff.

             CATHY
        I still don't understand how you 
        knew I wanted lovebirds.

             MELANIE
        Your brother told me.

             LYDIA
            (as she goes into 
            kitchen)
        Then you knew Mitch in San Francisco, 
        is that right?

             MELANIE
        No, not exactly.

             CATHY
        Mitch knows lots of people in San 
        Francisco. Of course, they're mostly 
        hoods.

             LYDIA
            (from the kitchen)
        Cathy!

             CATHY
        Well, Mom, he's the first to admit 
        it.
            (to Melanie)
        He spends half his day in the 
        detention cells at the Hall of 
        Justice.

             LYDIA
            (coming from kitchen)
        In a democracy, Cathy, everyone is 
        entitled to a fair trial. Your 
        brother's practice...

             CATHY
        Mom, please, I know all the democracy 
        jazz. They're still hoods.
            (to Melanie)
        He's got a client now who shot his 
        wife in the head six times. Six times, 
        can you imagine it?
            (she starts for living 
            room)
        I mean, even twice would be overdoing 
        it, don't you think?

             MELANIE
            (to Mitch as he carries 
            load of dishes out)
        Why did he shoot her?

             MITCH
        He was watching a ball game on 
        television.

             MELANIE
        What?

             MITCH
        His wife changed the channel.

    He GOES INTO kitchen.

 TWO SHOT - MELANIE AND CATHY

    Melanie interrupts her playing to take another puff at her 
    cigarette.

             CATHY
        Is smoking fun?

             MELANIE
        Oh, I suppose so.

             CATHY
        Could I have a puff?

             MELANIE
        I don't think your mother would like 
        that.

             CATHY (O.S.)
        Just a little one.

 TWO SHOT - MELANIE AND CATHY

    They both glance conspiratorially toward the kitchen.  
    Quickly, Melanie extends the cigarette. Quickly, Cathy takes 
    a small puff.

             CATHY
            (delighted)
        Why, it's just like air, isn't it?
            (determined)
        When I grow up, I'm gonna smoke like 
        a chimney! I'll be eleven tomorrow, 
        you know.

             MELANIE
        I know.

             CATHY
        Are you coming to my party?

             MELANIE
        I don't think so.
            (seeing the child's 
            face)
        I have to get back to San Francisco.

             CATHY
        Don't you like us?

             MELANIE
            (touching her hair)
        Darling, of course I do!

             CATHY
        Don't you like Bodega Bay?

             MELANIE
        I don't know yet.

             CATHY
        Mitch likes it very much. He comes 
        up every weekend, you know, even 
        though he has his own apartment in 
        the city. He says San Francisco is 
        just an ant hill at the foot of a 
        bridge.

             MELANIE
            (smiling)
        I guess it does get a little hectic 
        at times.

             CATHY
        If you do decide to come, don't say 
        I told you about it. It's supposed 
        to be a surprise party.

    Melanie laughs.

             CATHY
        You see, they've got this whole 
        complicated thing figured out where 
        I'm going over to Michele's for the 
        afternoon, and Michele's mother is 
        going to say she has a headache and 
        would I mind very much if she took 
        me home. Then, when we get back here, 
        all of the kids'll jump out!
            (pause)
        Won't you come? Won't you please 
        come?

 CLOSE SHOT - MELANIE

    shaking her head, glancing toward the kitchen.

             MELANIE
        I don't think so, Cathy.

 INT. KITCHEN - TWO SHOT - LYDIA AND MITCH

    Mitch is helping her as she loads the dishwasher.

             LYDIA
        She's a charming girl, isn't she, 
        Mitch?

             MITCH
        Yes, very.

             LYDIA
        And certainly pretty.

             MITCH
        Yes.

             LYDIA
        How long have you known her?

             MITCH
        I told you. We met yesterday.

             LYDIA
        In a bird shop.

             MITCH
        Yes.

             LYDIA
        She was selling birds.

             MITCH
        No. I only led her into believing I 
        believed she was... Mother, it's 
        really very complicated.

             LYDIA
        But she did buy the lovebirds and 
        then brought them all the way...

             MITCH
        Mother, where did you go to law 
        school?

             LYDIA
            (laughing)
        Forgive me. I suppose I'm just 
        naturally curious about a girl like 
        that.
            (pause)
        She's very rich, isn't she?

             MITCH
        I suppose so. Her father owns a big 
        newspaper in San Francisco.

             LYDIA
        You'd think he could manage to keep 
        her name out of print. She's always 
        mentioned in the columns, Mitch.

             MITCH
        I know, Mother.

             LYDIA
        She is the one who jumped into that 
        fountain in Rome last summer, isn't 
        she?

             MITCH
        Yes, Mother.

             LYDIA
        Perhaps I'm old-fashioned.
            (pause)
        I know it was supposed to be very 
        warm there, Mitch, but... well...  
        actually... well, the newspaper said 
        she was naked.

             MITCH
        I know, Mother.

             LYDIA
        It's none of my business, of course, 
        but when you bring a girl like that 
        to...

             MITCH
        Mother?

             LYDIA
            (looking up)
        Yes?

             MITCH
        I think I can handle Melanie Daniels 
        by myself.

             LYDIA
        Well...
            (she sighs)
        So long as you know what you want, 
        Mitch.

             MITCH
        I know exactly what I want, Mother.

                           DISSOLVE

 FULL SHOT - THE BRENNER LAWN - EXTERIOR - NIGHT

    as Mitch and Melanie cross it to her car. A wind is blowing 
    off the water, and high fast clouds are scudding across the 
    face of the moon.

             MITCH
        You'll be able to find your way back, 
        won't you?

             MELANIE
        Oh, yes.

             MELANIE
        Will I be seeing you again?

             MELANIE
        San Francisco's a long way from here.

             MITCH
        I'm in San Francisco five days a 
        week. With a lot of time on my hands. 
        I'd like to see you.
            (he grins)
        Maybe we could go swimming or 
        something. Mother tells me you like 
        to swim.

             MELANIE
        How does Mother know what I like to 
        do?

             MITCH
        I guess she and I read the same gossip 
        columns.

             MELANIE
        Oh. That. Rome.

             MITCH
        Mmmm. I like to swim. We might get 
        along very...

             MELANIE
        In case you're interested, I was 
        pushed into that fountain.

             MELANIE
        Without any clothes on?

             MELANIE
        With all my clothes on!  The newspaper 
        that ran the story happens to be a 
        rival of my father's paper.  Anything 
        they said...

             MITCH
        You were just a poor, innocent victim 
        of circumstance, huh?

             MELANIE
        I'm neither poor nor innocent, but 
        the truth of that particular...

             MITCH
        The truth is you were running around 
        with a pretty wild crowd...

             MELANIE
        Yes, but...

             MITCH
        ...who didn't much care for propriety 
        or convention or...

             MELANIE
        Yes.

             MITCH
        ...the opinions of others, and you 
        went right along with them, isn't 
        that the truth?

             MELANIE
        Yes, that's the truth. But I was 
        pushed into that fountain, and that's 
        the truth, too.

             MITCH
        Sure. Do you really know Annie 
        Hayworth?

             MELANIE
        No.
            (pause)
        At least, I didn't until I came up 
        here.

             MITCH
        So you didn't go to school together.

             MELANIE
        No.

             MITCH
        And you didn't come up here to see 
        her.

             MELANIE
        No.

             MITCH
        You were lying.

             MELANIE
        Yes, I was lying.

             MITCH
        Did you really write a letter to me?  
        Or was that a lie, too?

             MELANIE
        I wrote the letter.

             MITCH
        What did it say?

             MELANIE
        It said, "Dear Mr. Brenner, I think 
        you need those lovebirds, after all.  
        They may help your personality." 
        That's what it said.

             MITCH
        But you tore it up.

             MELANIE
        Yes.

             MITCH
        Why?

             MELANIE
        Because it seemed stupid and foolish.

             MITCH
        Like jumping into a fountain in Rome!

             MELANIE
        I told you what happened in Rome!

             MITCH
        Do you expect me to believe...?

             MELANIE
        I don't give a damn what you believe!

    Angrily she gets into the car, is about to slam the door 
    when Mitch catches it in his hands.

             MITCH
        I'd still like to see you.

             MELANIE
        Why?

             MITCH
        I think it could be fun.

 CLOSE SHOT - MELANIE

    pulling the door shut.

             MELANIE
        That might have been good enough in 
        Rome last summer. But it's not good 
        enough now.

 CLOSE SHOT - MITCH

             MITCH
        It is for me.

 CLOSE SHOT - MELANIE

             MELANIE
        But not for me.

 CLOSE SHOT - MITCH

             MITCH
        What do you want ?

 CLOSE SHOT - MELANIE

             MELANIE
            (angrily sarcastic)
        I thought you knew! I want to go 
        through life laughing and beautiful 
        and jumping into fountains naked!  
        Good night!

 MED. SHOT - THE CAR

    as it pulls away. Mitch yanks his hands back from the door.

 CLOSE SHOT - MITCH

    as he watches the car leave.

 LONG SHOT - THE ROAD

    The car turns the bend and disappears. Empty road. Only the 
    long line of telephone poles and wires and... something 
    strange on the wires.

 CLOSE SHOT MITCH

    His attention caught by the poles and wires.

 CLOSE SHOT - THE WIRES

    Hundreds of birds sitting on them.

 MED. SHOT - MITCH

    standing and watching. A wind blows off the water. He shivers 
    suddenly, turns up his collar, and heads for the house.

                           DISSOLVE

 INT. ANNIE HAYWORTH'S LIVING ROOM - MED. SHOT - ANNIE

 HAYWORTH

    In an easy chair, reading. She is wearing a robe and smoking, 
    absorbed in her book. She turns when she hears the front 
 DOOR OPENING.

             ANNIE
        Miss Daniels? Is that you?

             MELANIE (O.S.)
        Yes.

    Annie rises to greet her. As Melanie ENTERS THE SHOT:

             ANNIE
        Hi.
            (seeing her face)
        Is something wrong? Is that cut 
        beginning to bother you?

             MELANIE
            (touching her head)
        No, it's not the cut that's bothering 
        me.

             ANNIE
            (concerned)
        Would you like some brandy?

             MELANIE
        If you have some, I'd...

             ANNIE
        I'll get it, sit down, Miss Daniels.  
        Do you want a sweater or something?  
        A quilt?

    As Annie gets the brandy:

             MELANIE
        No, thank you.
            (pause)
        Won't you call me Melanie?

             ANNIE
        All right.
            (she smiles)

    MED. SHOT - MELANIE sitting, tucking her legs up under her. 
    She is disturbed by her conversation with Mitch and, in fact, 
    by the way this entire trip has worked out. Annie brings her 
    the glass of brandy, and she takes it gratefully.

             MELANIE
        Thank you.

             ANNIE
            (sitting opposite her)
        It gets a little chilly here at night 
        sometimes. Especially if you're over 
        near the bay.

    Melanie nods and sips at the brandy. There is a long pause.

             ANNIE
        Well, how'd your evening go?

    Melanie shrugs.

             ANNIE
        Did you meet Lydia?

    Melanie nods.

             ANNIE
        Or would you rather I changed the 
        subject?

             MELANIE
            (with a tired smile)
        I think so.

             ANNIE
            (nodding)
        How do you like our little hamlet?

             MELANIE
        I despise it.

             ANNIE
            (laughing)
        Well, I don't suppose it offers much 
        to the casual visitor. Unless you're 
        thrilled by a collection of shacks 
        on a hillside. It takes a while to 
        get used to.

             MELANIE
        Where are you from originally, Annie?

             ANNIE
        San Francisco.

             MELANIE
        How'd you happen to come here?

             ANNIE
        Oh, someone invited me up for the 
        weekend a long time ago.

    There is an awkward pause. Annie shrugs.

             ANNIE
        Look, I see no reason for being coy 
        about this. It was Mitch Brenner.

    Melanie nods.

             ANNIE
        I guess you knew that, anyway.

             MELANIE
        I suspected as much.

             ANNIE
        You needn't worry. It's over and 
        done with. A long time ago.

             MELANIE
        Annie -- there's nothing between 
        Mitch and me.

             ANNIE
        Isn't there?
            (she shrugs)
        Maybe there isn't. Maybe there's 
        never anything between Mitch and any 
        girl.

             MELANIE
        What do you mean?

             ANNIE
        I think I'll have some of that, too.
            (she pours brandy, 
            drinks, sighs)
        I was seeing quite a lot of him in 
        San Francisco, you know.
            (she smiles weakly)
        And then, one weekend, he asked me 
        up to meet Lydia.

             MELANIE
        When was this?

             ANNIE
        Four years ago. Of course, that was 
        shortly after his father died.  Things 
        may be different now.

             MELANIE
        Different?

             ANNIE
        With Lydia.
            (pause)
        Did she seem a trifle distant?

             MELANIE
            (smiling)
        A trifle.

             ANNIE
        Then maybe it isn't different at 
        all. You know, her attitude nearly 
        drove me crazy. I simply couldn't 
        understand it.

             ANNIE
        When I got back to San Francisco I 
        spent days trying to figure out just 
        what I'd done to displease her.

             MELANIE
        And what had you done?

             ANNIE
        Nothing! I simply existed. So what 
        was the answer? A jealous woman, 
        right? A clinging possessive mother.
            (she shakes her head)
        Wrong. With all due respect to 
        Oedipus, I don't think that was the 
        case at all.

             MELANIE
        Then what was it?

             ANNIE
        Lydia liked me, you see. That was 
        the strange part of it. In fact, now 
        that I'm no longer a threat, we're 
        very good friends.

             MELANIE
        Then why did she object to you?

             ANNIE
        Because she was afraid.

             MELANIE
        Afraid you'd take Mitch?

             ANNIE
        Afraid I'd give Mitch.

             MELANIE
        I don't understand.

             ANNIE
        Afraid of any woman who'd give Mitch 
        the only thing Lydia can give him --
        love.

             MELANIE
        Annie, that adds up to a jealous, 
        possessive woman.

             ANNIE
        No, I don't think so. She's not afraid 
        of losing her son, you see.  She's 
        only afraid of being abandoned.

             MELANIE
        Someone ought to tell her she'd be 
        gaining a daughter.

             ANNIE
        She already has a daughter.

             MELANIE
        What about Mitch? Didn't he have 
        anything to say about this?

             ANNIE
            (apologetically)
        I can understand his position. He 
        went through a lot with Lydia after 
        his father died. He didn't want to 
        risk going through it all over again.

             MELANIE
        I see.

             ANNIE
        So it ended. Not immediately, of 
        course. I went back to San Francisco, 
        and I still saw Mitch every now and 
        then... but we both knew it was 
        finished.

             MELANIE
        Then what are you doing here in Bodega 
        Bay?

             ANNIE
        You get straight to the point, don't 
        you?

             MELANIE
        I'm sorry. Forgive me.

             ANNIE
        No, that's all right, I don't mind.  
        I came up here for two reasons. To 
        begin with, I was bored with my job 
        in San Francisco. I was teaching at 
        a private school there... well, you 
        know, you probably went to one 
        yourself.

             MELANIE
        I did.

             ANNIE
        Then you know. Little girls in brown 
        beanies. Deadly. Here I have a life. 
        I'll go into that classroom on Monday 
        morning, and I'll look out at twenty-
        five upturned little faces, and each 
        of them will be saying, 'Yes, please 
        give me what you have.'
            (pause)
        And I'll give them what I have. I 
        haven't got very much, but I'll give 
        them every ounce of it. To me, that's 
        very important. It makes me want to 
        stay alive for a long long time.
            (she sighs)
        That's the first reason.

             MELANIE
        And the second?

             ANNIE
            (simply)
        I wanted to be near Mitch.
            (pause)
        It was over, and I knew it, but I 
        wanted to be near him, anyway.
            (she smiles)
        You see, I still like him a hell of 
        a lot. That's rare, I think. I don't 
        want to lose his friendship... ever.

    There is a moment of silence. Into the silence, the TELEPHONE 
    shrills. Annie hesitates a moment, and then goes to answer 
    it.

 CLOSE SHOT - ANNIE

    at the phone.

             ANNIE
        Hello?  Oh, hello. No, no, I wasn't 
        asleep. What is it?
            (pause)
        Yes, just a little while ago. Sure, 
        hold on.
            (she turns to Melanie)
        It's Mitch. For you.

 TWO SHOT - MELANIE AND ANNIE

    as they stare at each other across the room, Melanie 
    hesitating.

             ANNIE
        He's waiting.

    Melanie rises and goes to the phone. The CAMERA FOLLOWS Annie 
    to the wing chair in the foreground and stays on her 
    throughout following, recording her reactions as Melanie 
    talks to Mitch in the background.

    Annie is not devastated by this call, and yet there is a 
    wistfulness to her expression as she realizes she may finally 
    and irrevocably be losing Mitch to another girl.

             MELANIE
            (at phone; coolly)
        Hello? Yes, this is Melanie. Fine, 
        thank you. No, no trouble at all.  I 
        simply followed the road. It's a 
        very bright night.
            (pause)
        What?  Oh. Well, there's no need to 
        apologize. I can understand...
            (pause; she listens)
        Well...
            (she listens again)
        That's very kind of you. No, I'm not 
        angry.
            (she listens)
        I couldn't. I'm afraid I have to get 
        back to San Francisco.
            (pause)
        No, I wouldn't want to disappoint 
        Cathy, but...
            (pause)
        I see.
            (she is warming)
        I see. Well, if you really...
            (pause)
        All right. Yes, I'll be there.
            (pause)
        Good night, Mitch.

    She hangs up and looks at Annie in embarrassment.

             MELANIE
        He wants me to go to Cathy's party 
        tomorrow afternoon.
            (pause)
        I said I would.

             ANNIE
        I'll be going, too, to help out. It 
        should be fun, Melanie.

             MELANIE
        It seems so pointless.
            (she sighs)
        I think I'll go to sleep. This has 
        been a busy day.
            (picking up her paper 
            bag)
        My luggage.

    She smiles, takes out a flowered muumuu, holds it up to Annie.

             ANNIE
        Pretty. Did you get that at 
        Brinkmeyer's?

    Melanie nods and drapes the muumuu over her arm. She is silent 
    for a moment, pensive. Then:

             MELANIE
        Do you think I should go?

             ANNIE
        That's up to you.

             MELANIE
        It's really up to Lydia, isn't it?

             ANNIE
        Never mind Lydia. Do you want to go?

             MELANIE
            (firmly)
        Yes.

             ANNIE
        Then go.

    The room is silent. Melanie nods, slowly, and then smiles.

             MELANIE
        Thank you, Annie.

    Suddenly, into the silence, comes a THUMP at the door, 
    startling them both.

             ANNIE
            (rising)
        Who can that be at this hour?
            (she walks to door)
        Who is it?
            (no answer)
        Is someone there?

    Melanie goes to stand beside Annie. Puzzled, Annie unlocks 
    the door, and then opens it. She looks out into the night.  
    There is nothing but the SOUND of the wind.

             ANNIE
            (to the emptiness 
            outside)
        Is anyone there?

             MELANIE
            (pointing to the ground)
        Look.

