"THE BIRDS"

                                       by

                                  Evan Hunter

                           Based on the novel "Birds"

                                       By

                               Daphne Du Maurier

                     FINAL DRAFT 2nd Revision March 2, 1962

                

	FADE IN:

	FULL SHOT - GRANT STREET - SAN FRANCISCO - DAY

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

	PAN SHOT - PEDESTRIANS

	waiting at street corner for light to change.

	CLOSE SHOT - MAN

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

	TWO SHOT - MAN AND WOMAN NEXT TO HIM

	as she follows his gaze upward.

	LONG SHOT - THE SKY

	with hundreds of gulls in it, wheeling.

	MED. SHOT - THE STREET CORNER

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

	MED. SHOT - MELANIE DANIELS

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

	INT. BIRD SHOP - MED. SHOT

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

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

				MRS. MACGRUDER
		Hello, Miss Daniels.

				MELANIE
		What do you suppose it is?

	MED. SHOT

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

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

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

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

				MELANIE
		You said three o'clock.

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

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

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

				MELANIE
		And he'll talk?

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

				MELANIE
		Yes.

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

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

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

	As Melanie starts writing:

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

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

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

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

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

	MED. SHOT - MITCH BRENNER

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

	CLOSE SHOT - MELANIE

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

	TWO SHOT - MELANIE AND MITCH

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

	MED. SHOT - MELANIE

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

				MITCH
		I wonder if you could help me.

				MELANIE
		What?

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

	CLOSE SHOT - MELANIE

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

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

	TWO SHOT - MELANIE AND MITCH

				MITCH
			(deadpan)
		Lovebirds.

				MELANIE
		Lovebirds, sir?

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

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

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

				MELANIE
		I understand completely, sir.

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

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

				MITCH
		Do you have a pair that are just 
		friendly?

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

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

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

				MITCH
		The sign says strawberry finches.

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

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

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

				MITCH
		All these innocent little creatures 
		caged up like this?

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

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

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

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

				MELANIE
		Yes, that's a particularly dangerous 
		time.

				MITCH
		Are they moulting now?

				MELANIE
		Some of them are.

				MITCH
		How can you tell?

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

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

	The bird is wearing a distinctly hangdog expression.

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

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

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

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

	CLOSE SHOT - MELANIE

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

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

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

				MELANIE
		Oh!  Ohhhhh!

	FULL SHOT - THE BIRD DEPARTMENT

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

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

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

				MITCH
		Shhh! Shhhh!

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

	CLOSE SHOT - MITCH

	the canary in his hand.

				MELANIE
		There we are!

				MRS. MACGRUDER
		Oh, good! Oh, wonderful.

	FULL SHOT - THE BIRD DEPARTMENT

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

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

	CLOSE SHOT - MELANIE

	startled.

				MELANIE
		What did you say?

	TWO SHOT - MELANIE AND MITCH

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

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

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

				MELANIE
		Hey, wait a minute!

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

				MELANIE
		I don't know you.

				MITCH
		Ahhh, but I know you.

				MELANIE
		How?

				MITCH
		We met in court.

				MELANIE
		We never met in court or anyplace 
		else.

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

				MELANIE
		When?

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

				MELANIE
		I didn't break that window!

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

				MELANIE
		What are you? A policeman?

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

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

				MITCH
		Ahhh, but I really do want those 
		birds.

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

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

				MELANIE
		I think you're a louse.

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

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

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

	The door closes. The puppy begins BARKING.

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

				MRS. MACGRUDER
		I have no idea.

	CLOSE SHOT - MELANIE

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

	MED. SHOT - MELANIE

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

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

	getting into his car at the curb.

	CLOSE SHOT - MELANIE

	looking after the car at the curb.

	CLOSE SHOT - THE LICENSE PLATE CLOSE SHOT - MELANIE

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

	FULL SHOT - MELANIE

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

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

	as she comes up to the counter.

				MELANIE
		Have you got a pencil?

				MRS. MACGRUDER
		What? Oh, yes, certainly.

	As Melanie begins writing:

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

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

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

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

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

				MELANIE
		How soon?

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

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

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

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

	CLOSE SHOT - MELANIE ICY DETERMINATION ON HER FACE.

				MELANIE
		Now. What time tomorrow morning?

	FADE IN:

	FULL SHOT - MELANIE'S SPORTS CAR

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

	CLOSE SHOT - THE LOVEBIRDS

	in a cage as Melanie reaches for them.

