英语剧本《鸟》

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 s