 CLOSE SHOT - A DEAD SEAGULL

 CLOSE SHOT - ANNIE

             ANNIE
            (sympathetically)
        Ohhh. Oh, the poor thing. He probably 
        lost his way in the dark.

 CLOSE SHOT - MELANIE

    who stares at the dead bird as Annie stoops to pick it up.  
    And then, slowly:

             MELANIE
        But... it isn't dark, Annie.  There's 
        a full moon.

 TWO SHOT - MELANIE AND ANNIE

    as Annie, stooping, looks up at her. On their puzzlement and 
    consternation:

                           FADE OUT

 FADE IN

    HIGH SHOT - THE BRENNER HOUSE The place is decorated with 
    balloons strung from the house to various points on the lawn. 
    The children, in party clothes, with their parents, are 
    clustered around a long folding table upon which are 
    sandwiches, ice cream and soft drinks. The parents are either 
    helping the children to more or telling them they are having 
    too much. There is a general SOUND of kid's CHATTER and 
    LAUGHTER. Coming up the sloping path, away from the party, 
    are Melanie and Mitch. The CAMERA PANS them UP the slope and 
    away from the party in background. As they turn the hairpin 
    bend of the slope, and come up toward the CAMERA, we see the 
    entrance of the harbor and the Pacific in the background. 
    The CAMERA PANS them as they come near to us and, once more, 
    the party is in the background. Mitch and Melanie pass the 
    CAMERA out to the left.

 CLOSER SHOT - THE TOP OF THE DUNES

    Melanie and Mitch come INTO the picture from the right and 
    stand against the sky. Mitch takes a martini shaker from one 
    of his pockets, and two glasses from the other. He hands one 
    of the glasses to Melanie, and then pours.

             MELANIE
        I really shouldn't have any more.  
        I'm a little tipsy already.

             MITCH
        I'm trying to get you to stay for 
        dinner. We're going to have a lot of 
        roast left over.

             MELANIE
        I couldn't possibly. I have to get 
        back.

             MITCH
            (with a shrug)
        Cheers.

             MELANIE
        Cheers.

    They drink.

             MELANIE
        What's in this? Nitro-glycerin?

             MITCH
        Why do you have to rush off? What's 
        so important in San Francisco?

             MELANIE
        Well... I have to get to work tomorrow 
        morning, for one thing.

             MITCH
            (surprised)
        You have a job?

             MELANIE
            (sipping at the martini)
        I have several jobs.

             MITCH
        What do you do?

             MELANIE
        I do different things on different 
        days.

             MITCH
        Like what?

             MELANIE
            (hesitating)
        On Mondays and Wednesdays, I work 
        for the Travelers' Aid. At the 
        airport.

             MITCH
        Helping travelers.

             MELANIE
        Yes.

    She hesitates for a moment, thinking. She has never really 
    considered before what she does with her time, and now that 
    she is accounting for it, it sounds a little meaningless and 
    unimportant.

             MELANIE
        And on Tuesdays, I take a course in 
        General Semantics at Berkeley.  That's 
        not a job, of course. I just take it 
        because...

             MITCH
        What about Thursdays and Fridays?

             MELANIE
        On Thursdays I have my meeting and 
        lunch.
            (pause)
        I'm chairman of a group that's sending 
        a little Korean boy through school.  
        We plan how to raise funds and... 
        things like that.
            (she shrugs)

             MITCH
        And Fridays? What do you do then?

             MELANIE
        Nothing.
            (she smiles)
        I go to bird shops on Fridays.

             MITCH
        I'm glad you do.

             MELANIE
        Do you know what I was doing in that 
        shop?

             MITCH
        What?

             MELANIE
        I have an aunt, you see. Aunt Tessa. 
        She's seventy years old, and veddy 
        prim and strait-laced.
            (she does an imitation)
        She's coming back from Europe at the 
        end of the month, and I'm going to 
        give her a myna bird that'll talk to 
        her.

             MITCH
        What'll it say?

             MELANIE
            (facetiously)
        You'll think me very bold, sir.

             MITCH
        No, tell me.

    She leans over and whispers in his ear. They both burst out 
    LAUGHTER. But then suddenly, a very serious look comes into 
    Melanie's face.

 CLOSE SHOT - MELANIE

    serious, introspective.

             MELANIE
        That's silly, isn't it?  Teaching a 
        bird to shock my aunt. That's just 
        silly and childish.
            (slight pause)
        Maybe I ought to go join the other 
        children.

 FULL SHOT - MELANIE AND MITCH

    as she moves abruptly away from him, and starts toward where 
    the children have begun playing Blind Man's Bluff. Mitch 
    stares after her for a moment, moved by this sudden glimpse 
    of character, and then follows her down the dune. The children 
    are all in a circle. Annie is busy changing the blindfold 
    from Michele to Cathy.

 CAMERA PANS - MELANIE AND MITCH

    The CAMERA is now on the lawn POINTING UP toward dunes. We 
    see Mitch and Melanie descending. They are coming down by 
    way of a short cut and are not on the zig-zag path. As they 
    reach the lawn they move along the side of it at the foot of 
    the dunes. They are absorbed in each other. The CAMERA PANS 
    OFF them and BRING INTO the picture Annie, surrounded by the 
    children. She is in the act of changing the blindfold from 
    Michele to Cathy. She hands Michele her glasses back.  During 
    this, and while she is putting the blindfold round the eyes 
    of Cathy, she is looking to her right and obviously is 
    watching Mitch and Melanie.

 MITCH AND MELANIE - ANNIE'S P.O.V.

 MED. SHOT - ANNIE

    CAMERA MOVES A LITTLE to her left (CAMERA RIGHT). At this 
    moment, in the background, Lydia is emerging with the birthday 
    cake. The candles on it are unlit. Lydia immediately also 
    catches sight of Mitch and Melanie and she slows up somewhat 
    as she walks to the long table, her eyes still on the couple. 
    During this we see Annie in the foreground sending Cathy 
    off.

             ANNIE
        All right then, here we go.
            (she spins her)
        Once!
            (she spins her again)
        Twice!
            (she spins her again)
        Three! Go get 'em, Cathy!

    She says all this while still looking toward the couple. She 
    turns her head away from the couple with a new expression on 
    her face. She twists completely around to look at Lydia as 
    though she were wondering if Lydia sees what she sees.  
    Suddenly we HEAR a little boy's voice crying:

             LITTLE BOY (O.S.)
        Look! Look!

    Annie swings round and the CAMERA RUSHES INTO her face as 
    she looks up.

 LONG SHOT - ANNIE'S P.O.V.

    A gull is swooping down.

 CLOSE SHOT - CATHY

    as she changes her tactics, stops dead, and then cautiously 
    reaches out in front of her at the air. The gull suddenly 
    swoops at her, hitting her shoulder. She whirls.

             CATHY
        No touching allowed!

    She almost falls.

 FULL SHOT - THE GULL

    seen from Cathy's position. He flies off, cycles and then 
    returns.

 CLOSE SHOT - ANNIE

    reacting to gull. She turns her head back to Cathy.

 TWO SHOT - MELANIE AND MITCH

    reacting to the gull hitting Cathy. They start towards Cathy.

 MED. SHOT - ANNIE

    with Cathy and the children around. The CAMERA PANS DOWN as 
    she ducks with two gulls swooping by.

 CLOSE SHOT - LYDIA

    hurriedly putting the cake onto the table. She rushes round 
    to the front of it.

 FULL SHOT - ANNIE - LYDIA'S P.O.V.

    Annie rising from the ground. Cathy and the other children 
    are running in the background.

 CLOSE SHOT - LYDIA

    reacting to two more gulls diving.

 FULL SHOT - TWO GULLS - LYDIA'S P.O.V.

    diving toward the children.

 CLOSE SHOT - LYDIA

    She starts to run out CAMERA RIGHT.

 MED. SHOT - LYDIA REACHES CATHY

    She pushes her to the ground as a gull attacks.

 TWO SHOT - TWO MOTHERS

    as a gull swoops between them.

 FULL SHOT - MITCH

    coming out of the house with a broom.

 TWO GULLS

    swooping down at the children's heads.

 MED. SHOT - MITCH

    swinging at gull and missing.

 LONG SHOT - LITTLE BOY

    running toward bank. Gull swooping after him.

 CLOSE SHOT - LITTLE BOY

    falling forward against the bank as the gull smashes into 
    him.

 FULL SHOT - MELANIE AND MITCH

    running to the injured boy, who is lying against the bank.

 THREE SHOT - MELANIE, MITCH AND LITTLE BOY

    They look up.

 LONG SHOT - THE GULLS

    against the sky, flying away in formation.

 CLOSE SHOT - MITCH

    about to swing with the broom again, but the birds are no 
    longer there. A puzzled look crosses his face. He turns to 
    Melanie.

             MITCH
        Are you all right?

 TWO SHOT - MELANIE AND MITCH

             MELANIE
        Yes.

             ANNIE
            (coming over)
        That's the darnest thing thing I've 
        ever seen in my life.

 TWO SHOT - LYDIA AND MITCH

             LYDIA
        Are they gone?

             MITCH
        They're gone, Mother.

 FULL SHOT - THE LAWN

    as the children begin drifting back toward the table and the 
    cake. There is the curious feeling of lighting having struck 
    very close by without having injured anyone. All that 
    adrenaline has boiled up, and now it has no place to go.

             LYDIA
        Well... well, is everyone all right?

             MITCH
            (with a small boy)
        I think he got a little scratch, 
        Mother.

             GIRL #3
        Did you see them? They were hawks!

             GIRL #4
        They were bigger than hawks!

             ANNIE
        Children, they were only seagulls.

    And then the meaning of what she has just said strikes her, 
    and she remembers the bird hitting her door the night before.

 TWO SHOT - ANNIE AND MELANIE

    as Annie turns to look at her and they exchange a silent 
    meaningful glance.

 BACK TO SCENE

             CATHY
        They must have been after the food, 
        Mother.

    They all turn toward the table.

 CLOSE SHOT - THE TABLE AND THE REST OF THE FOOD ON THE TABLE, 
 UNDISTURBED CLOSE SHOT - MITCH

    eyes narrowed.

             MITCH
        They didn't touch anything.

 BACK TO SCENE

             ANNIE
            (trying to restore 
            order)
        Well, they're gone now, so... so 
        let's...
            (pause)
        Who was 'it?' You were 'it,' weren't 
        you, Cathy?

             GIRL #2
        Can I be 'it,' Miss Hayworth?

 TWO SHOT - MELANIE AND MITCH

    as Annie and the children begin the game behind them.

             MITCH
        You look a little shaken.

             MELANIE
        I... I am.
            (pause)
        Mitch, is... Mitch, this isn't usual, 
        is it? The gull yesterday when I was 
        in the boat, and the one last night 
        at Annie's, and now...

             MITCH
        Last night? What do you mean?

             MELANIE
        A gull smashed into Annie's front 
        door.
            (pause)
        Mitch... what's happening?

             MITCH
            (concerned)
        I don't know, Melanie.
            (pause)
        Look, do you have to go back to 
        Annie's?

             MELANIE
        No, I have my things in the car.

             MITCH
            (gently)
        Then stay and have something to eat 
        before you start back. I'd feel a 
        lot better.

 CLOSE SHOT - MELANIE

    She nods, and then looks up at the sky. Suddenly she shudders.

                           DISSOLVE

 CLOSE SHOT - MITCH'S HANDS - DINING ROOM INT. IN BACKGROUND 

    He is slicing the leftover roast beef.

 MED. SHOT - MITCH

    putting the meat onto plate, turning over his shoulder to 
    call into living room. The lovebirds in their cage are making 
    a terrible racket.

             MITCH
        Do you want some mustard with this?

             MELANIE (O.S.)
        No, thank you.

             CATHY
            (coming from kitchen)
        Why didn't Annie stay for dinner?

             MITCH
        She said something about having to 
        get home to take a call from her 
        mother back East.

             CATHY
        Oh. Where d'you want the coffee?

             MITCH
        Take it into the living room, would 
        you, hon?

             CATHY
            (seeing the birds)
        What's the matter with them?

    Lydia turns from a side table, where she is cutting some 
    French bread.

             LYDIA
        What's the matter with all the birds?

    She covers the cage. Under the cover, the birds are still 
    tweeting madly. Lydia stares at the covered cage for a moment, 
    and then signs heavily.

             LYDIA
        Hurry up with the rest, Mitch. I'm 
        sure Miss Daniels wants to get on 
        her way.

    As she moves into the living room.

             CATHY
        I think you ought to stay the night, 
        Melanie.

 INT. LIVING ROOM - CLOSE SHOT - LYDIA

    a sharp look at her daughter.

 MED. SHOT - CATHY

    pouring coffee into the cups set on coffee table.

             CATHY
        We've got an extra room upstairs and 
        everything.

             MITCH
            (coming in with two 
            plates)
        That road can be a bad one at night, 
        Melanie.
            (he picks up coffee 
            cup, hands it to 
            Melanie)

    They are now all eating with plates on their knees - buffet 
    style.

             MELANIE
        If I go across to Santa Rosa I'll 
        come onto the freeway much earlier.

             LYDIA
            (picking up a cup)
        Yeah, and the freeway's well-lighted, 
        isn't it, Mitch?

             MITCH
        Yeah, but she'll be hitting all that 
        traffic going back to San Francisco.

             CATHY
        Did you put the cover on that cage, 
        Mom?

             LYDIA
        Yes, I did.

             CATHY
        Just listen to them!

             MITCH
            (to Melanie)
        Some cream?

             MELANIE
        I'll get it.

    She reaches over for the cream pitcher. Her eye is caught by 
    something in the fireplace.

 CLOSE SHOT - MELANIE

    looking curiously.

 CLOSE SHOT - THE FIREPLACE

    a single swift is sitting on the hearth.

 CLOSE SHOT - MELANIE

    turning to Mitch.

             MELANIE
        Mitch...

 CLOSE SHOT - THE FIREPLACE

    as dozens of swifts begin pouring from the opening.

 CLOSE SHOT - MELANIE

    frightened now.

             MELANIE
            (shouting it)
        Mitch!

 CLOSE SHOT - THE FIREPLACE

    hundreds of birds pouring into the room.

 FULL SHOT - LYDIA

    shrieking in terror, dropping her coffee cup.

 FULL SHOT - THE ROOM

    full of birds, swooping, diving. Mitch runs to the door, 
    throws it open.

             MITCH
            (to the others)
        Get outside! Run!
            (he turns toward Lydia)

    CLOSE SHOT - LYDIA in terror, surrounded by birds.

             MITCH (O.S.)
        Mother!

 MED. SHOT - MITCH

    wrenching the cloth from the coffee table, cups, coffee pot, 
    sugar bowl, creamer falling to the floor as he swings the 
    cloth at the birds.

 CLOSE SHOT - CATHY

    covering her face.

 MED. SHOT - MELANIE

    reaching for small fireplace broom.

 CLOSE SHOT - LYDIA

    shrieking as the birds dive at her face.

 CLOSE SHOT - MITCH

    realizing it's impossible to run. They must stay and fight.

             MITCH
            (shouting)
        Cathy, get some matches!

 MED. SHOT - CATHY

    running for the kitchen. Birds swooping after her.

 MED. SHOT - MELANIE

    swinging the fireplace broom.

 MED. SHOT - MITCH

    rushing to the fireplace. He is almost knocked over by birds 
    coming out of the opening. He stuffs paper under the logs 
    already in place there.

 CLOSE SHOT - LYDIA

    She lets out a horrified scream. There are birds fluttering 
    in her hair, caught there.

 CLOSE SHOT - MELANIE

    swinging the broom, covered with birds.

 MED. SHOT - A PICTURE ON THE WALL

    (an enlargement of a photograph of Cathy, smiling.) As a 
    bird flutters against it.

 MED. SHOT - CATHY

    running into the room, covering her face with bent arm, 
    rushing to Mitch with the box of matches.

 MED. SHOT - MITCH

    taking the matches. He lights one. A bird hits his arm. He 
    drops the match. He lights another one.

 CLOSE SHOT - THE MATCH

    falling onto the paper in the fireplace. It flickers for a 
    moment, then catches. Birds are still pouring out, past the 
    paper beginning to catch.

 CLOSE SHOT - ANOTHER WINDOW PANE

    as a bird crashes through it.

 MED. SHOT - MITCH

    rushing to Lydia, swinging the cloth at her head. She is 
    hysterics now, BABBLING. The SHRIEK of the birds is a wild 
    cacophony.

 CLOSE SHOT - THE FIRE

    blazing.

 MED. SHOT - A BIRD

    swooping out of the fireplace, its wings aflame.

 FULL SHOT - THE ROOM

    less birds in the air now, the single flaming bird flying 
    toward the drapes.

 MED. SHOT - THE DRAPES

    as the flaming bird lands on them.

 CLOSE SHOT - THE DRAPES

    catching fire.

 MED. SHOT - MELANIE

    swinging the broom wildly.

             MELANIE
        Mitch! The curtains!

 CLOSE SHOT - MITCH

    turning, seeing, his eyes opening wide.

 MED. SHOT - MITCH

    ripping at the flaming curtain. He throws it to the floor, 
    begins stamping on it.

 CLOSE SHOT - CATHY

             CATHY
        It's working! The fire's working!

 CLOSE SHOT - THE FIREPLACE

    only the blazing fire. No more birds entering.

 MED. SHOT - THE WINDOWS

    birds bursting through the panes, leaving.

 MED. SHOT - MELANIE

    as she beats away another bird.

 CLOSE SHOT - ONE OF THE BROKEN WINDOWS

    the birds leaving en masse now.

 FULL SHOT - THE ROOM

    A shambles. Windows broken, furniture knocked over, pictures 
    askew, the floor covered with birds and broken glass. In a 
    corner of the room, Lydia crouches with her hands covering 
    her face, sobbing. The burnt curtain is still smoldering.  
    Mitch is covered with soot. Melanie puts down the broom 
    wearily. The attack is over.

                           DISSOLVE

 INT. BRENNER LIVING ROOM - CLOSE SHOT - A HAND

    reaching down to pick up a dead bird.

 MED. SHOT - AL MALONE, THE DEPUTY

    a plain man with a limited intelligence, used to giving out 
    speeding tickets or warning drunks. He holds the bird on the 
    palm of his hand, looks at it steadily, nodding all the while.

             MALONE
        That's a chimney swift, all right.

 CLOSE SHOT - MITCH

             MITCH
        We know what it is, Al.

 FULL SHOT - THE ROOM

    Lydia is huddled in one of the easy chairs, still in shock.

             MALONE
        Well, these birds live in chimneys, 
        you know.

             MITCH
        Not by the thousands.

             MALONE
        No, I gotta admit this is peculiar.
            (pause)
        Did you have a light burning or 
        something.

             MITCH
        Yes, but the curtains were drawn.

             MALONE
        'Cause sometimes birds are attracted 
        by light, you know.
            (pause)
        Sure is a peculiar thing.

             MITCH
        What are we going to do about it, 
        Al?

             MALONE
        I don't think I get you, Mitch. Do 
        about what?