	MED. SHOT - MELANIE

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

	CLOSE SHOT - HER GLOVED HAND

	running down the list of names slowly. It stops.

	INSERT - THE CARD

	her finger beside it.

	BRENNER, M. 3B

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

	MED. SHOT - MELANIE

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

	REVERSE SHOT - MELANIE

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

	TWO SHOT - MELANIE AND THE MAN - IN THE ELEVATOR

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

	FULL SHOT - MELANIE

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

	CLOSE SHOT - MELANIE

	smiling at him feebly.

	FULL SHOT - THE CORRIDOR

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

	CLOSE SHOT - MELANIE'S GLOVED HAND

	reaching into the purse for a white envelope.

	INSERT - THE FACE OF THE ENVELOPE

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

	MED. SHOT - MELANIE

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

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

	FULL SHOT - THE CORRIDOR

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

				MAN
		Is that for Mitch Brenner?

				MELANIE
			(curtly)
		Yes.

				MAN
		He's not home.

				MELANIE
		That's all right.

	She presses button for the elevator.

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

				MELANIE
		Monday?

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

				MELANIE
			(trapped)
		Well, I...

	The elevator doors open.

				MELANIE
		Well, where did he go?

				MAN
		Bodega Bay. He goes up there every 
		weekend.

				MELANIE
		Bodega Bay? Where's that?

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

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

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

				MELANIE
		Oh.

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

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

				MAN
			(apologetically)
		I'm awfully sorry.

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

	CLOSE SHOT - MELANIE

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

	LONG SHOT - THE LOVEBIRDS

	in their cage outside the apartment door, CHATTERING.

	MED. SHOT - MELANIE

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

				MELANIE
		Oh, shut up!

	And she steps into the elevator.

							  DISSOLVE

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

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

	CLOSE SHOT - MELANIE

	She turns wheel forcefully.

	CLOSE SHOT - THE LOVEBIRDS

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

	FULL SHOT - (MATTE)

	Car approaching Bodega Bay seen high up.

	CLOSE SHOT - MELANIE

	at the wheel, she glances out toward the bay.

	FULL SHOT - A CLUSTER OF BUILDINGS AT WATERFRONT

	ahead, through the windshield as the car approaches.

	CLOSE SHOT - MELANIE

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

	LONG SHOT - DOCKS ON LEFT

	through the windshield as Melanie slows her speed.

	CLOSE SHOT - MELANIE

	behind wheel.

	LONG SHOT - STORES

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

	CLOSE SHOT - MELANIE

	behind wheel.

	LONG SHOT - THE TIDES

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

	CLOSE SHOT - MELANIE - (PROCESS)

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

	FULL SHOT - THE TOWN

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

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

	FULL SHOT - THE CAR

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

	MED. SHOT - MELANIE

	enters post office.

	CLOSE SHOT - POSTAL CLERK

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

	CLOSE SHOT - MELANIE

	through the bars of the cage.

				MELANIE
		Good morning.

	CLOSE SHOT - POSTAL CLERK

				CLERK
			(without looking up)
		Morning.

	TWO SHOT - MELANIE AND THE CLERK

				MELANIE
		I wonder if you could help me.

				CLERK
		Try my best.

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

				CLERK
		Yep.

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

				MELANIE
		Do you know him?

				CLERK
		Yep.

				MELANIE
		Where does he live?

				CLERK
		Right here. Bodega Bay.

				MELANIE
		Yes, but where?

				CLERK
		Right across the bay there.

				MELANIE
		Where?

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

	CLOSE SHOT - MELANIE

	through the bars, exasperated.

	REVERSE SHOT - FULL - MELANIE

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

				CLERK
		See where I'm pointing?

				MELANIE
		Yes?

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

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

				MELANIE (O.S.)
		Yes?

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

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

	TWO SHOT - MELANIE AND THE CLERK

				MELANIE
		The Brenners? Mr. and Mrs. Brenner?

				CLERK
		Nope, just Lydia and the two kids.

				MELANIE
		The two kids?

				CLERK
		Yep. Mitch and the little girl.

				MELANIE
		I see. How do I get down there?

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

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

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

				MELANIE
		You see, I wanted to surprise them.

				CLERK
		Mmmm.

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

				CLERK
		Mmmm.

				MELANIE
		It's a surprise, you see.

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

				MELANIE
		Where would I get a boat?