             MITCH
        Well...
            (he feels a little 
            foolish)
        Well... these birds attacked us.

 CLOSE SHOT - MALONE

    slight disbelief on his face.

             MALONE
        What's more likely, they got in the 
        room and was just panicked, that's 
        all.

 CLOSE SHOT - MITCH

             MITCH
            (still a little 
            hesitant)
        All right, I'll grant you a bird'll 
        panic in an enclosed room. But, they 
        didn't just get in. They came in! 
        Right down that chimney.

 TWO SHOT - MITCH AND MALONE

             MALONE
            (trying to make sense 
            of this)
        My wife found a bird in the back 
        seat of her car once.

             MALONE
            (shrugs)
        Didn't know how he got in there.  
        Had a broken leg, turned out. Just 
        fluttering all around there.
            (he shrugs again)

             MITCH
        These birds were...

             MALONE
        What I'm trying to say, Mitch, is 
        these things happen sometimes, you 
        know? Ain't much we can do about it.
            (he shrugs)

             LYDIA
        Tell him about the party.

             MITCH
        That's right. We had a party here 
        this afternoon for Cathy. Her 
        birthday.

             MALONE
        Oh, yeah, yeah.
            (he grins)
        How old is she now?

             MITCH
        Eleven. In the middle of the party, 
        some gulls came down at the children. 
        And Miss Daniels was attacked by a 
        gull just yesterday after...

 CLOSE SHOT - MALONE

    considering this.

             MALONE
        Yeah.
            (thinking)
        Were the kids bothering them or 
        something? 'Cause sometimes they'll 
        do that, you know. If you make any 
        kind of disturbance near them, they'll 
        just come after you. I seen that 
        plenty of times myself.

 TWO SHOT - MALONE AND LYDIA

             LYDIA
        The children were playing a game, 
        Al. Those gulls attacked without...

             MALONE
        Now, Lydia, 'attack' is a pretty 
        strong word, don't you think? I mean, 
        birds just don't go around attacking 
        people without no reason, you know 
        what I mean? The kids just probably 
        scared them, that's all.

             LYDIA
        These birds attacked!

             MALONE
            (nodding)
        Well, what would you like me to do, 
        Lydia? Put out a pick up and hold on 
        any suspicious birds in the area?
            (he smiles)
        Now, that'd be pretty silly, wouldn't 
        it?

 CLOSE SHOT - MITCH

             MITCH
        Does this room look silly?

 TWO SHOT - MITCH AND MALONE

             MALONE
        No, you got quite a mess here, I'll 
        admit that.
            (pause)
        Maybe you oughta put some screening 
        on top of your chimney
            (pause)
        Seems a little pointless, though.  
        Freak accident like this wouldn't 
        happen again in a million years.
            (pause)
        You want some help cleaning up?

 CLOSE SHOT - MITCH

    exasperated.

             MITCH
        I can handle it myself.

 CLOSE SHOT - LYDIA

    giving a small moan.

 CLOSE SHOT - MELANIE

             MELANIE
        I'll take Cathy up to bed.

 CLOSE SHOT - MITCH

             MITCH
        Are you staying?

 CLOSE SHOT - MELANIE

             MELANIE
        I think I should, don't you?

 CLOSE SHOT - LYDIA

    observing, making no comment.

 MED. SHOT - MELANIE

    putting her arm around Cathy's shoulders.

             MELANIE
        I'll get my things from the car. Do 
        you want to walk with me, Cathy?

 TWO SHOT - MITCH AND MALONE

    as Cathy and Melanie go out.

             MALONE
        Well, if there's anything else I can 
        do, Mitch...

             MITCH
        Thanks, Al. We'll be all right.

             MALONE
        Goodnight, Lydia.

    No answer.

             MALONE
        Sure is peculiar, I got to say that 
        for it.

    He exits.

 FULL SHOT - THE ROOM

    It is silent. Mitch looks across at Lydia who sits as still 
    as a stone in her chair. The door closes gently on a note of 
    utter helplessness.

                           FADE OUT

 FADE IN

 INT. BEDROOM IN BRENNER HOUSE - MED. SHOT - MELANIE

    Melanie has just gotten out of bed. She is wearing the rather 
    unsophisticated nightdress she brought at the store.  Her 
    hair is loose. She wears no makeup. She is bent over a 
    lavatory which has been installed in the bedroom. She is 
    busily brushing her teeth. Her head half turns as she HEARS 
 VOICES.

  

             LYDIA'S VOICE
        Mitch! Mitch! Mitch, I'm going to 
        drop Cathy off now.

             MITCH'S VOICE
        Okay.

             LYDIA'S VOICE
        I'll probably drive over to the 
        Fawcett farm. Do you need anything 
        in town?

             MITCH'S VOICE
        No.

    Melanie finished brushing her teeth. She goes to the window 
    and looks out. Outside, we HEAR the SOUND of the pickup truck 
    starting.

 FULL SHOT - THE YARD BELOW - MELANIE'S P.O.V.

    as Cathy, carrying her schoolbooks, runs to the pickup truck 
    and climbs in. The truck moves out of the yard and down the 
    road. It turns the bend, and moves out of sight.

 MED. SHOT - MELANIE

    turning from the window. She goes to the bedroom door, CAMERA 
    FOLLOWING. She opens the door.

             MELANIE
        Mitch?

    There is no answer.

             MELANIE
        Mitch?

 FULL SHOT - MELANIE

    coming down the steps from the attic room. The house is empty. 
    The CAMERA FOLLOWS her into the dining room, where she stops 
    at the cage of lovebirds, bends down to them with a smile on 
    her face.

 CLOSE SHOT - MELANIE AND THE BIRDS

    She smiles and pokes her finger into the cage. The birds 
    TWEET at her.

             MELANIE
            (imitating them)
        Chee-chee-chee-chee-chee.

 FULL SHOT - MELANIE

    leaving the cage. She walks to the sideboard upon which is 
    an electric coffee percolator which is plugged into the wall.  
    She feels it with her hand. It is hot. She pours a cup, then 
    peers out of the side window.

 LONG SHOT - MELANIE'S P.O.V.

    Mitch on the shore, working with a rake in his hands. A thin 
    column of smoke is climbing the sky.

 MED. SHOT - MELANIE

    carrying the cup of coffee. She sets it down for a moment to 
    put on her fur coat, which is hanging on the hall stand. She 
    picks up the cup again, walks to the front door and EXITS.

 FULL SHOT - MELANIE

    coming out of the house and into the garden, carrying the 
    cup of coffee. It is a beautiful day. She sips at her coffee 
    and then breathes deeply of the air.

 CLOSE SHOT - HER FACE

    fresh, rested. There is a contentment in her which we have 
    not seen before. She looks off toward the shore.

 LONG SHOT - MITCH

    on the shore, working with the rake. The thin column of smoke 
    is climbing the sky.

 MED. SHOT - MELANIE

    She turns her attention away from Mitch, and walks to the 
    end of the garden toward the shore. A wind is blowing off 
    the water, moving white puffs of cloud swiftly across the 
    sky, whipping the full short shirt of muumuu about her legs 
    as she walks. She stands there silhouetted against the sky 
    for a moment.

 SLOW PAN

    as Melanie scans the horizon. There isn't a bird anywhere in 
    sight. The day is still and clear, but somehow ominous in 
    its silence. Her gaze comes to rest on Mitch and the thin 
    column of smoke again. In the distance, Mitch sees her and 
    raises his arm in greeting. She waves back at him. He puts 
    the rake down and begins walking toward the house.

 CLOSE SHOT - MELANIE

    There is anticipation on her face now. She watches Mitch 
    coming toward her, her eyes glowing.

 FULL SHOT - MITCH

    closer to the house now.

 CLOSE SHOT - MELANIE

    waiting, anticipating.

 MED. SHOT - MITCH

    He stops, looks at her, and then turns toward the house.

 CLOSE SHOT - MELANIE

    as first surprised, and then puzzled. The back screen DOOR 
    CLATTERS shut off screen. A small hurt look crosses her face.

 FULL SHOT - MELANIE

    as she turns away from the house and begins walking in the 
    garden, sipping idly at her coffee. A screen DOOR CLATTERS 
    again. She turns.

    Mitch is coming out of the house, from the front door, wearing 
    a different shirt, buttoning it as he walks to her.

 TWO SHOT - MELANIE AND MITCH

             MITCH
        I wanted to change my shirt.

    Melanie is uncomprehending.

             MITCH
        It smelled of the fire.

             MELANIE
            (nodding)
        It's hard to believe anything at all 
        happened yesterday, isn't it? It's 
        so beautiful and still now.
            (pause; then sagely)
        I think I've got it all figured out, 
        by the way.

             MITCH
        Really? Tell me about it.

             MELANIE
            (secretively)
        It's an uprising.

             MITCH
        Of birds?

             MELANIE
        Certainly, of birds.

    Mitch grins.

             MELANIE
        It all started several months ago 
        with a peasant sparrow up in the 
        hills, a malcontent. He went around 
        telling all the other sparrows that 
        human beings weren't fit to rule 
        this planet, preaching wherever anyone 
        would listen...

             MITCH
        Growing a beard...

             MELANIE
            (delighted)
        Yes, of course, he had to have a 
        beard! 'Birds of the world, unite!' 
        he kept saying, over and over...

             MITCH
        So they united.

             MELANIE
        Not at first. Oh yes, a few sparrows 
        out for kicks...

             MITCH
        Well, they'll go along with anything.

             MELANIE
        Sure. But eventually, even the more 
        serious-minded birds began to listen.  
        "Why should humans rule?" they asked
         themselves.

             MITCH
        Hear!

             MELANIE
        Why should we submit ourselves to 
        their domination?

             MITCH
        Hear, hear!

             MELANIE
        And all the while, that sparrow was 
        getting in his little messages.  
        Birds of the world, unite!

             MITCH
        Take wing!

             MELANIE
        You have nothing to lose but your 
        feathers.

    They both burst out laughing, then fall into silence, then 
    laugh again and finally are silent. The garden is deathly 
    still.

             MITCH
            (attempting to be 
            serious)
        What it was, probably...

             MELANIE
        Mmm?

             MITCH
        They're probably hungry, that's all.  
        This was a bad summer. They eat 
        berries and... and nuts, you know, 
        and the hills are all burned out, so 
        they're probably searching for food 
        wherever they can get it.

             MELANIE
        With my little sparrow leading team.

    She laughs, and Mitch joins her, but it is hollow this time.  
    Like children who have told themselves a too realistic horror 
    story, they are becoming a little frightened.

             MITCH
        It's so damn quiet out there.

             MELANIE
        It was like that yesterday.

             MITCH
        What do you mean?

             MELANIE
        After the gulls attacked.

             MITCH
        I hadn't thought of that.
            (pause)
        And then the swifts came.

             MELANIE
        It makes you feel as if they're... 
        they're waiting or... resting... 
        or....

             MITCH
            (trying to make it 
            light again)
        No, they're having a meeting, Melanie. 
        Your sparrow is standing on a soap 
        box and...

 CLOSE SHOT - MELANIE

    her face dead serious.

 CLOSE SHOT - MITCH

             MITCH
        ...waving his little wings...

    His voice trails. His face becomes serious, too. Again, the 
    garden is silent.

 CLOSE SHOT - MELANIE

    her face set and grim, her eyes serious, her words coming 
    slowly and with the chill of horror on them.

             MELANIE
        They were angry, Mitch. They came 
        out of the chimney in fury.
            (pause)
        I had the feeling they wanted each 
        and every one of us dead.

 TWO SHOT - MELANIE AND MITCH

    He takes her in his arms suddenly, to comfort her. She goes 
    to him longingly.

             MITCH
        Melanie, Melanie...

             MELANIE
        I'm frightened, Mitch.

             MITCH
        No, no...

             MELANIE
        I'm frightened and confused and I... 
        I think I want to go back to San 
        Francisco where there are buildings 
        and... and concrete and...

             MITCH
        Melanie...

             MELANIE
        ...everything I know.

    She looks up at him suddenly.

 CLOSE SHOT - MELANIE

             MELANIE
        Oh damn it, why did you have to walk 
        into that shop?

    They kiss suddenly and fiercely. On their kiss,

                           DISSOLVE

 EXT. FAWCETT FARM - FULL SHOT - THE RED PICKUP TRUCK

    Lydia at the wheel, pulling into the Fawcett farm, the name 
    of the farm clearly visible on a painted arch over the gate.  
    Lydia gets out of the truck and walks to the front door. She 
    knocks. There is no answer.

 MED. SHOT - LYDIA

             LYDIA
        Dan?

    She comes down off the steps, the CAMERA FOLLOWING, back a 
    little away from the house.

             LYDIA
        Dan?

    There is no answer. She shades her eyes and looks out over 
    the fields.

 LONG SHOT - FARMHAND ON TRACTOR

 FULL SHOT - THE BARNYARD

    as Lydia crosses to a fence and cups her hands to her mouth.

             LYDIA
            (shouting)
        Hi, there!

 LONG SHOT - THE FARMHAND

    He stops the tractor, turns toward Lydia, shading his eyes.

 CLOSE SHOT - LYDIA

             LYDIA
            (shouting)
        Is Mr. Fawcett home?

 LONG SHOT - THE FARMHAND

             FARMHAND
            (shouting back)
        I think so, ma'm. His missus is in 
        Santa Cruz, but he ought to be here.

 CLOSE SHOT - LYDIA

             LYDIA
        Have you seen him this morning?

 LONG SHOT - THE FARMHAND FARMHAND

    No, ma'm. I reckon he's in there, though.

 MED. SHOT - LYDIA

             LYDIA
            (shouting it)
        Thank you!

 FULL SHOT - LYDIA

    as she crosses the barnyard again. There are several chickens 
    scurrying about. She walks closer to them, sees an open bag 
    of feed lying against the fence.

 CLOSE SHOT - LYDIA

    getting an idea.

 MED. SHOT - LYDIA

    reaching into the bag of feed. She scatters some on the 
    ground.

             LYDIA
        Here, chick, chick, chick, chick.  
        Here, chick, chick, chick, chick.

 CLOSE SHOT - A CHICKEN

    He struts up to the scattered grain.

 CLOSE SHOT - LYDIA

    watching him.

 CLOSE SHOT - THE CHICKEN

    He seems to be examining the feed. Then he turns away from 
    it and struts off.

 CLOSE SHOT - LYDIA

    a small knowledgeable nod of her head. The chicken's reaction 
    strengthens her determination to talk to Fawcett.  She turns.

 FULL SHOT - LYDIA

    approaching the front door again. She knocks. No answer.

             LYDIA
        Dan?

    She backs away from the house again. The barnyard is silent.  
    In the distance, we can HEAR the SOUND of the tractor.

             LYDIA
        Dan? Are you home?

    No answer.

 CLOSE SHOT - LYDIA

    a little annoyed. She glances at the ground floor window 
    closest to the door.

 CLOSE SHOT - THE WINDOW

    A small pane of glass is broken.

 CLOSE SHOT - LYDIA

    puzzled.

 FULL SHOT - LYDIA

    going to the front door, trying the knob.

 MED. SHOT - LYDIA

    The door opening ahead of her as she pokes her head into the 
    house.

             LYDIA
        Dan?

    The house is still and silent.

 INT. THE ENTRY HALL - FULL SHOT

    as Lydia comes in. We can see the living room off to the 
    right, but it looks normal and untouched. Lydia turns to her 
    left and looks down a long corridor.

 FULL SHOT - THE CORRIDOR - LYDIA'S P.O.V.

    a door at the end of it is partially ajar, spilling artificial 
    light into the corridor.

             LYDIA
        Dan?

    No answer.

 CLOSE SHOT - LYDIA

    a little troubled. She seems deciding whether or not she 
    should leave. A determined look comes over her face.

 FULL SHOT - THE CORRIDOR - LYDIA'S P.O.V.

    as she walks down it slowly toward the open door at the 
    opposite end. Outside the door, she pauses.

             LYDIA
        Dan? Are you in there?

    No answer. Lydia puts out her hand, slowly begins showing 
    the door open.

 CLOSE SHOT - LYDIA

    coming into the room. Her eyes begin to take in the room.

 SLOW PAN OF THE ROOM - LYDIA'S P.O.V.

    starting to the right of the doorway as she enters and 
    continuing a little below eye level, the CAMERA PICKS OUT: A 
    standing floor lamp, the shade dangling, but the light still 
    burning; a picture hanging askew on the wall, its glass 
    shattered; the window to the left of the picture, every pane 
    of glass shattered; a dresser with two stuffed birds on its 
    top; both birds have been badly damaged, the stuffing ripped 
    out of them, the head of one hanging at a crooked near 
    decapitated angle; the window to the left of the dresser, 
    all the panes shattered. The level of the CAMERA DESCENDS, 
    and begins a SLOW PAN of the floor. It PICKS OUT broken glass, 
    continues its PAN to SHOW scattered feathers, continues its 
    PAN to SHOW a broom, feathers caught in the straw, a single 
    bedroom slipper, continues to SHOW a pair of legs in pajamas, 
    one foot bare, the other slippered, and then immediately 

                           CUTS TO:

 CLOSE SHOT - DAN FAWCETT

    His face. Covered with blood, the eyes missing from their 
    empty staring sockets.  Immediately

                            CUT TO:

 CLOSE SHOT - LYDIA

    a terrified scream erupting from her mouth.

 FULL SHOT - LYDIA

    turning and running for the door. The CAMERA FOLLOWS her in 
    an unbroken headlong flight, the scream continuing as if she 
    is incapable of stopping it, as she stumbles, runs, trips 
    her way down the corridor and bursts out of the house, still 
    screaming, into the pickup truck. The engine starts, she 
    backs the truck out at breakneck speed and hits the highway,

 CAMERA FOLLOWING.  CLOSE SHOT - LYDIA

    at the wheel, her face stamped with terror, her eyes wide.

 FULL SHOT - THE TRUCK

    at breakneck speed, negotiating the severe curves on the 
    highway. It almost hits a small car coming from the opposite 
    direction, swerves, screeches around the curve.

 CLOSE SHOT - LYDIA

    behind the wheel, unmindful of anything but flight.

 FULL SHOT - THE ROAD - LYDIA'S POV

    through the windshield, blurring past. She turns the bend 
    leading to the house. For an instant, through the windshield, 
    there is a quick glimpse of Melanie and Mitch in embrace in 
    the garden. Then the tires shriek, and the truck turns and 
    barrels into the front yard.

 FULL SHOT - MITCH

    alarmed as he runs out of the garden and toward the truck 
    just as it jerks to a stop.

 MED. SHOT - MITCH

    through the truck as he pulls open the door opposite Lydia.

             MITCH
            (alarmed)
        What is it?

 CLOSE SHOT - MITCH

    as he sees his mother.

 CLOSE SHOT - LYDIA

    slumped on the wheel of the car, her head on her arms, 
    sobbing. On her sobs...

                           DISSOLVE

 INT. BRENNER KITCHEN - MED. SHOT - MELANIE

    at the kitchen stove, taking a kettle of tea from the burner.  
    She pours it into a cup, puts the cup on a tray already set 
    with sugar and creamer. She looks up as Mitch comes into the 
    kitchen.

 TWO SHOT - MELANIE AND MITCH

             MITCH
        That was Al on the phone. He wants 
        me to meet him out at the Fawcett 
        place. Says some detectives from 
        Santa Rosa'll be there in a little 
        while.
            (pause)
        Will you be all right here?

             MELANIE
        Yes. I was just taking her in some 
        tea.

    He goes to her, puts his arms around her from behind, kisses 
    her hair. But she turns in his arms suddenly and clings to 
    him fiercely, and then buries her head in his shoulder.

             MELANIE
        Be careful. Please.

    She walks him to the door. At the door, they kiss -- a long, 
    full kiss.

 FULL SHOT -- THE KITCHEN

    as Mitch goes out. Melanie looks after him for a moment, and 
    then picks up the tray. Outside, we HEAR the SOUND of his 
    car starting. The CAMERA FOLLOWS Melanie out of the kitchen, 
    through the dining room, and to one of the bedroom doors on 
    the other side of the house. Gently, she KNOCKS.

             LYDIA (O.S.)
        Mitch?

 FULL SHOT - THE BEDROOM

    This is Lydia's room, and cluttered with the mementos of a 
    life no longer valid.  There are photographs of her dead 
    husband, souvenirs of trips taken together, bric-a-brac of 
    Mitch's childhood. Under it all, there is a distinct 
    femininity. She sits up in bed as Melanie enters, bearing 
    the tray.

             MELANIE
        No, it's me, Mrs. Brenner. I thought 
        you might like some tea.

 TWO SHOT - LYDIA AND MELANIE

             LYDIA
        Oh, thank you.

    There is a long silence as Melanie puts the tray on the bed, 
    arranges the pillows behind Lydia.

             LYDIA
        Where's Mitch?

             MELANIE
        Al Malone wanted him out at the 
        Fawcett farm.

             LYDIA
        Why? Didn't Al believe my story?

             MELANIE
        He was calling from the farm, Mrs.  
        Brenner.

             LYDIA
        Then he saw.

             MELANIE
        He must have. He sent for the Santa 
        Rosa police.

             LYDIA
        What good will they do?

    She sips at the tea. There is a long awkward pause. Melanie 
    walks to the window and looks out over the bay.

             LYDIA
        Do you think Cathy's all right?

             MELANIE
        What?

             LYDIA
        Cathy. At the school.

 CLOSE SHOT - MELANIE

    at the window, her face turned away from Lydia. Her expression 
    clearly shows that she doesn't know whether Cathy is all 
    right. But when she turns to Lydia, there is a comforting 
    smile on her face, and her voice is soothing.

             MELANIE
        Yes, I'm sure she's fine.

 TWO SHOT - MELANIE AND LYDIA

             LYDIA
        Do I sound foolish to you?

             MELANIE
        No.

             LYDIA
        I keep seeing Dan Fawcett's face.
            (she shudders)
        They have such big windows at the 
        school.
            (pause)
        All the windows were broken. In Dan's 
        bedroom. All the windows.

             MELANIE
        Try not to think of that, Mrs.  
        Brenner.

             LYDIA
        I wish I were a stronger person.  
        There is a long awkward silence. She 
        sips at her tea reflectively.

             LYDIA
        I lost my husband four years ago, 
        you know.
            (pause)
        It's odd how you depend on someone 
        for strength, and then suddenly all 
        the strength is gone, and you're 
        alone.
            (pause)
        I'd love to relax some time. I'd 
        love to be able to sleep.
            (pause; the worried 
            look again)
        Do you think Cathy's all right?

             MELANIE
        Annie's there. She'll be all right.

             LYDIA
        I'm not this way, you know. Not 
        usually. I don't fuss and fret over 
        my children.
            (pause)
        When Frank died...
            (pause)
        You see, he knew the children, he 
        really knew them. He had the knack 
        of being able to enter into their 
        world, of becoming a part of them.  
        That's a rare talent.

             MELANIE
        Yes.

             LYDIA
        I wish I could be that way.

    There is another silence. A curious thing is happening in 
    this room. Lydia, for perhaps the first time since her 
    husband's death, is discussing it with another person.  
    Curiously, the person is Melanie.

             LYDIA
            (honestly and simply)
        I miss him.
            (pause)
        You know, sometimes I wake up in the 
        morning, and I think 'I have to make 
        Frank's breakfast,' and I... I get 
        up and there's a... a very good reason 
        for getting out of bed until... until, 
        of course, I remember.
            (pause)
        I miss talking to him.
            (pause)
        Cathy's a child, you know, and 
        Mitch...
            (she shrugs a little 
            sadly)
        ...Mitch has his own life.
            (pause)
        I'm glad he stayed here today. I 
        feel safer with him here.
            (she sighs deeply)

             MELANIE
        Would you like to rest now, Mrs.  
        Brenner.

             LYDIA
        No.  No... don't go yet.
            (pause)
        I feel as if I... I don't understand 
        you. And I want so much to understand.

             MELANIE
        Why, Mrs. Brenner?

             LYDIA
        Because my son is...
            (pause)
        My son seems to be fond of you.
            (pause)
        And I...
            (pause)
        I'm not quite sure how I feel about 
        it. I really don't know if I... like 
        you or not.

             MELANIE
        Is that so important, Mrs. Brenner?  
        You liking me?

             LYDIA
        Yes, I think so. My son is important 
        to me. I want to like any girl he 
        chooses.

             MELANIE
        And if you don't?

             LYDIA
            (with a faint smile)
        Then I don't suppose it'll matter 
        much to anyone but me.

             MELANIE
        I think it might also matter to Mitch.

             LYDIA
            (shaking her head)
        Mitch has always done exactly what 
        he wanted to do.
            (pause)
        I'm not complaining. That's the mark 
        of a man.  But...
            (pause)
        You see, I... I wouldn't want to 
        be... be left alone. I don't think I 
        could bear being left alone.  I... 
        forgive me. This business with the 
        birds has me upset.  I... I don't 
        know what I'd do if Mitch weren't 
        here.

             MELANIE
            (going to the bed; 
            adjusting the pillow)
        Why don't you try to sleep now, Mrs.  
        Brenner.

             LYDIA
            (sighing)
        I wish I were stronger.
            (she pauses and looks 
            toward the window.)
        Do you think she's all right? Do you 
        think she's safe at the school?

             MELANIE
        Would you like me to go for her?

             LYDIA
        I couldn't ask you to.

             MELANIE
        I don't mind, really.

             LYDIA
        Would you? I'd feel so much better.

             MELANIE
        I'll just clear up here, and then 
        dress.

    She picks up the tray and starts for the door.

             LYDIA
        Melanie?

    At the door, Melanie turns.

 CLOSE SHOT - LYDIA

    her face soft.

             LYDIA
            (gently)
        Thank you for the tea.

                           DISSOLVE

 EXT. BODEGA BAY - DAY - LONG SHOT

    Melanie's car turns and goes up School Road.

 EXT. SCHOOL - DAY - MED. SHOT

    Closer shot of the car coming to a stop outside school.  
    Inside the school, we HEAR the children SINGING.

             CHILDREN (O.S.)
        I married my wife in the month of 
        June. Ristle-tee, rostle-tee, mo, mo 
        mo!

 MED. SHOT - MELANIE

    smiling as she gets out of the car and heads for the school.

             CHILDREN (O.S.)
        I carried her off in a silver spoon.  
        Ristle-tee, rostle-tee, hey bombosity, 
        knickety-knackety, retro-retroquo- 
        quality, willoby-wallaby, quo-mo, 
        mo, mo!  Uality, willoby-wallaby, 
        quo-mo, mo, mo!

    The CAMERA FOLLOWS Melanie into the school and down the 
    corridor. The children's VOICES are LOUDER now.

             CHILDREN (O.S.)
        She combed her hair but once a year.  
        Ristle-tee, rostle-tee, Mo, mo, mo!  
        With every rake, she shed a tear.  
        Ristle-tee, rostle-tee, hey bombosity, 
        knickety-knackety, retro-quo-quality, 
        willoby-wallaby, Mo, mo, mo!

    Melanie is at the door to Annie's room now. She opens the 
    door and looks in.

 FULL SHOT - ANNIE - MELANIE'S P.O.V.

    leading the children in song. She catches sight of Melanie 
    at the door. Melanie wiggles her fingers. Annie points to 
    her wristwatch indicating that she'll be finished in a few 
    minutes and motions for her to wait in the play-yard outside.  
    Melanie turns and starts down the corridor again.

 EXT. SCHOOL - MED. PANNING SHOT

    Melanie emerges and strolls up street toward Annie's house.  
    Inside the children are still singing.

             CHILDREN (O.S.)
        She swept the floor but once a year.  
        Ristle-tee, rostle-tee, mo, mo, mo!  
        She swore her broom was much too 
        dear. Ristle-tee, rostle-tee, hey 
        bombosity, knickety-knackety, retro-
        quo-quality, willoby-wallaby, mo, 
        mo, mo!

 CLOSE SHOT

    Melanie turns back and seats herself on seat in front of 
    play yard.

             CHILDREN (O.S.)
        She churned the butter in Dad's old 
        boot. Ristle-tee, rostle-tee, mo, 
        mo, mo!  And for a dasher she used 
        her foot.  Ristle-tee, rostle-tee, 
        hey bombosity, knickety-knackety, 
        retro-quo-quality, willoby-wallaby, 
        mo, mo, mo!

 CLOSE UP - MELANIE

    A side profile of Melanie as she sits. Size of shot has seat 
    on bottom of screen. We are shooting three-quarter toward 
    the school.

             CHILDREN (O.S.)
        The butter came out a grizzle-y- 
        ygrey.  Ristle-tee, rostle-tee, grey.  
        Mo, mo, mo!  The cheese took legs 
        and ran away!  Ristle-tee, rostle-
        tee, hey bombosity, knickety-knackety, 
        retro-quo-quality, willoby-wallaby, 
        mo, mo, mo!

 MED. SHOT - PLAY YARD

    Three-quarter angle on play yard behind Melanie. A CROW 
    alights on the Jungle Jim.

             CHILDREN (O.S.)
        I brought my wife a horse one day.  
        Ristle-tee, rostle-tee, mo, mo, mo!  
        She let the critter get away.  Ristle-
        tee, rostle-tee, hey bombosity, 
        knickety-knackety, retro-quo-quality, 
        willoby-wallaby, mo, mo, mo!

 CLOSER SHOT - MELANIE

    a nearer cut of Melanie same angle as previous. Waist shot.

 MED. SHOT - PLAY YARD

    again four more crows arrive.

 CLOSE SHOT - MELANIE

    Nearer shot of Melanie smoking. Same angle. Just above waist - 
    bust shot.

 MED. SHOT - PLAY YARD

    Again five more crows arrive.

 CLOSE UP - MELANIE

    head and shoulders of Melanie as she sits smoking. There is 
    no sound except for the faint voices of the children singing 
    inside the schoolhouse. Melanie is puffing away at her 
    cigarette and occasionally glances in the direction of the 
    school. We hold on this shot of Melanie for a very long time 
    so that we are able to express her ignorance of what is going 
    on behind her with the crows. After a wait of about what 
    seems to be a half a minute or more, Melanie's attention is 
    drawn to something above her.

 MED. SHOT - SKY

    A crows is coming down.

 CLOSE UP - MELANIE

    as her eyes follow the flight of the crow.

 MED. SHOT - SKY

    Crow moving down and LEFT to RIGHT, the sky and Annie's roof 
    in the background.

 CLOSE UP - MELANIE

    Her head has twisted around to follow the flight of the crow.  
    She is almost looking into the play yard.

 MED. SHOT - PLAY YARD

    A crow slowly descends to the play yard and as the CAMERA 
    FOLLOWS it down, we see for the first time that the number 
    of crows has increased to an alarming number - almost 200 or 
    even perhaps 250. This last crow settles down with the others.

             CHILDREN (O.S.)
            (throughout preceding)
        I asked my wife to wash the floor.  
        Ristle-tee, rostle-tee, mo, mo, mo!  
        She gave me my hat and showed me the 
        door! Ristle-tee, rostle-tee, hey 
        bombosity, knickety-knackety,
        Retro-quo-quality,
            (the song slows -- it 
            is near the end)
        Willoby-wallaby, mmmmmmmo, mmmmmmmoo,
        Mo!

    CLOSE SHOT - MELANIE The CAMERA WHIPS UP as she leaps to her 
    feet in alarm. Her body has turned, but we are now facing 
    the opposite side of the school yard.

 CLOSER SHOT - PLAY YARD

    The play yard is full of crows.

 CLOSE SHOT - MELANIE

    Big head of horrified Melanie.

 MED. SHOT - PLAY YARD

    A closer view of the menacing birds.

 CLOSE SHOT - MELANIE

    Big profile of Melanie. She turns with back to CAMERA and 
    goes toward school looking at crows as she goes away. The 
    CAMERA FOLLOWS her for a few paces and then STOPS so that 
    her image becomes smaller as she goes up steps into

 EXT. PLAY YARD - DOLLY SHOT

    A side view of the crows as seen by Melanie.

 FULL SHOT - THE INTERIOR CORRIDOR

    Melanie in headlong flight toward Annie's room.

             ANNIE (O.S.)
        All right, children. Now please put 
        your books in your desks, and bring 
        the songsheets to the front of the 
        room. No one's going out to play 
        until I have all the songsheets.

 FULL SHOT - THE ROOM

    Annie is lining the children up near the door leading to the 
    play yard.

             ANNIE
        We're not going outside until we 
        quiet down. Ralph? Did you hear me?

    The children mutter for a moment, and then are still.

             ANNIE
        All right now.

    She begins opening the play yard door. Suddenly, the door 
    from the corridor bursts open, and Melanie rushes wildly 
    INTO the room. She goes directly to Annie, shoves her out of 
    the way, and SLAMS shut the play yard door.

 CLOSE SHOT - ANNIE

             ANNIE
        wh...?

 TWO SHOT - ANNIE AND MELANIE

    against a background of children's VOICES, as they react to 
    this new excitement.

             MELANIE
        Outside.

 LONG SHOT - THE CROWS - THROUGH THE WINDOWS TWO SHOT - ANNIE 
 AND MELANIE

             MELANIE
        We've got to get the children out of 
        here. These big windows... there's 
        no way to board them up.

    Annie gives a quick nod, understanding immediately.

 FULL SHOT - THE ROOM

    Through the windows, we can see the waiting crows. One moves 
    restlessly into flight, then settles on the equipment again.

             ANNIE
        Quiet down, children! Quiet down!

    The children modulate into silence.

             ANNIE
        Miss Daniels wants to see how we 
        conduct ourselves during a fire drill. 
        I'd like you to...

             CHILDREN
            (grumbling in Unison)
        A fire drill? This is our play period, 
        Miss Hayworth! Gee whiz!  Etc.

             ANNIE
        I'd like you to show her how quiet 
        and obedient you can be.

    The children again fall silent.

             ANNIE
        We're going to go out of the school 
        now. Those of you who live nearby 
        can go directly home. I want the 
        rest of you to go down the hill, all 
        the way to the hotel. Do you 
        understand?

             CHILDREN
        All the way down the hill? Gee, Miss 
        Hayworth, we never... Home? Why do 
        we...?

             ANNIE
            (shushing them)
        I want you to go as quietly as you 
        can, not a sound, until I tell you 
        to run. And then I want you to run 
        as fast as you can. Does everyone 
        understand?
            (pause - silence)
        All right. John, would you lead the 
        class, please?

    The children walk two-by-two to the corridor door. John opens 
    it, and they begin filing out. Melanie turns to look at the 
    play yard.

 CLOSE SHOT - A SINGLE CROW

    fluttering at the window, almost in exploration. He hangs 
    there for a moment, then wings back to the playground 
    equipment.

 CLOSE SHOT - MELANIE

             MELANIE
            (whispering)
        Hurry!

 EXT. PLAY YARD - FULL SHOT (6)

    straight on of all the crows.

 NEARER SHOT - PLAY YARD (8)

    but a different angle.

 CLOSER SHOT - PLAY YARD (10)

    but a different angle from the others

 CLOSE SHOT - (12)

    A low angle of five or six crows filling the screen.

 EXT. PLAY YARD

    The screen is filled with crows. About fifty or more. All of 
    a sudden we HEAR the distant PATTERING of children's feet as 
    they start running. Immediately the crows rise and the CAMERA 
    PANS UP with them into the sky.

 EXT. SCHOOL ROAD - LONG SHOT - (PLATE) (15)

    The FULL SHOT showing the children running toward the CAMERA - 
    Annie herding them at the rear. The crows - about two hundred - 
    rising over the schoolhouse roof and descending toward and 
    reaching the running children. Shot as a moving background 
    with six or seven children in front on a treadmill with the 
    mechanical birds coming into top of screen as though 
    continuing on from the plate. The birds swing around and 
    among the foreground children.

 EXT. SCHOOL ROAD (4) (S)

    A side view of running children with Melanie in front urging 
    them forward. Birds fly between them, two or three others 
    wheel around, one live one sweeps by in foreground.

 EXT. SCHOOL ROAD (3) (P)

    Three or four children running. Birds overhead - one or two 
    children spread out as others come in from sides and take 
    their places. Birds swerve in and out.

 EXT. SCHOOL ROAD (2) (S)

    Profile of running child. Bird catches up and bites.

 EXT. SCHOOL ROAD (3) (S)

    A nearer side on view without Melanie. Birds wheeling in and 
    out - others overhead.

 EXT. SCHOOL ROAD (1) (P)

    Bird on top of girl's head (showing feet and wings).

 EXT. SCHOOL ROAD (2) (S)

    A three-quarter back of two children running - lots of birds 
    overhead and others wheeling. Screen almost full of birds.

 EXT. SCHOOL ROAD (1) (P)

    One-half child's face - a bird's head and beak on left, 
    dashing round to the child.

 EXT. SCHOOL ROAD - CLOSE UP (L)

    of feet running.

 EXT. SCHOOL ROAD - HIGH MOVING SHOT (6) (L)

    showing the crows among the running children.

 EXT. SCHOOL ROAD (1) (P)

    Big head of girl - bird lands on her right shoulder - wing 
    over her face.

 EXT. SCHOOL ROAD (1) (P)

    One SCREAMING child as bird swoops from top left down to 
    lower right.

 EXT. SCHOOL ROAD (2) (S)

    Head and shoulders of boy who ducks behind pole -- bird goes 
    by as another attacks him from right-hand side.

 EXT. SCHOOL ROAD (1) (FP)

    Back view of boy's head running. He looks back.

 EXT. SCHOOL ROAD (½) (P)

    Big head of bird coming at CAMERA.

 EXT. SCHOOL ROAD (1) (FP)

    Back view of little girl running. She looks over her shoulder.

 EXT. SCHOOL ROAD (½) (P)

    Big head of bird coming into CAMERA.

 EXT. SCHOOL ROAD (3) (L)

    Straight back CLOSE SHOT of Annie dragging slow children. No 
    birds in back, but several wheeling around them.