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

				MELANIE
			(looking at him)
		Of course.

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

				MELANIE
			(surprised)
		Thank you.

				CLERK
		What name?

				MELANIE
		Daniels.

				CLERK
		Okay.

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

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

	CLOSE SHOT - MELANIE

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

	INT. THE POST OFFICE - FULL SHOT

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

				MELANIE
		I wonder if you could tell me...

				CLERK
		Yep?

				MELANIE
		The little girl's name.

				CLERK
		The little Brenner girl?

				MELANIE
		Yes.

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

				HARRY'S VOICE
			(shouting)
		What?

				CLERK
			(shouting)
		The little Brenner girl.

				HARRY'S VOICE
			(shouting)
		Lois!

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

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

				CLERK
			(to Melanie)
		It's Alice.

				MELANIE
		Are you sure?

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

				MELANIE
		I need her exact name, you see.

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

				MELANIE
		Yes?

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

				MELANIE
		Thank you.

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

				MELANIE
		Can I have the boat in about twenty 
		minutes?

	The Clerk nods.

				MELANIE
		How much for the phone calls?

				CLERK
			(brushing this aside)
		It's nothing.

	CLOSE SHOT - MELANIE

	grinning, as she makes for the door and EXITS.

	EXT. GENERAL STORE - MED. SHOT - MELANIE

	getting into the car and slamming the door.

							  DISSOLVE

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

	FULL SHOT - MELANIE'S CAR

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

	CLOSE SHOT - THE RED MAIL BOX

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

	FULL SHOT - MELANIE

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

	CLOSE SHOT - MELANIE

	waiting. She RINGS the bell again:

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

				MELANIE
		Me!

				ANNIE'S VOICE
		Who's me?

	FULL SHOT - MELANIE

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

				MELANIE
		Miss Hayworth?

				ANNIE
		Yes?

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

	CLOSE SHOT - ANNIE

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

				ANNIE
		Yes?

	TWO SHOT - MELANIE AND ANNIE

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

				ANNIE
		Cathy?

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

				ANNIE
		That's the one. Cathy Brenner.

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

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

	CLOSE SHOT - MELANIE

	taking cigarette, hesitating.

				MELANIE
		Well... not exactly.

	CLOSE SHOT - ANNIE

	studying her, thinking she understands.

				ANNIE
		Are you a friend of Mitch's?

				MELANIE
		No, not really.

	TWO SHOT - MELANIE AND ANNIE

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

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

				MELANIE
		It's a lovely garden.

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

				MELANIE
		No. Just a few hours.

				ANNIE
		You're leaving after you see Cathy?

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

				ANNIE
		Actually, it's none of my business.

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

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

				ANNIE
		Not at all.

	They begin walking toward the car.

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

				MELANIE
		Yes.

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

				MELANIE
			(hesitating, then)
		Yes.

				ANNIE
		I guess that's where everyone meets 
		him.

	CLOSE SHOT - MELANIE

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

				MELANIE
		Now you sound a bit mysterious, Miss 
		Hayworth.

	TWO SHOT - MELANIE AND ANNIE

	as Annie leans over the seat.

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

				MELANIE
		Lovebirds.

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

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

				MELANIE
		Thank you.

	She nods pleasantly, starts the car, pulls away.

	CLOSE SHOT - ANNIE

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

							  DISSOLVE

	MED. SHOT - MELANIE

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

	CLOSE SHOT - HER HANDS

	She pulls out a birthday card from the paper bag.

	MED. SHOT - MELANIE

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

	INSERT - THE CARD

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

							  DISSOLVE

	FULL SHOT - MELANIE'S CAR

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

	HIGH SHOT

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

	FULL SHOT - THE BOAT

	pulling away from the dock, heading across the bay.

	VERY LONG SHOT (MATTE) - THE BOAT

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

	VERY LONG SHOT (MATTE)

	Another spectacular SHOT of the small boat.

	FULL SHOT - THE BOAT

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

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

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

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

	CLOSE SHOT

	watching, biting her lip.

	LONG SHOT - THE BRENNER HOUSE

	Mitch reaching the barn and entering. Silence.

	CLOSE SHOT - MELANIE

	watching, waiting.

	LONG SHOT - THE BRENNER HOUSE

	Not a sign of life.

	MED. SHOT - MELANIE

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

	FULL SHOT - THE BOAT

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

	MED. SHOT - MELANIE

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

	THE CAMERA MOVING TOWARD THE HOUSE AND BARN

	The barn door closed, still no sign of Mitch.