 EXT. SCHOOL ROAD - HIGH MOVING SHOT (6) (L)

    showing the crows chasing the children down the street - 
    with the Bay in the distance.

 EXT. SCHOOL ROAD (3) (S)

    A bird dives to head of Michele and she falls OUT of picture.

 EXT. SCHOOL ROAD - CLOSE UP (1) (L)

    of Michele as she hits ground.

 EXT. SCHOOL ROAD - CLOSE UP (½) (L)

    Her glasses smash.

 EXT. SCHOOL ROAD (2) (S)

    Flash Cathy - she sees and runs back. Birds swirling around.

 EXT. SCHOOL ROAD (1) (S)

    Six birds descend on fallen Michele - legs running by.

 EXT. SCHOOL ROAD (3) (S)

    Cathy RUSHES IN. She disperses birds and bends to pick up 
    Michele.

 EXT. SCHOOL ROAD (2) (S)

    Melanie stops, looks back and sees Cathy and Michele, heads 
    of other children rushing by in foreground. Birds swirling.  
    Melanie dashes out left.

 EXT. SCHOOL ROAD (3) (S)

    Melanie reaches Cathy and Michele -- Michele is now on her 
    feet. Birds swirling -- Melanie looks about -- sees.

 EXT. SCHOOL ROAD (2) (L)

    Station wagon across the street. Birds swirling about and 
    children running by.

 EXT. SCHOOL ROAD (5) (L)

    Melanie drags Cathy and Michele to the station wagon. We see 
    the Bay in the distance and children running on the bottom 
    of the street.

 INT. STATION WAGON - CLOSE SHOT (8) (S)

    Shooting inside the wagon across the front seat. The three 
    scramble in, Cathy first, then Michele and Melanie last --

    the door SLAMS on crows swooping around. Cathy and Michele 
    are SCREAMING with fright.

 INT. STATION WAGON - P.O.V. (3) (FP)

    Through the windshield we see crows attacking. Bay and running 
    children in distance.

 INT. STATION WAGON (3) (P)

    The faces of the three - Birds are fluttering on the rear 
    window.

 INT. STATION WAGON - MELANIE (3) (P)

    wheel in foreground. She starts to slam hand on horn ring.

 INT. STATION WAGON (2) (S)

    Crows attacking side window.

 INT. STATION WAGON (2) (S)

    Hand on horn ring.

 INT. STATION WAGON (2) (P)

    Cathy and Michele's faces huddled together.

 INT. STATION WAGON (2) (P)

    Melanie's big head - she looks down.

 INT. STATION WAGON - CLOSE UP (1) (P)

    Knob of wiper -- her hand comes in and pulls it out.

 INT. STATION WAGON (3) (FP)

    Wipers starting. Crows retreat.

 INT. STATION WAGON (2) (P)

    The three faces staring out.

 INT. STATION WAGON - P.O.V. (3) (P)

    through windshield. The crows are starting to go away.

 INT. STATION WAGON (2) (P)

    Melanie looks out and sees:

 EXT. SCHOOL ROAD - P.O.V. (6) (FP)

    through windshield. Annie running back with stick. She beats 
    the last of the crows away.

 INT. STATION WAGON (6) (S)

    Melanie flops in exhaustion over the wheel as Annie comes 
    round to the side window and starts to open the door.

                           DISSOLVE

 INT. THE TIDES - FULL SHOT

    It is lunchtime and there is a busy bustle to the place as 
    DEKE CARTER officiates behind the bar and HELEN CARTER, his 
    wife, rushes back and forth between diners at the tables. A 
    DRUNK sits at the bar, old, grizzled, the weary wisdom of 
    booze in him. In one of the booths sits SEBASTIAN SHOLES in 
    his shirt sleeves, eating a hurried lunch quickly and 
    efficiently. A WOMAN and TWO CHILDREN are seated at another 
    table, about to order. A party of noisy SALESMAN is laughing 
    and clowning around throughout following at a table in the 
    rear. The phone from behind the bar has been placed on the 
    counter, and Melanie is speaking into it while Deke listens.  
    Over her head, the television set is blasting with its 
    perennial Western, the gun shots punctuating her conversation.

             MELANIE
        Daddy, there were hundreds of them.  
        No, I'm not hysterical, I'm trying 
        to tell you this as calmly as I know 
        how. All right, Daddy. Yes Daddy.
            (she takes a deep 
            breath)
        Just now.  Not... fifteen minutes 
        ago.

    The door to the Tides opens and MRS. BUNDY, sixtyish, wearing 
    walking shoes and a tweed suit, a very masculine-looking 
    woman with short clipped white hair, comes in, passes through 
    foreground, goes to bar, her attention slowly caught by what 
    Melanie is saying.

             MELANIE
        At the school. No, I don't. Just a 
        minute.
            (to Deke)
        What's the name of the school?

             DEKE
        Just the Bodega Bay School.
            (to Mrs. Bundy)
        Help you, Mrs. Bundy?

             MRS. BUNDY
        I need some change, Mr. Carter.

    As Deke opens cash register...

             MELANIE
        The Bodega Bay School.
            (to Deke)
        Could you turn that down, please?

    Deke gives Mrs. Bundy her change, turns off television.

             MELANIE
        I don't know how many children.
        Thirty or forty. Yes.

    Mrs. Bundy goes to cigarette machine, pauses to listen to 
    Melanie.

             MELANIE
        No, the birds didn't attack until 
        the children were outside the school. 
        Crows, I think. I don't know, Daddy. 
        Is there a difference between crows 
        and blackbirds?

             MRS. BUNDY
            (turning from machine)
        There is very definitely a difference, 
        Miss.

             MELANIE
        They're different, Daddy.
            (to Mrs. Bundy)
        Thank you.
            (into phone)
        I think these were crows. Yes, 
        hundreds of them. Yes, they attacked 
        the children, attacked them.
            (exasperated)
        Daddy, a little girl was sent to the 
        hospital in Santa Rosa. Well, all 
        right, but you act as if I'm... all 
        right, all right.
            (pause)
        No, I can't come home now. I just 
        can't, Daddy. How is it there? I 
        mean... are there birds? In the sky?  
        But no trouble. Well, I hope...
            (pause)
        I don't know when. I simply can't 
        leave now. Tell Mother not to worry.  
        All right, Daddy, good-by.

    She hangs up. Mrs. Bundy is at her elbow.

             MRS. BUNDY
        They're both perching birds, of 
        course, but of quite different 
        species. The crow is brachyrhynchos. 
        The blackbird is cyanocephalus.

             MELANIE
        Thank you.
            (to Deke)
        Do you know Dan Fawcett's number?

             DEKE
        In the book right here, Miss.

    As Melanie looks it up...

             DEKE
            (to Mrs. Bundy)
        I don't see what difference it makes, 
        Mrs. Bundy, crows or blackbirds. If 
        they attacked the school, that's 
        pretty serious.

             MRS. BUNDY
            (with a superior smile)
        I hardly think either species would 
        have the intelligence to launch a 
        massed attack. Their brain pans aren't 
        large enough for such...

             MELANIE
            (dialing)
        I just came from the school, madam.  
        I don't know about their brain pans 
        but...

             MRS. BUNDY
        Birds are not aggressive creatures, 
        Miss. They bring beauty to the world. 
        It is mankind, rather, who...

             HELEN
            (going to door leading 
            to kitchen)
        Three Southern fried chicken, Sam.  
        Baked potato on all of them.

    LAUGHTER from salesman at table.

             MELANIE
            (into phone)
        Hello, may I speak to Mitch Brenner, 
        please?
            (pause)
        Yes, I'll wait.

             MRS. BUNDY
            (continuing to Deke)
        ...insist on making it difficult for 
        life to survive on this planet. If 
        it weren't for birds...

             DEKE
        Mrs. Bundy, you don't seem to 
        understand. This young lady says 
        there was an attack on the school.

             MRS. BUNDY
        Impossible.

             MELANIE
            (in background)
        Mitch? I'm glad I caught you.  
        Something terrible has happened.

    Her background conversation continues through following:

             DRUNK
            (suddenly)
        It's the end of the world!

             HELEN
        What's this about the school?

             DEKE
        Bunch of crows attacked the school, 
        Helen.

             DRUNK
        It's the end of the world.
            (suddenly quoting)
        "Thus saith the Lord God to the 
        mountains, and to the hills, to the 
        rivers and to the valleys; Behold, 
        I, even I, will bring a sword upon 
        you, and I will destroy your high 
        places.

             HELEN
        The Lord's not destroying anything, 
        Jason.

             DRUNK
        "In all your dwelling places, the 
        cities shall be laid waste, and the 
        high places shall be laid waste!"
            (he nods)
        Ezekiel, Chapter six.

             HELEN
            (quoting)
        "Woe unto them that rise up early in 
        the morning that they may follow 
        strong drink."

             DRUNK
            (nodding)
        Isaiah, Chapter 5. It's the end of 
        the world.

             MELANIE
        Yes, all right, I'll wait for you.  
        Good-by.
            (she hangs up)

             MRS. BUNDY
            (laughing)
        I hardly think a few birds are going 
        to bring about the end of the world.

             MELANIE
            (turning to her)
        These weren't a few birds.

 CLOSE SHOT - THE WOMAN AND THE CHILDREN

    waiting for their lunch, listening to the conversation; 
    becoming very nervous.

 BACK TO SCENE

             DEKE
        I didn't even know there were many 
        crows in Bodega Bay this time of 
        year.

             MRS. BUNDY
        The crow is a permanent resident 
        throughout its range. In fact, during 
        our Christmas Count, we recorded...

 CLOSE SHOT - SHOLES

    eating.

             SHOLES
            (suddenly, from his 
            table)
        How many gulls did you count, Mrs.  
        Bundy?

 BACK TO SCENE

             MRS. BUNDY
        Which gulls, Mr. Sholes? There are 
        several varieties.

             SHOLES
        The ones that've been raising the 
        devil with my fishing boats.

             MRS. BUNDY
        Probably herring gulls. They arrive 
        in November, you know, and don't 
        migrate North again until March or...

             MELANIE
            (leaping upon this)
        Have you had trouble with gulls?

             SHOLES
        One of my boats did last week.

             DEKE
            (making a connection)
        This young lady got hit by a gull 
        only Saturday.

             SAM'S VOICE
            (from kitchen)
        Pick up the chicken.

             HELEN
        Now it's gulls. A minute ago, it was 
        crows.
            (she picks up tray, 
            shrugs, goes to table)
        Deke, I'm still waiting for those 
        Bloody Marys!

             DEKE
        Coming right up!

 CLOSE SHOT - WOMAN

    as Helen brings food. She is beginning to get really 
    frightened.

             WOMAN
        Could you ask them to lower their 
        voices, please? They're frightening 
        the children.

             LITTLE GIRL
        Timmy has a canary.

             HELEN
        That's nice. Are you Timmy?

             LITTLE BOY
        My cousin is Timmy.

 BACK TO SCENE

             SAM'S VOICE
            (leaving table, coming 
            to bar)
        A whole flock of gulls nearby capsized 
        one of my boats.  Practically tore 
        of the skipper's arm.

             HELEN
            (coming back)
        You're scaring the kids. Keep it 
        low.

             DEKE
        You're scaring me, too. Are you trying 
        to say all these...
            (he shakes his head)
        That sounds impossible, Sebastian.

             SHOLES
        I'm only telling you what happened 
        to my boat.

             MRS. BUNDY
        The gulls were after your fish, Mr.  
        Sholes. Really, let's be logical 
        about this.

             MELANIE
        What were the crows after at the 
        school?

             MRS. BUNDY
        What do you think they were after, 
        Miss...?

             MELANIE
        Daniels. I think they were after the 
        children.

             MRS. BUNDY
        For what purpose?

             MELANIE
        To...
            (she hesitates)
        To kill them.

    There is a long silence.

             MRS. BUNDY
        Why?

    Another silence.

             MELANIE
        I don't know why.

             MRS. BUNDY
        I thought not. Birds have been on 
        this planet since archaeopteryx, 
        Miss Daniels; a hundred and twenty 
        million years ago!

    A TRAVELING SALESMAN ENTERS, goes to bar, listens.

             MRS. BUNDY
        Doesn't it seem odd that they'd wait 
        all that time to start a... a war 
        against humanity?

             MELANIE
        No one called it a war!

             SALESMAN
        Scotch, light on the water.

             MRS. BUNDY
        You and Mr. Sholes seem to be implying 
        as much.

             HELEN
        Are you finished here, Sebastian?

             SHOLES
        Let me have some apple pie, Helen.
            (to Mrs. Bundy)
        Who said anything about war? All I 
        said was that some gulls...

             HELEN
            (yelling to kitchen)
        One apple pie! You want more coffee?

             SHOLES
        No. ...came down on one of my boats.  
        They could have been after the fish, 
        just as you said.

             SALESMAN
        Your captain should have shot at 
        them.

             SHOLES
        What?

             SALESMAN
        Gulls are scavengers, anyway. Most 
        birds are. If you ask me, we should 
        wipe them all out. World would be 
        better off without them.

             MRS. BUNDY
            (outraged)
        Birds?

             SALESMAN
        Yeah, birds. All they do is make a 
        mess of everything. Who needs them?

             MRS. BUNDY
        We need them.

             SALESMAN
        Not if they're starting a war.

             MRS. BUNDY
        They are incapable of organized 
        warfare!

             MELANIE
        Have you ever seen a jay protecting 
        a nest?

             MRS. BUNDY
        I have seen jays doing everything it 
        is conceivable for jays to do.  
        Ornithology happens to be my 
        avocation, Miss Daniels. You're 
        talking about preservation of the 
        species, a hen protecting her young.  
        There's a vast difference between...

             MELANIE
        Maybe they're all protecting the 
        species. Maybe they're tired of being 
        shot at and roasted in ovens and...

             MRS. BUNDY
        Are you discussing gamebirds now?  
        All birds are not gamebirds, you 
        know.

             MELANIE
        I don't know anything about birds 
        except that they're attacking this 
        town.

             SALESMAN
        Then fight back. Get yourselves guns 
        and wipe them off the face of the 
        earth.

             MRS. BUNDY
        That would hardly be possible.

             DEKE
        Why not, Mrs. Bundy?

             MRS. BUNDY
        Because there are 8,650 species of 
        birds in the world today, Mr. Carter. 
        It's estimated that five billion, 
        seven hundred and fifty million birds 
        live in the United States alone. The 
        five continents of the world...

             SALESMAN
            (muttering)
        Kill them all. Get rid of them.  
        Messy animals.

             MRS. BUNDY
        ...probably contain more than a 
        hundred billion birds!

             DRUNK
        It's the end of the world!

             DEKE
        Well, we seem to have more than our 
        share of them right now, Mrs. Bundy.  
        Maybe this young lady's right.  Maybe 
        they've all gone crazy.

             HELEN
        Here's your pie, Sebastian. You want 
        it at the table?

             SHOLES
        No. Here's fine.
            (he begins eating)

             HELEN
        Where are the Bloody Marys, Deke?

             DEKE
        Coming.

             HELEN
            (angrily)
        Are we running a business here -- or 
        a bird sanctuary?

             SHOLES
            (beginning to change 
            his mind)
        Actually, those gulls must have been 
        after the fish.

             MRS. BUNDY
        Of course.

             SHOLES
        Makes a lot more sense than... well, 
        an attack.

             MRS. BUNDY
        Of course it does. If we believe 
        that birds are attacking, why... why 
        next we'll believe that grasshoppers 
        and cockroaches are capable of...

             DRUNK
        Cockroaches!  Urghh!

 CLOSE SHOT - WOMAN

    getting more and more anxious.

             WOMAN
        Hurry, children. Finish your lunch.

             BOY
        Are the birds gonna eat us, Mommy?

             SHOLES
        Maybe we're all getting a little 
        carried away by this. Admittedly, a 
        few birds acted strangely. That's no 
        reason to believe...

             MELANIE
        This isn't a few birds! I keep telling 
        you that! These are gulls and swifts 
        and crows and...

             MRS. BUNDY
        And what? Vultures? Hawks? Eagles?

             MELANIE
        Maybe! Is it impossible?

             MRS. BUNDY
        Yes. I have never known birds of 
        different species to flock together.  
        The very concept is unimaginable.
            (laughing)
        Why if that happened, we wouldn't 
        have a chance. How could we possible 
        hope to fight them?

             SHOLES
        We couldn't. You're right, Mrs.  
        Bundy.

             WOMAN
            (calling from table)
        Excuse me, may I have a check, please?

             HELEN
            (concerned)
        Is everything all right, ma'am?

             WOMAN
        Yes, I... I'm anxious to get on the 
        road.

             SAM
            (coming from kitchen)
        What's the matter? Something wrong 
        out here?

             DEKE
        Nothing's wrong.

             SAM
        All this shouting.

             MRS. BUNDY
        We're fighting a war, Sam.

             SAM
        A war? Against who? Did the 
        Russians...?

             SHOLES
        Against birds.

             WOMAN
            (suddenly)
        I'm glad you all think this is so 
        amusing. You've frightened my children 
        half out of their wits.

             BOY
        I'm not scared, Mommy.

             WOMAN
        Keep quiet. If that young lady saw 
        an attack on the school, why won't 
        you believe her?

             SAM
        What attack? Who attacked the school?

             WOMAN
        Birds did. Crows! And you're all 
        sitting around here debating! What 
        do you want them to do next? Crash 
        through that window?

             LITTLE GIRL
            (frightened by her 
            mother)
        Mommy!

             WOMAN
        Quiet! Why don't you all get home?  
        Lock your doors and windows!
            (her hysteria rising)
        Put on your coats, children!
            (to Deke)
        What's the fastest road to San 
        Francisco?

             DEKE
        The freeway, ma'am.

             WOMAN
        Where do I get it?

             SALESMAN
        I'm going out that way, lady. You 
        can follow me.

             WOMAN
        Then let's go. Now!

             SALESMAN
        I haven't finished my drink.

             WOMAN
            (on edge of panic, 
            shouting at her 
            children)
        Put on your coats! Do you want to 
        get trapped here?

             BOY
        I can't find my scarf.

             WOMAN
        Look in your sleeve!

    The door opens. Mitch and Al Malone come in.

             MITCH
        Melanie?

    At the far table, the salesman begin singing, rowdily.

             MITCH
            (going to her)
        I got here as fast as I could.  
        Where's Cathy?

             MELANIE
        At Annie's house. She's all right.

             SAM
        Al, why aren't you over there where 
        the attack was?

             MALONE
        Because I just got back from Dan 
        Fawcett's place, that's why.

             MITCH
        He was killed last night. By birds.

             MALONE
        Now hold it, Mitch. You don't know 
        that for a fact.

             MRS. BUNDY
        What are the facts, Mr. Malone?

             MALONE
        Santa Rosa police think it was a 
        felony murder. They think a burglar 
        broke in and killed him.

             WOMAN
        Were the Santa Rosa police at your 
        school today?
            (impatiently, to 
            salesman)
        Are you coming?

             SALESMAN
        Take it easy, lady.
            (through window)
        There isn't a bird anywhere in sight.

             DRUNK
            (quoting)
        "Look at the birds of the air: they 
        do not sow or read, yet your heavenly 
        father feeds them."

             WOMAN
        I'll never feed another bird as long 
        as I live!

             SALESMAN
        Something like this happened in Santa 
        Cruz last year. The town was covered 
        with seagulls.

             WOMAN
        Can't you please finish your drink?

             MRS. BUNDY
        That's right, sir, I recall it. A 
        large flock of seagulls got lost in 
        a fog and headed in for the town, 
        where all the lights were.

             SALESMAN
        They made some mess, too, smashing 
        into houses and everything.
            (shaking his head)
        They always make a mess. We're better 
        off without them.

             MRS. BUNDY
        The point is that no one seemed to 
        get upset about it. They were gone 
        the next morning, just as if nothing 
        at all had happened. Poor things.

             WOMAN
        I'm leaving! Are you coming?

             SALESMAN
        All right, all right!
            (he downs his drink)
        Hope you figure this out, folks.

             DRUNK
        It's the end of the world.

    The Tides is silent for a moment.

             SHOLES
        Well, I'd better get back to the 
        cannery. What do I owe you, Deke?

             DEKE
        Let's see. Scallops and coffee...

             MITCH
        Hold it just a minute, Sebastian.

    Sholes turns to him.

 CLOSE SHOT - MITCH

    his face very serious.

             MITCH
        Sebastian, I'm not an alarmist.

             SHOLES
        No one ever said you were, Mitch.

             MITCH
            (flatly)
        I think we're in trouble. I don't 
        know how or why this started, but I 
        know it's here and I know we'd be 
        crazy to ignore it.

             MRS. BUNDY
            (sarcastically)
        Ignore what? The bird war?

             MITCH
            (exploding)
        Yes, the bird war, the bird attack, 
        the bird plague, you can call it 
        what you want to, they're out there 
        massing someplace and they'll be 
        back, you can count on that!

             MRS. BUNDY
        Ridiculous!

             MITCH
        Mrs. Bundy, why don't you go home 
        and polish your binoculars?

             SAM
        Go on, Mitch.

             MITCH
        If we don't do something now, if we 
        don't get Bodega Bay on the move...

             SHOLES
        Look, Mitch, even if this is true, 
        even if all the birds...

             MITCH
        Do you believe it's true, Sebastian?

             SHOLES
            (after a long pause)
        No. I don't, Mitch. Because I can't 
        see any reason for it.

             MITCH
        It's happening. Isn't that a good 
        enough reason?

             SHOLES
            (thoughtfully)
        I like Bodega Bay as well as any 
        man. If I thought...
            (he shakes his head)

             MITCH
        Then help me, Sebastian. You're an 
        important man in this town. If you'll 
        help, the rest will.

             SHOLES
        Help how? What do you want to do?

             MITCH
        I'm not sure, but...

             SHOLES
        If you don't even know what you want 
        to do...

             MELANIE
        Listen to him, please.

             SAM
            (taking position beside 
            Melanie)
        You listen to him, Sebastian!

             MITCH
        I only know we've got to drive them 
        away from town -- before they drive 
        us away.

             SHOLES
        How?

             MITCH
        Mrs. Bundy, you said something about 
        Santa Cruz. About seagulls getting 
        lost in the fog, and heading in for 
        the lights.

             DEKE
        We don't have any fog this time of 
        year, Mitch.

             MITCH
        We'll make our own fog.

             SHOLES
        How do you plan to do that?

             MITCH
        With smoke.

             MALONE
        There's an ordinance against burning 
        anything in this town, unless it's...

             MITCH
        We'll use smoke pots. Like the Army 
        uses.

             DEKE
        What good'll that do? Smoke's as bad 
        as birds.

             MRS. BUNDY
        Birds are not bad!

             SHOLES
        How can we go on living here if we 
        blanket the town with smoke?

             MITCH
        Can we go on living here otherwise?

    Pause. They are silent.

             SAM
            (slowly)
        It's worth a try, Sebastian.

    There is more silence as they all consider. And then suddenly:

             MELANIE
        Look!

    They turn toward the window.

 TIDES CAR PARK - FULL SHOT

    Viewed from the side window inside the Tides we see three or 
    four gulls diving down toward the highway over the roof of 
    the Tides Office. Two more swoop into the foreground of the 
    window and out to the left.

             DEKE
            (alarmed)
        Gulls!

             MITCH
        They're back!

             SHOLES
        They're only the usual... What are 
        you...

 TIDES TOWN - LONG SHOT

    The first gull reaches the gas station but misses the 
    attendant who is in the act of filling the car. The owner is 
    seen disappearing into the men's room.

 INT. TIDES

    A quick flash of the group of faces at the window of the 
    Tides Restaurant.

 TIDES TOWN - MED. SHOT

    A nearer view of the gas station. A second gull hits the man 
    on the back -- he falls -- hits his head on the pump and 
    then collapses over the gasoline hose pipe, pulling it out 
    and causing it to spill. The third and fourth gulls sweep 
    by.  The gas begins to flow away.

 MED. SHOT - MELANIE AND MITCH

    inside the Tides. Mitch dashes toward the door -- Melanie 
    after him. Through the glass windows into the street we see 
    people dashing off to the right, in the direction of the gas 
    station. At the door, Mitch turns.

             MITCH
            (to Melanie)
        Stay back in here.

    Deke Carter comes running from behind the bar to join Mitch.  
    They both EXIT. Melanie dashes back to her original place at 
    the window. The CAMERA RETREATING with her, we come to the 
    window and over Melanie's shoulder we see the men arrive to 
    rescue the attacked gas station attendant.

    Three or four gulls are still attacking and they flutter 
    away as the men appear to beat them off. Suddenly Melanie in 
    the foreground turns in full profile to her right and looks 
    down.

 TIDES CAR PARK - MED. SHOT

    on the sloping pavement before her a stream of gasoline is 
    flowing to the right into the car park.

 CLOSE SHOT - GASOLINE

    flowing down to the car park.

 CLOSE SHOT - MELANIE

    through the window. She suddenly looks toward the gas station.

 MED. SHOT - THE CAMERA PANS

    along the flowing gas back to the station.

 CLOSEUP - MELANIE

    She turns back to the car park.

 FROM MELANIE'S VIEWPOINT

    We see the flow of gasoline trickling toward the car parked 
    below her. At this particular moment, a car has pulled up, 
    has come to a stop and a man emerges. He is in the act of 
    lighting his dead cigar, but his attention is drawn to the 
    happenings around the gas station. With this half-drawn 
    attention, he strikes the match and holds it to the cigar.

 CLOSEUP - MELANIE

    She quickly slides the window open and yells down to the 
    man.

 FROM MELANIE'S VIEWPOINT

    The man looks about him, holding the match I his fingers. As 
    he catches sight of Melanie, the match burns his finger and 
    he drops it.

 CLOSEUP - MELANIE

    Her horror-stricken face.

 FULL SHOT - THE PARKING AREA

    Three fast explosions in a row as the man's car, Mitch's 
    car, and the one next to it go up in flames.

 CLOSE SHOT - THE HORRIFIED FACE OF MELANIE

 TURNING TO SEE

 FULL SHOT - THE GAS STATION

    The line of flame running swiftly from the burning cars, 
    following the gasoline on the ground, directly to the pump, 
    which blows up as the men are jumping away with the injured 
    attendant.

 EXT. TIDES TOWN AND CAR PARK - MATTE SHOT

    A very high shot shows the beginning of the people of the 
    town rushing around the car park and the streets across the 
    highway, endeavoring to put out the two fires. We see 
    automobiles coming to a stop on Highway One, and the oil 
    smoke beginning to rise from the burning gas station and the 
    parked cars. Some men have managed to start a fire hose and 
    have trained it on the burning cars. Suddenly but slowly the 
    foreground in the sky just below the CAMERA begins to fill 
    with wheeling gulls. The whole picture below becomes 
    obliterated by the foreground birds who now begin to swoop 
    down on the town.

 EXT. TIDES TOWN

    A raking shot outside the Tides Restaurant showing the phone 
    booth and motel off in the background. People are rushing 
    out from the restaurant and look up in the sky. Gulls begin 
    to descend into the scene, driving the people back into the 
    restaurant. Melanie is seen in the distance calling for Mitch:

             MELANIE
        Mitch...! Mitch!

    We see her look up to the sky.

 LONG SHOT - THE SKY

    The sky is full of seagulls.

 CLOSE SHOT - MELANIE

    Looking about her frantically. She turns her face up again 
    to see the descending gulls. She is driven to take refuge in 
    the phone booth.

 CLOSEUP - INSIDE THE PHONE BOOTH - MELANIE

    slams the door shut. Gulls are now beating at the glass all 
    around her.

 EXT. TIDES TOWN

    From Melanie's viewpoint inside the booth we see the people 
    who have been rushing to put out the fire now faced with 
    clouds of birds coming on them.

 CLOSEUP - MELANIE

    looking out in terrified alarm but still searching with her 
    eyes for Mitch.

 MED. SHOT - PEOPLE RUSHING FROM THE TIDES

 CLOSEUP - MELANIE

    in the phone booth. She turns and looks swiftly in the 
    direction of the car park.

 EXT. TIDES CAR PARK

    Some men have secured a hose and are obviously getting water 
    from the bay. They are turning the stream onto the burning 
    cars. At this time, the birds are filling the area around 
    them. They suddenly turn the hose up into the birds.

 CLOSEUP - MELANIE

    Her eyes turn up quickly.

 LONG SHOT - FROM HER VIEWPOINT

    We see the stream of water swing to and from among the birds.  
    Melanie turns back from this at the sound of a roaring car.

 EXT. TIDES TOWN - FROM HER VIEWPOINT

    We see a car zig zag down from the town in a drunken manner 
    coming toward her in the phone booth.  We can see birds flying 
    in and out of the windows of the car.  We can see the arm 
    and hand of the driver trying to beat them away. In the 
    background of this scene we see the fire truck arrive.

 CLOSEUP - THE HORRIFIED FACE OF MELANIE

    as the car comes toward her in the booth.

 EXT. TIDES TOWN

    At the last minute, the car swerves away from the booth.

 CLOSER SHOT

    A side view of the car after practically scraping the side 
    of the booth. We see that it's full of birds attacking the 
    driver. As it goes by, it near tilts over to inadvertently 
    give us a view of its interior.

 FLASH CLOSEUP - MELANIE

    watching the car.

 EXT. TIDES CAR PARK

    The car goes on and smashes into the other burning cars. It 
    explodes.

 CLOSEUP - MELANIE

    Suddenly she hears the firing of a gun. She turns.

 TIDES TOWN - LONG SHOT

    She sees a man with a gun shooting up at birds but to no 
    avail. One or two descend upon him. He throws the gun down 
    and rushes back into the Tides Office. Melanie, with a slight 
    turn, now sees:

 THE TIDES TOWN

    The fire volunteers with birds descending around them drop 
    their hose.

 CLOSER SHOT

    shows the hose snaking wildly and jumping. At one moment the 
    water turns and comes in a powerful stream hitting the windows 
    of the phone booth.

 CLOSEUP - MELANIE

    recoils from this water attack. Through the streaming window 
    she sees the fire volunteers rushing away for cover. To the 
    left we see a horse with its head covered with gulls; its 
    palomino-colored body covered with crows. It is bucking and 
    leaping and kicking its van to pieces.

    At this moment the scene is obliterated by the appearance of 
    a man groping his way closely past the phone booth windows.  
    His face is poring with blood: his head and shoulders are 
    covered with attacking birds. He disappears from sight.  
    Melanie, now almost in a faint, opens her eyes to see Tides 
    Town. Through the booth window she sees Mitch and Deke Carter, 
    the owner of the Tides, coming down toward the CAMERA and 
    waving the birds away from them with flailing arms.

 CLOSE SHOT - MELANIE

    opens the booth doors and starts out with a cry of 
    recognition, but she has barely stepped out when more gulls 
    crash around the booth causing her to go back.

 CLOSEUP - MELANIE IN PROFILE

    looking out again toward Mitch.

 EXT. TIDES TOWN

    Through window she sees Deke Carter run off in one direction 
    while Mitch suddenly sees a child at the window of the burning 
    building adjacent to the flaming and smoking gas station. 
    Mitch dashes across and goes up the short staircase into the 
    smoking building.

 CLOSEUP - MELANIE

    looking across in horror.

 LONG SHOT - THE BURNING BUILDING

    For a moment there is no sign of anyone about, then suddenly 
    Mitch appears with the small child at the window. He calls 
    down. One man dashes from the direction of the Tides Office, 
    another from the Tides Restaurant. They both wait below the 
    window as Mitch drops the child.

 FLASH - MELANIE

    watching this breathlessly.

 CLOSER SHOT

    The moment the child has dropped, Mitch suddenly looks up.  
    He slams the window as two or three birds crash into the 
    windows. They disappear into the building.

 CLOSEUP - MELANIE

    holding her breath.

 LONG SHOT - THE BURNING BUILDING

    No sign of Mitch.

 CLOSEUP - MELANIE

    getting more desperate.

 CLOSEUP - BUILDING

    No sign of Mitch. Suddenly a chair flies through the window 
    and Mitch climbs OUT and drops to the ground.

 CLOSE SHOT - MELANIE

    opening the door of the booth, yells out to him.

 LONG SHOT - MITCH

    sees her and starts running toward the booth.

 HIGH SHOT - MITCH

    beating his way through the birds. He reaches the booth.

 LOW SHOT

    close to the Tides Restaurant entrance. We see Mitch drag 
    Melanie from the phone booth and run with her toward the 
    CAMERA through the birds into the restaurant.

 INT. THE TIDES

    There must be at least twenty people all looking toward the 
    windows. It is as though they are hiding from a storm. The 
    CAMERA is high enough to see Melanie and Mitch COME IN, very 
    hurriedly close the door. We see the gulls wheeling outside.  
    There is a kind of stunned silence among the people. We can 
    hear the sound of the screaming gulls outside. Suddenly a 
    woman's voice SCREAMS out:

             WOMAN
        Why are they doing it?! Why are they 
        doing it...?!

    Some of the heads of the group turn.

 CLOSE SHOT

    It is the woman who had the two children screaming at Mrs.  
    Bundy who is seated in a booth table staring numb and 
    helpless. Mrs. Bundy turns and looks at her and mutters some 
    words.

             MRS. BUNDY
            ([Mrs. Bundy offers a 
            weak explanation of 
            why the birds could 
            have gone berserk 
            like this. This 
            information should 
            be obtained from Dr. 
            Stager.])

 CLOSE SHOT - MELANIE AND MITCH

    looking across at this slight scene. They turn back and over 
    their shoulders the gulls seem to be in much less quantity.

             MITCH
            (looking up)
        I think they're going.

    Melanie follows his look. At this moment there is a loud 
    CRASH OF GLASS. They turn their heads suddenly.

 MED. SHOT - FROM MITCH'S AND MELANIE'S VIEWPOINT

    And past the heads of the other people who have also turned, 
    we see one of the back windows of the Tides Restaurant has 
    gone and gulls are coming in. Two or three of the men who 
    are on the edge of the crowd turn and go back toward the 
    window, beating them out. They succeed in doing this.

 CLOSE SHOT - MELANIE AND MITCH

    They turn from the gulls in the restaurant to look to the 
    street.

             MITCH
        I think it's safe to get out now.

             MELANIE
        Don't let's take any chances.

             MITCH
        We've got to get Cathy.

    They open the door and make their way out into the street, 
    running and looking about them desperately.

 EXT. BODIGA STREET

    There are one or two gulls flying around. Others are perched 
    on roofs as we see Mitch and Melanie dashing along the 
    sidewalk.

 EXT. BODIGA STREET

    There are still one or two gulls or crows in evidence as 
    they move along past the last street and come into the more 
    countrified part of the town.

 LONG SHOT - THE SCHOOL YARD

    We see them turn and dash up the road toward the school which 
    we see in the distance. There are some birds perched on the 
    school roof.

 SIDE-ON DOLLY SHOT - MELANIE AND MITCH

    going up the school road. He stops for a moment and looks 
    up, Melanie following his look.

 SKY SHOT - FULL

    of wheeling gulls.

 SIDE-ON CLOSE SHOT - THE TWO

    They move on and go past Melanie's waiting car outside the 
    school. Suddenly Melanie brings him to a halt.

 LONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT

    There are a few blackbirds on it.

             MELANIE'S VOICE
        Look... the crows again.

 CLOSE SHOT - THE TWO

    Mitch starts off. Melanie restrains him.

             MELANIE
        Careful, Mitch. The crows may be 
        back in the play yard.

 CLOSE SHOT - THE TWO

    They advance cautiously. When they are level with the play 
    yard, we see what they see.

 MED. SHOT

    THE CAMERA DOLLIES along the play yard. It is again full of 
    crows.

 CLOSE SHOT

    They walk stealthily past.

 CLOSE SHOT

    CAMERA PANNING ALONG the waiting crows.

 CLOSE SHOT

    Shooting over the shoulders of Melanie and Mitch, they 
    approach Annie's house. Melanie glances apprehensively over 
    her shoulder toward the crows.

 EXT. ANNIE'S HOUSE

    Melanie and Mitch arrive. They come to a sudden stop.

 LONG SHOT - ANNIE'S HOUSE

    A woman is crumpled lifelessly on the front steps before the 
    door.

 MED. SHOT - MITCH

    He reaches the body. He rolls it over.

 QUICK CLOSE SHOT - ANNIE

    dead.

 QUICK CLOSE SHOT - MITCH

    The shock registering on his face.

 CLOSE SHOT - MELANIE

    realizing that Annie is dead, and wondering for a moment 
    what Mitch's reaction will be.

 MED. SHOT - MITCH - MELANIE'S P.O.V.

    He kneels silently by the body. Gently, he touches Annie's 
    face, and then gently and illogically takes off his jacket 
    and covers her, as if he is tucking a blanket around her to 
    keep her warm. He turns away then.

 MED. SHOT - THE WINDOW

    with its ROOM TO LET sign. Cathy is standing near the sign, 
    with her eyes peering at something outside.

 CLOSE SHOT - MITCH

    turning to follow Cathy's gaze.

 CLOSE SHOT - MIXED BIRDS

    Malevolent, sitting on the fence, the killers.

 FULL SHOT - THE ROAD

    As in fury, Mitch picks up stones and begins hurling them at 
    the birds. Melanie dashes forward.

             MELANIE
            (as the birds flutter 
            into the air)
        Mitch! Don't!

    She runs to him, grabs his arm, struggles with him as he 
    maniacally continues hurling stones at the birds, who are 
    now hovering flight.

             MELANIE
        Please! Get Cathy!  Let's get out of 
        here!

    Her words reach him. Breathing heavily, he goes INTO the 
    house and COMES OUT carrying Cathy, who is dazed and in a 
    state of shock. The CAMERA PANS him over to Melanie who holds 
    Cathy to her.

 CLOSER THREE SHOT

    as Melanie looks anxiously toward the house.

             MELANIE
        Mitch, you can't leave her out there.