	WAIST SHOT - MELANIE

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

	FULL SHOT - CAMERA GETTING NEAR THE HOUSE AND BARN

	WAIST SHOT - MELANIE

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

	FULL SHOT - CLOSER - CAMERA APPROACHING THE HOUSE AND BARN

	CLOSE SHOT - MELANIE - WALKING

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

	FULL SHOT - INT. THE BRENNER HOUSE ENTRY

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

	MED. SHOT - MELANIE

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

	FULL SHOT - THE BARN - CLOSER - THROUGH THE CURTAINS

	as before.

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

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

	EXT. BARN - MOVING P.O.V.

	Mitch has not emerged.

	MOVING P.O.V. - MELANIE

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

	MOVING P.O.V.

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

	BACK TO MELANIE

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

	MOVING P.O.V. - MELANIE

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

	MOVING P.O.V. - MELANIE

	CAMERA FOLLOWS Melanie as she paddles away from the dock.

	CLOSE SHOT - MELANIE (PROCESS)

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

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

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

	CLOSE SHOT - MELANIE (PROCESS)

	peering over the stern of the boat.

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

	Mitch dashes OUT of the front door and looks around.

	CLOSE SHOT - MELANIE

	as she watches Mitch.

	MELANIE'S P.O.V.

	as Mitch runs back INTO the house.

	CLOSE SHOT - MELANIE (PROCESS)

	peering over stern of the boat.

	MITCH - MELANIE'S P.O.V.

	as he EMERGES from the front door and raises binoculars.

	EXTREME CLOSE SHOT - MITCH

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

	CLOSE SHOT - MELANIE (THROUGH BINOCULARS)

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

	CLOSE SHOT - MITCH

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

	CLOSE SHOT - MELANIE (PROCESS)

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

	LONG SHOT - THE BRENNER HOUSE

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

	CLOSE SIDE-ON SHOT - MELANIE

	as she watches the car race along the shore.

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

	Mitch's car racing along the shore.

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

	She looks off RIGHT toward car.

	CAR - MELANIE'S P.O.V.

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

	CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

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

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

	Mitch's car races past wrecked ferry boat.

	CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

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

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

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

	CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

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

	FULL SHOT - GULL

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

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

	GULL - MELANIE'S P.O.V.

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

	CLOSE SHOT - MELANIE

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

	MED. SHOT - MITCH

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

	MED. SHOT - MITCH AND MELANIE

	in the boat.

				MITCH
		That was the damndest thing I ever 
		saw.

				MELANIE
		What made it...

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

	CLOSE SHOT - MELANIE

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

	CLOSE SHOT - MITCH

	concerned.

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

	FULL SHOT - THE DOCK

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

				FISHERMAN
		What happened, Mitch?

				MITCH
			(over his shoulder)
		A gull hit her.

				FISHERMAN
		A what?

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

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

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

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

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

	INT. THE TIDES - FULL SHOT

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

	MED. SHOT - THE BAR

	Mitch and Melanie coming over to it.

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

				DEKE
			(instantly alarmed)
		What happened?

				MITCH
		Young woman cut herself.

				DEKE
		Shall I call the doctor?

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

	Melanie climbs onto the stool.

				DEKE
		You cut yourself outside, Miss?

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

	He is rummaging around in the kit.

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

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

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

	TWO SHOT - MELANIE AND MITCH

	as he unscrews cap from bottle of peroxide.

				MELANIE
		What's that?

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

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

				MELANIE
		So you're a lawyer.

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

				MELANIE
		Do you practice here?

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

				MELANIE
		What kind of law?

				MITCH
		Criminal.

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

				MITCH
		Not everyone, Miss Daniels.

				MELANIE
		Only violators and practical jokers.

				MELANIE
		That's right.

	As he swabs cut.

				MELANIE
		Ouch!

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

				MELANIE
		Didn't you see the lovebirds?

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

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

				MITCH
		What for?

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

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

				MELANIE
		Why...
			(pause, stymied)

				MITCH
		Yes?

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

				MITCH
		Well, well, small world. Annie 
		Hayworth.

				MELANIE
			(realizing this was a 
			mistake)
		Yes.

				MITCH
		How do you know Annie?

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

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

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

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

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

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

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

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

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

				MITCH
		So you came up to see Annie, huh?