    He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder 
    is the white face of Cathy. We HEAR a DRAGGING SOUND and 
    then a door is CLOSED.

 MED. SHOT - MELANIE'S P.O.V.

    We see Mitch EMERGING from the house. The body is no longer 
    in the pathway. He comes toward the CAMERA.

 MED. SHOT

    He joins Melanie and Cathy. The CAMERA MOVES AHEAD of the 
    three of them as they silently make their way past the crows 
    once more, Melanie holding Cathy close to her. They look out 
    cautiously to the right.

 MED. SHOT

    CAMERA DOLLYING PAST the crows again.

 BACK TO THE DOLLY SHOT OF THE THREE

    They move forward stealthily, CAMERA AHEAD of them.

 MED. SHOT

    Another DOLLY SHOT past the crows.

 CLOSE SHOT - THE THREE

    The CAMERA is now behind them. They move away from us and go 
    toward the waiting car.

 MED. SHOT

    They arrive at the car.

             MELANIE
        You drive, Mitch.

    She goes round the far side and gets into the car. Mitch 
    slips in behind the driver's seat. The car turns into the 
    CAMERA and goes down the school road.

 FULL SHOT - THE CAR - INTERIOR

    Mitch, Cathy and Melanie facing the CAMERA, tensely. Melanie 
    looks over her shoulder.

             MELANIE
            (holding her breath)
        I don't think they're coming.

    Cathy does not turn: she is staring ahead of her, her eyes 
    wide, her lip trembling. They drive in silence, and then 
    suddenly, Cathy begins speaking, almost as if to herself, as 
    the CAMERA COMES IN TIGHT on her face in shock.

             CATHY
        On our way back from taking Michele 
        home... we... we heard the explosion 
        and went outside to... see what... 
        what it was.
            (pause)
        All at once the... the birds were 
        everywhere. All at once.  She... she 
        pushed me inside and... they covered 
        her.
            (pause)
        Annie.
            (pause)
        She pushed me inside.

 TWO SHOT - CATHY AND MELANIE

    as she takes the child in her arms to comfort her.

                           DISSOLVE

    CLOSE SHOT - A LONE GULL flying low over the water, the CAMERA 
    TRACKING it. The bay is silent. The gull spreads its wings 
    to brake, and then sits on the water. The CAMERA continues 
    low over the water, going through thousands of gulls sitting 
    there patiently, as if it is threading itself through a crowd, 
    not a sound, over the gulls, and then lifting to show the 
    Brenner house in the distance.

 FULL SHOT - THE BRENNER HOUSE

    Behind the panes of glass, we can see the boards Mitch nailed 
    across the windows. He is on the roof now, testing the two 
    attic dormer windows. He turns to look out over the bay.

 LONG SHOT - THE BAY

    covered with sitting gulls. In the distance, the town is 
    still smoldering. But the sky is clear of birds.

 MED. SHOT - MITCH

    picking up his hammer, sliding over the shingles to where 
    the ladder leans against the side of the house.

 FULL SHOT - THE HOUSE

    as Mitch comes down the ladder and Melanie turns the corner, 
    carrying a load of driftwood and old lumber.

 TWO SHOT - MELANIE AND MITCH

    as she drops the wood outside the door and he joins her. She 
    is looking out over the bay when he comes to her. This is 
    not the Melanie we saw at the beginning of the picture. Her 
    hair is disarrayed, and her face and clothing are streaked 
    with soot. But beyond a surface physical appearance, there 
    is a weary wisdom in her eyes, and a strength to her as she 
    stands looking toward the distant smoldering town.

             MELANIE
        The town looks clear.

             MITCH
        The bay doesn't.

             MELANIE
        How long have they been gathering 
        there?

             MITCH
        The past fifteen minutes.
            (pause)
        It seems to be a pattern, doesn't 
        it? They strike and disappear, and 
        then they start massing again.

    Melanie nods. They are both silent, watching the bay.

             MELANIE
        I keep thinking of Annie.
            (she squeezes her 
            eyes shut)

             MITCH
            (after a long pause)
        It... it doesn't look very different, 
        does it? A little smoke over the 
        town, but otherwise...

             MELANIE
            (looking)
        Even the birds sitting out there.  
        It does look very much the same, 
        Mitch. This could be last week.

             MITCH
        It may not be last week again for a 
        long long time.

    They are both silent.

             MELANIE
        Look. They're still coming.

    Mitch nods. Silence.

             MITCH
        Do you want to try your father again?
            (Melanie shakes her 
            head.  Puzzled, Mitch 
            looks at her)

             MELANIE
        I tried a little while ago. The 
        phone's dead.

             MITCH
        Have we still got power?

             MELANIE
        Yes.
            (leaning against him)
        I'm tired, Mitch. I'm so very very 
        tired.

             LYDIA (O.S.)
        Mitch! I'm getting something on the 
        radio!

 INT. THE LIVING ROOM - FULL SHOT

    Lydia is hovering near the radio. Cathy is sitting on a 
    footstool. The windows are boarded, and the lights in the 
    room are on. A tremendous amount of static is coming from 
    the radio as Mitch and Melanie join them

             LYDIA
        I can't get any of the local stations.  
        I think this is San Francisco.

             ANNOUNCER
        ...would include formulation of a 
        central financing committee to handle 
        credit and to allocate responsibility 
        for the various facets of the project. 
        A vote on the motion is expected 
        early tomorrow morning.

 TWO SHOT - MELANIE AND MITCH

    listening.

             ANNOUNCER
        Continuing with the local news, police 
        are still investigating the series 
        of valuable jade burglaries in the 
        Chinatown area. The round-up of known 
        criminals has not as yet produced a 
        suspect, but Commissioner Nelson 
        said today he was certain the 
        burglaries were quote linked and the 
        work of the team of professionals 
        unquote.
            (pause)
        In Bodega Bay early this morning, a 
        large flock of crows attacked a group 
        of children who were leaving the 
        school during a fire drill. One little 
        girl was seriously injured and taken 
        to the hospital in Santa Rosa, but 
        the majority of children reached 
        safety in the town.
            (pause)
        On the national scene today, the 
        opening of the new session of Congress 
        was marked by a State of the Union 
        address that...

             MITCH
        Is that all?

             ANNOUNCER (O.S.)
        ...drew a standing ovation for the 
        President. The Chief Executive, in 
        discussing our relation to Europe 
        and the rest of the world community 
        said: "These various elements of our 
        foreign policy lead as I have said 
        to a single goal --

             MITCH
            (sighing)
        We're going to need more wood for 
        the fire. We can't let it go out.

             ANNOUNCER
            (continuing as drone 
            in background)
        The goal of a peaceful world of free 
        and independent states.  This is our 
        guide for the present and our vision 
        for the future -- a free community 
        of nations, independent but 
        interdependent, uniting north and 
        south, east and west, in one great 
        family of man, outgrowing and 
        transcending the hates and fears 
        that rend our age.  We will not reach 
        that goal today or tomorrow.  We may 
        not reach it in our lifetime.  But 
        the quest is the great adventure of 
        our century.  We sometimes chafe at 
        the burdens of our obligations, the 
        complexity of our decisions, the 
        agony of our choices, but there is 
        no comfort or security for us in 
        evasion, no solution in abdication, 
        no relief in irresponsibility.
            (pause)
        In assuming the tasks of the 
        Presidency, I said that few 
        generations, in all history, had 
        been granted the role of being the 
        great defender of freedom in its 
        hour of maximum danger.  This is our 
        good fortune, and I welcome it now 
        as I did when I first took office.
            (pause)
        For it is the fate of this generation -- 
        Of you in the Congress and of me as 
        President -- to live with a struggle 
        we did not start, in a world we did -
        not make. But the pressures of life 
        are not always distributed by choice. 
        And while no nation has ever faced 
        such a challenge, no nation has ever 
        been ready to seize the burden and 
        the glory of...

             LYDIA
            (pause)
        Did you you get the windows in the 
        attic, Mitch?

             MITCH
         I got them all, Mother.

             LYDIA
        When do you think they'll come?

             MITCH
        I don't know.

             LYDIA
        If there are... larger birds, Mitch... 
        they'll get into the house.

             MITCH
        That's a chance we have to take.

             LYDIA
        Maybe we ought to leave.

             MITCH
        Not now.  Not while they're massing 
        out there.

             LYDIA
        When? 

             MITCH
        I don't know when.  We'll see what...

             LYDIA
        Where will we go?

             MITCH
        I don't know yet.  I think we'll be 
        safe here.
            (Pause)
        Let's bring that wood in.

             LYDIA
        What happens when we run out of wood?

    Music begins to play.  The music is sweet, with violins and 
    long piano arpeggios, almost too much to bear against the 
    tension being played in front of it.

             MITCH
        I don't know. We'll break up the 
        furni...

             LYDIA
            (shouting)
        You don't know, you don't know!  
        When will you know? When we're all 
        dead? Like Annie?

             CATHY
            (shrieking it, her 
            face white)
        Mother!

             LYDIA
            (at Mitch)
        If your father were here...

             MITCH
            (sharply)
        Mother! I'm trying my best!
            (shaking his head)
        I'm... trying... my...

             LYDIA
            (trembling, nodding)
        I'm sorry, Mitch.

 CLOSE SHOT - MITCH

    the strain showing on his face. He nods briefly.

             MITCH
        Let's get the wood. Why don't you 
        make us all some coffee, Mother?

 FULL SHOT - HOUSE

    as Melanie and Mitch come out and head for the pile of wood.  
    There is a NOISE in the sky. Startled, glancing upward, they 
    begin to run back toward the house and then stop and slowly 
    scan the sky.

 FULL SHOT - ENORMOUS FLOCK OF BIRDS

    flying in tight formation.

 TWO SHOT - MELANIE AND MITCH

             MELANIE
        Where are they heading?

             MITCH
        Inland.

             MELANIE
        Santa Rosa?

             MITCH
        Maybe.

 CLOSE SHOT - MELANIE

    watching the birds. A look of utter sadness crosses her face. 
    It is clear that she is thinking the birds will reach Santa 
    Rosa, and eventually San Francisco as well.

             MITCH (O.S.)
            (gently)
        Come on. Let's get this wood in.

    Melanie nods. But the look of sadness stays on her face, and 
    her eyes remain on the sky.

                           DISSOLVE

 FULL SHOT - THE LIVING ROOM

    Lydia is pouring coffee into cups. In the dining room, we 
    can HEAR the CHATTER of the lovebirds. As Lydia pours the 
    sound distracts her. Cathy is sorting candles at the couch.  
    There is evidence of preparation everywhere: flashlights, 
    kerosene lamps, a butane burner. Mitch is at the fireplace 
    putting more wood on the fire. Melanie comes into the room 
    and dumps another load.

             MELANIE
        That's the last of it.

             LYDIA
        Did you close the door?

             MELANIE
        And locked it.

             CATHY
        Mitch, can I bring the lovebirds in 
        here?

             LYDIA
            (snapping it)
        No!

             CATHY
        Mom, they're in a cage!

             LYDIA
        They're birds!

 CLOSE SHOT - MITCH

    studying his mother, realizing how close she is to breaking.

             MITCH
            (softly)
        Let them stay in the other room.

 CLOSE SHOT - LYDIA

    her hand trembling as she pours the coffee.

 FULL SHOT - THE ROOM

    as they all sit and accept their coffee. The room is silent 
    except for the CRACKLE of the fire. Mitch rises to put more 
    wood on the fire. In the dining room, the lovebirds still 
    are CHATTERING wildly. Their chirping is the only sound in 
    the house.

             CATHY
        Mitch? Why are they doing this?  The 
        birds.

             MITCH
            (putting wood on fire)
        I don't know, honey.

             CATHY
        Why are they trying to kill people?

             MITCH
        I wish I could say. But if I could 
        answer that, I could also tell you 
        why people are trying to kill people.

    The room is silent again except for the TWEETING of the 
    lovebirds offscreen. And then, suddenly, the lovebirds fall 
    silent.

 CLOSE SHOT - CATHY

    turning to look toward the other room, her face going white, 
    her eyes widening.

 CLOSE SHOT - MELANIE

    waiting.

 CLOSE SHOT - LYDIA

    waiting.

 CLOSE SHOT - MITCH

    waiting.

 FULL SHOT - THE ROOM

    dead silent now. Each of them is sitting on the edges of 
    their chairs, waiting. There is the SUDDEN SOUND of 
    splintering glass.

             LYDIA
        Mitch...

             MITCH
        Shhh. Shhh.

    Silence. Into the silence, another pane of glass, SHATTERING, 
    the THUD of a bird against the boards. Silence.  More panes 
    of glass SHATTERING. The SOUND of birds striking the boards 
    and the outside of the house begins building, almost like 
    muffled drumbeats. THUD, THUD, with an irregularity of rhythm. 
    Interspersed, like the counterpoint in an alien orchestration, 
    is the FLUTTER of wings. And then, like another section 
    entering, we begin to hear the SCRATCHING and CLAWING at the 
    roof.

 CLOSE SHOT - LYDIA

    looking up toward the roof, the SOUND getting louder. She 
    squeezes her eyes shut.

 TWO SHOT - CATHY AND MELANIE

    as the child cuddles up into her arms. Over the other sounds, 
    there comes a NEW SOUND, the unmistakable rat-tat-tat-tattat

    of a woodpecker. It stops. It begins again. Rat-tat-tat tattat-
    tat. Tat-

             CATHY
            (in terror)
        I'm... I'm sick, Melanie. I want.. I 
        want to throw...

    Her face pale, she rises suddenly and starts for the bathroom.

             MELANIE
        I'll go with you.

    They leave the room. Mitch and Lydia sit in silence. We HEAR 
    Cathy retching offscreen, almost drowned out by the shuffling 
    of wings and the rasping of claws, the incessant thudding of 
    birds striking the house.

 FULL SHOT - THE ROOM

    Mitch rises and puts more wood on the fire. The SOUND of the 
    birds is still everywhere around the house. He looks at his 
    watch. He rises, walks into the kitchen to check the back 
    door. It seems all right. The CAMERA FOLLOWS him into the 
    dining room. He stops at the cage with the lovebirds.

 CLOSE SHOT - THE LOVEBIRDS

    watching him. Is there menace or innocence in their eyes?  
    He cannot tell.

 CLOSE SHOT - MITCH

    looking at the lovebirds in puzzlement. There is suddenly a 
    NEW SOUND offscreen, the splintering of wood, the tearing 
    sound of bigger beaks. Alarmed, he turns.

 MED. SHOT - MITCH

    coming into the entry hall.

 CLOSE SHOT - THE FRONT DOOR

    The wood is beginning to splinter as the bigger birds outside 
    assail the door.

 FULL SHOT - MITCH

    turning quickly, the CAMERA FOLLOWING him into the dining 
    room. He pulls the cloth off the table, begins moving it 
    toward the door. In the entry, he lifts the table on end and 
    piles it against the door. He goes into the kitchen again, 
    CAMERA FOLLOWING. He upends the enamel-topped table, drags 
    it to the back door. He is piling chairs against the table 
    when Melanie COMES IN. She looks at what he is doing with 
    alarm. Mitch looks in the direction of where his mother is 
    and then back to Melanie, with an expression almost of 
    desperation. Both turn back to the barricaded door. The 
    CLAWING and the PECKING fills the void. The noise is a din 
    now, insidious and increasingly more frightening.

             MELANIE
        When will they stop?

             MITCH
        I thought they'd have stopped by 
        now.

             MELANIE
        What time is it?

             MITCH
        Almost two a.m.

             MELANIE
        You must be exhausted.

             MITCH
        How about you?

    She shakes her head. They both move into the dining room, 
    the CAMERA FOLLOWING THEM. The lovebirds are sitting in their 
    cage, close together, silent. Mitch picks up a chair, ready 
    to carry it to the front door. He hesitates, puts down the 
    chair, goes to the cage.

 CLOSE SHOT - MITCH

    looking at the birds, wondering.

 CLOSE SHOT - THE BIRDS

    looking back at him. Again, it is impossible to read their 
    expressions. Malice or benevolence?

 MED. SHOT - MITCH

    He raises his hand, brings it toward the bars of the cage.

 CLOSE SHOT - THE BIRDS

    watching, unmoving.

 CLOSE SHOT - MITCH'S FINGER

    as he thrusts it through the bars. The birds sit unmoving.  
    One of them tweets.

 TWO SHOT - MELANIE AND MITCH

             MITCH
        I wonder if Cathy fed them.

    He turns away from her, goes to the cupboard, opens the door, 
    takes out a small box of bird feed.

 CLOSE SHOT - THE CAGE

    as his hand approaches the door. The birds are watching him.  
    His hand hesitates. Then his thumb and forefinger lift the 
    small catch on the cage door. His fingers open the door.  
    Cautiously, in TIGHT CLOSEUP, his hand goes into the cage.  
    The birds sit and watch. One of them tweets. He removes the 
    small feeding tray, puts the bird seed into it, replaces it 
    in the cage. The birds hesitate another moment. Then, 
    tweeting, they begin to eat.

 FULL SHOT - THE DINING ROOM

    as Mitch closes the door to the cage. Melanie is slumped 
    against the wall. He goes to her and takes her in his arms.  
    Wearily, she raises her head. The SOUND of the shuffling, 
    pecking, clawing birds is everywhere around them.

             MITCH
            (holding her)
        You should have left when you wanted 
        to.

    She shakes her head.

             MITCH
        You'd have been safe in San Francisco.

             MELANIE
        I don't want to be safe. I want to 
        be with you.

    There is something pathetically comic about her voice, like 
    a small child's, confused but defiant. Holding her close, 
    Mitch laughs, and she laughs with him. Exhausted, they stand 
    in each other's arms, laughing in that weary, silly, dead of 
    night sort of way. And suddenly... The lights go out.

             MITCH
            (in the darkness)
        The power.

             MELANIE
        Mitch...

             MITCH
        Wait here. Don't move.

    The screen is totally black for perhaps five seconds. In the 
    blackness, we HEAR the birds clawing and ripping, and the 
    SOUND is enormously MAGNIFIED. A flashlight suddenly goes 
    on.

 TWO SHOT - MELANIE AND MITCH

    as he comes to her with the flash. We see them only dimly as 
    he directs the beam upwards.

             MITCH
        We'd better light some of those lamps.

             MELANIE
        No... wait.
            (pause)
        Hold me.

    In the near darkness, we see them embrace and kiss. It is 
    almost black in the room except for the strange effect of 
    the flashlight as he holds it behind her.

             MITCH
        I think they're easing off.

                           DISSOLVE

 FULL SHOT - THE LIVING ROOM

    A kerosene lamp is burning. Melanie is awake, watching the 
    fire. Lydia has fallen into a semi-recumbent position asleep 
    on the couch. Cathy is curled up in one of the easy chairs.  
    Mitch is asleep by the fire. The fire is burning brightly 
    and steadily. The house is almost still. There is no longer 
    the sound of the clawing and pecking, but there is another 
    SOUND now: the sound of SOMETHING FALLING, or dropping in a 
    steady dribbling, difficult to place.

 CLOSE SHOT - MELANIE

    listening to the curious sound, trying to fathom its meaning.

             MELANIE
            (whispering)
        Mitch?

 MED. SHOT - MELANIE

    as she turns toward him.

             MELANIE
            (still whispering)
        Mitch?

 CLOSE SHOT - MITCH

    asleep.

 CLOSE SHOT - MELANIE

    seeing this, making her decision. The SOUND is still coming 
    from somewhere in the house. She decides to let Mitch sleep, 
    picks up a very long flashlight.

 FULL SHOT - MELANIE

    as she goes through the house, checking. She stops in the 
    entry hall, plays the flashlight over the furniture piled 
    against the door. Everything seems all right. She goes into 
    the kitchen, again, checks the door, and then plays the beam 
    on the boarded windows. Satisfied, she goes down the corridor 
    outside the bedroom. She opens the first bedroom door, enters, 
    goes to the windows, plays the beam on them.  Everything's 
    all right. She comes into the corridor again, opens the second 
    bedroom door, again checks windows, and leaves.

 FULL SHOT - MELANIE

    climbing the steps to the attic. She stops outside the first 
    door upstairs, opens it, goes into the room, plays the light 
    on the windows. Nothing. She comes out into the corridor, 
    goes to the second bedroom, opens the door, enters, walks to 
    the windows. They are boarded securely. She is starting back 
    toward the door when she stops.

 CLOSE SHOT - MELANIE

    looking.

 CLOSE SHOT - THE FLOOR

    a pile of chipped and broken plaster.

 MED. SHOT - MELANIE

    turning the flashlight up toward the ceiling.

 CLOSE SHOT - THE CEILING

    A huge hole in it, showing moonlit sky outside.

 CLOSE SHOT - MELANIE

    turning her eyes from the ceiling, determination on her face, 
    and suddenly, her eyes open wide.

 CLOSE SHOT - AN OWL

    sitting in the darkness, staring at her.

 CLOSE SHOT - MELANIE

    reacting.

 QUICK MED. SHOT - THE OWL

    wings spread in the beam of light.

 FULL SHOT - MELANIE

    backing to the door. The owl hits her, sends her staggering 
    back, causing the door to slam shut. She looks up at the

 FULL SHOT - THE CEILING

    a swarm of mixed birds coming through the hole and down toward 
    her.

 MED. SHOT - MELANIE

    in the room swinging the lighted flashlight as the birds 
    attack her.

 CLOSE SHOT - MELANIE

    in the room, as the owl hits her full in the face.

 MED. SHOT - MELANIE

    swinging the flashlight as the birds attack her.

             MITCH (O.S.)
        Melanie!

 FULL SHOT - MELANIE AND THE BIRDS

    grotesque and silent as she struggles with them. The room is 
    a crossing cacophony of mixed light beams and fluttering 
    wings.

             MITCH (O.S.)
        Melanie, open the door!

    He hurls himself against it. Inside the room, where Melanie 
    struggles, we HEAR his hammering on it. Melanie is overwhelmed 
    by the birds.

    She falls to the floor, the flashlight beside her. In the 
    spreading rays of the light, we see the frantic fluttering 
    of wings as the birds cover her. There is a stronger assault 
    on the door by Mitch outside.

             LYDIA (O.S.)
            (screaming)
        Mitch, get her out of there!

 MED. SHOT - THE ROOM

    Melanie, collapsed at the base of the door, is no longer in 
    view. Neither are the birds, whose fluttering shadows we see 
    on the door as Mitch again hits it from outside.

             MITCH (O.S.)
        Melanie!

    The door begins to open.

 FULL SHOT - MITCH

    as the door bursts inward and he stumbles into the room.  He 
    begins swinging at the birds immediately, reaching down for 
    Melanie, fighting off the attack at the same time. He begins 
    dragging her out of the room. Her clothes have almost been 
    shredded from her body, and her face is torn and bleeding.  
    We catch only quick glimpses of her near-nudity, as Mitch 
    pulls her into the corridor and then, holding the door shut 
    behind him with one hand, delivers swinging furious blows at 
    the few birds that have escaped into the corridor.

             MITCH
        Mother, get a rope!

             LYDIA
        Oh, my God, look at her!

             MITCH
            (shouting)
        Get a rope!

    She rushes off. He struggles grotesquely with the birds.  
    There is a wild fury in him, and a methodical dedication. He 
    will not allow them to defeat him. A large bird strikes his 
    hand, knocking the club from it.

 MED. SHOT - MITCH

    as the bird strikes at his face. He reaches out with his 
    hands, grasping the bird, letting go of the door knob.  
    Another bird flutters into the corridor.

 CLOSE SHOT - MITCH

    in anger and desperation as he throttles the bird with his 
    hands. He reaches behind him to grab the doorknob again, and 
    is immediately attacked by the other bird.

             MITCH
            (yelling)
        Mother! Hurry!

 TWO SHOT - LYDIA AND MITCH

    as she runs up the steps and into the corridor, carrying a 
    heavy piece of rope. Mitch grabs the bird and hurls it angrily 
    to the floor. Lydia is staring down at Melanie in terror and 
    compassion. He takes the rope from her, loops it over the 
    doorknob, pulls it taut across the hallway, and ties it to 
    the bannister, sealing the door. He turns immediately to 
    Melanie, picks her up and carries her to the steps, Lydia 
    following. As they go downstairs:

             MITCH
        Cathy! Get a blanket and some 
        bandages!

             CATHY
            (at the foot of the 
            stars, on the verge 
            of tears)
        Is she all right?

 CLOSE SHOT - MELANIE

    cradled against Mitch's shoulder, her face bleeding profusely.

             MELANIE
        I'm... I'm....

 FULL SHOT - MITCH

    as he carries her into the living room, but her down on the 
    couch.

             MITCH
        Just lie there and keep still.

    Cathy rushes to them with a roll of bandages and a blanket.  
    By the light of the lantern, Mitch drapes the blanket over 
    Melanie and then begins unrolling the bandage. But his hands 
    are trembling, and he drops it.

             LYDIA
        Let me do that, Mitch.

    She picks up the bandage.

             MITCH
        I can handle it.

             LYDIA
        I know you can.
            (her eyes meet his)
        But I'd like to.

    He nods. Silently, she begins working on Melanie.

             MELANIE
            (weakly)
        Please don't mess me up with bandages, 
        Mrs. Brenner.

             LYDIA
        Shhhh. Shhhh.

             MELANIE
        Please.

    But she begins cleaning the wounds, taping bandages over the 
    cuts. The house is still. She works silently and quickly.

             LYDIA
            (as she works)
        I'm not very good at this, Mitch.

             MITCH
        You're doing fine.

             LYDIA
            (Apologizing)
        I mean. I want to...

    Pause.

             CATHY
        Listen!

 CLOSE SHOT - LYDIA

    raising her eyes. The room is silent. There is nothing to 
    hear.

             LYDIA
        They're gone. God have mercy, they're 
        gone.

 FULL SHOT - MITCH

    as he goes to the front door, and cautiously moves away the 
    table and chair. He opens the door a crack.

 FULL SHOT - THE YARD

    through the crack. Daylight is almost here. There are no 
    birds visible.

 FULL SHOT - THE DOOR

    from outside as Mitch opens it wider. The door is scarred 
    and splintered. As he opens the door, one or two dead birds 
    spill into the room. He steps out into the yard. Lydia is 
    directly behind him.

 FULL SHOT - THE HOUSE

    a shambles, all the windows broken.

 TWO SHOT - LYDIA AND MITCH

             MITCH
        They're gone. The same pattern.

             LYDIA
        But they'll be back.

             MITCH
        We won't be here.

             LYDIA
        Where can we go, Mitch? There's no 
        place to go.

             MITCH
        I want to try for San Francisco.  
        There are buildings there. Steel and 
        concrete!

             LYDIA
            (shaking her head)
        We'd never make it. They're probably 
        all over the road.

             MITCH
        We have to try it.
            (a long silence)
        We can't stay here.
            (silence)
        Melanie needs help.
            (silence)
        Mother, the house won't take another 
        attack.

             LYDIA
        If...
            (pause)
        If... when we get to San Francisco...
            (pause)
        If they're already there?

             MITCH
        They won't be.

             LYDIA
        If they are?

             MITCH
        We'll worry about that when we get 
        there.

             LYDIA
        I'm frightened, terribly frightened.  
        I... I don't know what's out there, 
        Mitch.

             MITCH
        What do we have to know, Mother?  
        We're all together, we all love each 
        other, we all need each other. What 
        else is there? Mother, I want us to 
        stay alive!

             LYDIA
            (nodding; then after 
            a pause)
        I started to say... inside...

             MITCH
        You don't have to.

    He holds out his hand to her.

             MITCH
        I think we'd better get started.

                           DISSOLVE

 FULL SHOT - THE BRENNER YARD

    It is covered with the eerie half-light that comes just before 
    dawn, a light that persists throughout all of the following 
    until the penultimate shot in the picture. The silence is 
    deafening. There is not a bird in sight. The door to Melanie's 
    convertible are open as she and Mitch come out of the house 
    together and he helps her to the car. He puts her in the 
    back seat, tucks the blanket around her. In the background 
    is the pickup truck, too small to hold all of them. Lydia 
    comes to the door and quickly crosses the yard, not looking 
    down at the dead birds. Cathy appears in the doorway to the 
    house.

 CLOSE SHOT - CATHY

    She is carrying the cage of lovebirds. She hesitates just 
    outside the doorway. She looks at Mitch.

 CLOSE SHOT - MITCH

    looking back at her.

 FULL SHOT - CATHY, MITCH, AND LYDIA

    Across the expanse of the desolated yard.

             CATHY
        May I take them, Mitch?

    He does not answer. She continues looking at him.

             CATHY
        They haven't harmed anyone.

             LYDIA
        Take them.

             MITCH
            (with a slow nod)
        We'll put them in the trunk, Cathy.

    He takes the birds from her and goes to the back of the car.  
    The CAMERA STAYS on Cathy who gets into the car on the front 
    seat. Mitch comes around the other side of the car, stops, 
    and looks toward the trees.

 MED. SHOT - THE TREES

    covered with waiting birds.

 MED. SHOT - MITCH

    getting into car.

             MITCH
        Be careful with that door.

    Cathy closes the door gently, and almost soundlessly. Mitch 
    does the same with his door.

             MELANIE
            (weakly)
        Mitch, if they hear the car 
        starting... if they see movement...

             MITCH
        We'll take it slow until we get to 
        the main road.
            (pause)
        Are you ready?

 CLOSE SHOT - MITCH'S HAND

    turning the key. The motor springs to life.

 FULL SHOT - INT. THE CAR

    anticipation on all the faces.

             MITCH
        All right.
            (he takes a deep breath)
        Here we go.

 FULL SHOT - THE CAR

    from the outside, as it creeps out of the yard. The bay is 
    still, the road is still, the car makes barely a sound as it 
    passes the gate and starts down the road.

 MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD

    as they begin driving slowly. The wires are down. A small 
    fire is burning in the brush, where the wires made contact.  
    The car continues to move. It turns the first bend in the 
    road.

 CLOSE SHOT - MELANIE - LOOKING THROUGH THE WINDOW

    She gasps quickly.

 MED. SHOT - A GROUP OF HERONS - AT WATER'S EDGE

    standing, waiting silently.

 FULL SHOT - THE CAR - INTERIOR

    as the tension begins to starts.

             MITCH
        Shhh.  Shhhh.

 MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD

    as they approach the derelict barge. It is covered with 
    waiting seagulls.

 CLOSE SHOT - LYDIA

    seeing them. Her lip begins to tremble.

 CLOSE SHOT - MITCH

    turning toward the side of the road ahead.

 FULL SHOT - AN OVERTURNED SCHOOL BUS - MITCH'S P.O.V.

    covered with waiting birds.

             CATHY
            (whispering)
        Mitch, let's turn back.

             MITCH
        Shhh. Shhhhh.

 MED. SHOT - A ROADSIDE HOUSE

    as the car passes. A barricade has been set up on the front 
    porch, and a man is leaning over it, dead, a shotgun in his 
    hands. The porch is covered with waiting birds. At the boarded 
    window, we see a woman and child peering from a gap.

 CLOSE SHOT - CATHY

    reacting.

 FULL SHOT - THE CAR - BIRD'S P.O.V.

    as it threads its way slowly and cautiously along the winding 
    road to town. The birds are sitting on some of the still-
    standing wires, watching, waiting.

    FULL SHOT - THE TOWN APPROACH - THROUGH THE WINDSHIELD as 
    the car turns a bend in the road. There are thousands of 
    birds ahead, on every gutted and smoldering rooftop, on every 
    pole, on every fence.

             LYDIA
        Mitch!

 MED. SHOT - MITCH

    as he stops the car and looks ahead.

 FULL SHOT - THE CAR

    in the middle of the road, stopped. Ahead are the birds.

 CLOSE SHOT - MELANIE

    frightened, try not to reveal her fear.

             MELANIE
        Can we turn back?

 CLOSE SHOT - MITCH

             MITCH
        I... I don't think so. If we get 
        through town, I think we'll be all 
        right.

 FULL SHOT - INT. THE CAR

    There is a long silence. It is Melanie who has the strongest 
    reason for fearing the birds. It is Melanie, her fear growing, 
    who makes the decision.

             MELANIE
        Then go ahead, Mitch.

 FULL SHOT - EXT. THE CAR

    as it begins moving forward again at an excruciatingly slow 
    rate of speed, into the town and the waiting birds.

 CLOSE SHOT - LYDIA

    as she turns to look out the window on her side.

 CLOSE SHOT - A LINE OF BIRDS

    as the car moves past them slowly.

 CLOSE SHOT - LYDIA

    closing her eyes.

 FULL SHOT - BRINKMEYER'S GENERAL STORE

    through the windshield. The roof and sills are covered with 
    birds. The window is smashed in, canned goods are strewn all 
    over the sidewalk, bolts of cloth run in a riot from the 
    open door and across the road, dead people are lying in the 
    gutter. But in the hotel, we see some faces behind broken 
    windows.

 TWO SHOT - CATHY, MITCH

    The tension on their faces,

 MED. SHOT - THE STORES OPPOSITE THE TIDES

    as the car approaches them. The windows are all broken, and 
    merchandise is lying on the sidewalk. Birds are everywhere, 
    waiting.

 CLOSE SHOT - A DEAD MAN

    lying on the sidewalk, clutching a television set in his 
    arms.

 CLOSE SHOT - MITCH

    strained, looking at the road ahead.

 LONG SHOT - THE ROAD AHEAD

    a clear sky, a bird-free stretch,

 CLOSE SHOT - MITCH

             MITCH
            (almost as a prayer)
        Here we go.
            (he rams down on the 
            accelerator)

 FULL SHOT - THE CAR - EXTERIOR

    as Mitch rams the accelerator to the floor and it zooms ahead 
    in a burst of speed.

 FULL SHOT - THOUSANDS OF BIRDS

    taking wing.

 MED. SHOT - MORE BIRDS

    taking wing.

 CLOSE SHOT - MELANIE

    screaming.

             MELANIE
        Mitch!

 CLOSE SHOT - MITCH

    wrenching at the wheel as the car turns a bend.

 FULL SHOT - THE ROAD AHEAD

    through the windshield, as a flock of birds take wing 
    immediately ahead.

 CLOSE SHOT - THE WINDSHIELD

    from the inside, as birds flutter against it.

 CLOSE SHOT - THE ROOF OF THE CAR

    from the inside, as a beak slashes it, letting in a thin 
    line of light.

 CLOSE SHOT - MITCH

    wrenching at the wheel again, another bend.

 HELICOPTER SHOT - THE CAR

    navigating the sharp bends in the road as birds streak at it 
    in straight lines.

 TWO SHOT - LYDIA AND MELANIE

    in the back seat as several slashes appear in the roof over 
    their heads, letting in more light.

 CLOSE SHOT - THE ROOF

    More slashes, more light in scattered beams.

 CLOSE SHOT - MELANIE

    her fear growing as the scattered light beams bring back the 
    memory of the attic room and her flashlight battle with the 
    owl.

 CLOSE SHOT - THE ROOF

    more slashes, building, the beak thrusts combining with the 
    incoming beams of light in a weirdly horrifying way.

 CLOSE SHOT - LYDIA

             LYDIA
            (almost a prayer)
        Dear God... dear God... please, 
        please, what have we done? Please.
            (and then in anger at 
            the roof and the 
            birds)
        Can't they leave us alone?
            (shrieking it)
     LEAVE US ALONE!

    MED. SHOT - THE CAR INTERIOR all the passengers, as the roof 
    suddenly rips back.

 FULL SHOT - BIRDS

    from inside the car, hovering over it the moment the roof 
    tears back.

 CLOSE SHOT - MELANIE

    This is too much for her. She screams at sight of the birds, 
    and then turns her face into Lydia's shoulder.

 TWO SHOT - LYDIA AND MELANIE

    as Lydia recognizes Melanie's need. She puts her arm around 
    Melanie's shoulder and gently, soothingly, holds her close.

 FULL SHOT - THE CAR

    racing along as the birds hover over it.

 CLOSE SHOT - MITCH

    his face screwed in anguish, tears rolling down his cheeks 
    as he grips the wheel and hits the gas pedal.

 FULL SHOT - THE OPEN CAR

    streaming canvas ribbons behind it. It turns another bend in 
    the road.

 FULL SHOT - THE ROAD AHEAD - (THROUGH THE WINDSHIELD)

    It is arrow-straight, no curves.

 FULL SHOT - THE CAR

    in a burst of speed as it hits the straightaway. It begins 
    to outdistance the birds. The gap widens. A flock of birds 
    attacks it from the side of the road, but it speeds into 
    them and through them. The gap grows wider and wider. They 
    are well ahead of the birds now.

 CLOSE SHOT - LYDIA

             LYDIA
        We're losing them.

 CLOSE SHOT - MITCH

    only a nod, his face streaming tears.

 LONG SHOT - THE CAR (BIRDS' P.O.V.)

    as they fall way behind now, the car moving swiftly into the 
    distance.

 TWO SHOT - LYDIA AND MELANIE

    on the back seat. Melanie begins sobbing in a sudden release 
    of tension. Lydia, in compassion, and tenderly, cradles 
    Melanie's head on her shoulder. Melanie, her eyes glistening, 
    looks ahead through the windshield.

 FULL SHOT - THE CAR INTERIOR

    all their faces visible.

             CATHY
        Mitch?  Do... do you think they'll 
        be all right? In the trunk? Can they 
        breath?

             MITCH
            (with the faintest 
            smile)
        I think they'll be all right, honey.

    There is hope on their faces as the car streaks into the 
    wind. Not a wild exuberance, but a relaxation of tension.  
    They stare ahead through the windshield, and then they squint 
    their eyes against the sudden sunrise ahead, and Mitch reaches 
    up to turn down the sun visor.

             MITCH
        It looks... it looks clear up ahead.

 FULL SHOT - THE CAR

    moving AWAY FROM THE CAMERA FAST into magnificent sunrise 
    over the crest of the hills. Further and further into the 
    distance it goes.

                          FADE OUT:

                  THE END


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