				MELANIE
		Yes.

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

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

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

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

				MITCH
			(grinning)
		You like me, huh?

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

				MITCH
		What did it say?

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

	She lowers her head.

				MITCH
		Can't see a thing.

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

				MITCH
		But you were coming up anyway, 
		remember?

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

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

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

				LYDIA (O.S.)
		Mitch?

	They turn toward the door.

	MED. SHOT - LYDIA BRENNER

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

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

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

				LYDIA
		A what?

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

	CLOSE SHOT - LYDIA

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

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

	BACK TO SCENE

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

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

				LYDIA
		Oh. I see.

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

				LYDIA
		Across at Brinkmeyer's.

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

	CLOSE SHOT - MELANIE

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

	CLOSE SHOT - MITCH

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

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

	BACK TO SCENE

				LYDIA
		You did say birds?

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

				LYDIA
			(understanding 
			completely now)
		Lovebirds, I see.

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

				MELANIE
		Yes, but...

				MITCH
		You are, aren't you?

				MELANIE
		Certainly, but...

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

				LYDIA
		Seven o'clock, same as usual.

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

				MELANIE
		With... with Annie, of course.

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

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

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

				MELANIE
		I'm sure.

				MITCH
		Seven o'clock then.

				MELANIE
		Maybe.

	CLOSE SHOT - MITCH

	grinning.

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

	MED. SHOT - THE GROUP

	Lydia looks at Mitch inquiringly.

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

	Lydia stares at her doubtfully.

							  DISSOLVE

	EXT. ANNIE HAYWORTH'S HOUSE - FULL SHOT

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

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

	TWO SHOT - MELANIE AND ANNIE

				MELANIE
		Yes, I did.

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

				MELANIE
		I was wondering...

				ANNIE
		Yes?

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

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

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

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

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

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

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

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

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

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

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

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

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

	LONG SHOT - A FLOCK OF LARGE BIRDS

	flying in beautiful precise formation against the sky.

	TWO SHOT - ANNIE AND MELANIE

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

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

							  DISSOLVE

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

	FULL SHOT - THE CAR

	as it pulls into the Brenner yard.

	MED. SHOT - MELANIE

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

				MELANIE
			(calling)
		Hi!

	FULL SHOT - MITCH, CATHY, LYDIA

	in the distance. Mitch and Cathy raise their arms.

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

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

				CATHY
		Miss Daniels?

				MELANIE
		Yes?

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

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

				MELANIE
		Well, I suppose...

	FULL SHOT - ALL OF THEM

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

				MELANIE
		Famished.

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

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

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

	FULL SHOT - THE BRENNER HOUSE

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

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

				MITCH
		Caviat emptor, Mother. Let the buyer 
		beware.

				LYDIA
		Whose side are you on?

				MITCH
		I'm simply quoting the law.

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

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

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

	CLOSE SHOT - LYDIA

	holding the telephone.

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

	FULL SHOT - THE DINING ROOM

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

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

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

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

	CLOSE SHOT - LYDIA

	her eyes troubled as she picks up her napkin.

							  DISSOLVE

	FULL SHOT - THE LIVING ROOM

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

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

				MELANIE
		Your brother told me.

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

				MELANIE
		No, not exactly.

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

				LYDIA
			(from the kitchen)
		Cathy!

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

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

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

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

				MITCH
		He was watching a ball game on 
		television.

				MELANIE
		What?

				MITCH
		His wife changed the channel.

	He GOES INTO kitchen.

	TWO SHOT - MELANIE AND CATHY

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

				CATHY
		Is smoking fun?

				MELANIE
		Oh, I suppose so.

				CATHY
		Could I have a puff?

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

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

	TWO SHOT - MELANIE AND CATHY

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

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

				MELANIE
		I know.

				CATHY
		Are you coming to my party?

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

				CATHY
		Don't you like us?

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

				CATHY
		Don't you like Bodega Bay?

				MELANIE
		I don't know yet.

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

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

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

	Melanie laughs.

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

	CLOSE SHOT - MELANIE

	shaking her head, glancing toward the kitchen.

				MELANIE
		I don't think so, Cathy.

	INT. KITCHEN - TWO SHOT - LYDIA AND MITCH

	Mitch is helping her as she loads the dishwasher.

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

				MITCH
		Yes, very.

				LYDIA
		And certainly pretty.

				MITCH
		Yes.

				LYDIA
		How long have you known her?

				MITCH
		I told you. We met yesterday.

				LYDIA
		In a bird shop.

				MITCH
		Yes.

				LYDIA
		She was selling birds.

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

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

				MITCH
		Mother, where did you go to law 
		school?

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

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

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

				MITCH
		I know, Mother.

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

				MITCH
		Yes, Mother.

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

				MITCH
		I know, Mother.

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

				MITCH
		Mother?

				LYDIA
			(looking up)
		Yes?

				MITCH
		I think I can handle Melanie Daniels 
		by myself.

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

				MITCH
		I know exactly what I want, Mother.

							  DISSOLVE

	FULL SHOT - THE BRENNER LAWN - EXTERIOR - NIGHT

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

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

				MELANIE
		Oh, yes.

				MELANIE
		Will I be seeing you again?

				MELANIE
		San Francisco's a long way from here.

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

				MELANIE
		How does Mother know what I like to 
		do?

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

				MELANIE
		Oh. That. Rome.

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

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

				MELANIE
		Without any clothes on?

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

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

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

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

				MELANIE
		Yes, but...

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

				MELANIE
		Yes.

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

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

				MITCH
		Sure. Do you really know Annie 
		Hayworth?

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

				MITCH
		So you didn't go to school together.

				MELANIE
		No.

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

				MELANIE
		No.

				MITCH
		You were lying.

				MELANIE
		Yes, I was lying.

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

				MELANIE
		I wrote the letter.

				MITCH
		What did it say?

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

				MITCH
		But you tore it up.

				MELANIE
		Yes.

				MITCH
		Why?

				MELANIE
		Because it seemed stupid and foolish.

				MITCH
		Like jumping into a fountain in Rome!

				MELANIE
		I told you what happened in Rome!

				MITCH
		Do you expect me to believe...?

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

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

				MITCH
		I'd still like to see you.

				MELANIE
		Why?

				MITCH
		I think it could be fun.

	CLOSE SHOT - MELANIE

	pulling the door shut.

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

	CLOSE SHOT - MITCH

				MITCH
		It is for me.

	CLOSE SHOT - MELANIE

				MELANIE
		But not for me.

	CLOSE SHOT - MITCH

				MITCH
		What do you want ?

	CLOSE SHOT - MELANIE

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

	MED. SHOT - THE CAR

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

	CLOSE SHOT - MITCH

	as he watches the car leave.

	LONG SHOT - THE ROAD

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

	CLOSE SHOT MITCH

	His attention caught by the poles and wires.

	CLOSE SHOT - THE WIRES

	Hundreds of birds sitting on them.

	MED. SHOT - MITCH

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

							  DISSOLVE

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

	HAYWORTH

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

				ANNIE
		Miss Daniels? Is that you?

				MELANIE (O.S.)
		Yes.

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

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

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

				ANNIE
			(concerned)
		Would you like some brandy?

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

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

	As Annie gets the brandy:

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

				ANNIE
		All right.
			(she smiles)

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

				MELANIE
		Thank you.

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

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

				ANNIE
		Well, how'd your evening go?

	Melanie shrugs.

				ANNIE
		Did you meet Lydia?

	Melanie nods.

				ANNIE
		Or would you rather I changed the 
		subject?

				MELANIE
			(with a tired smile)
		I think so.

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

				MELANIE
		I despise it.

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

				MELANIE
		Where are you from originally, Annie?

				ANNIE
		San Francisco.

				MELANIE
		How'd you happen to come here?

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

	There is an awkward pause. Annie shrugs.

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

	Melanie nods.

				ANNIE
		I guess you knew that, anyway.

				MELANIE
		I suspected as much.

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

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

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

				MELANIE
		What do you mean?

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

				MELANIE
		When was this?

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

				MELANIE
		Different?

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

				MELANIE
			(smiling)
		A trifle.

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

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

				MELANIE
		And what had you done?

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

				MELANIE
		Then what was it?

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

				MELANIE
		Then why did she object to you?

				ANNIE
		Because she was afraid.

				MELANIE
		Afraid you'd take Mitch?

				ANNIE
		Afraid I'd give Mitch.

				MELANIE
		I don't understand.

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

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

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

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

				ANNIE
		She already has a daughter.

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

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

				MELANIE
		I see.

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

				MELANIE
		Then what are you doing here in Bodega 
		Bay?

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

				MELANIE
		I'm sorry. Forgive me.

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

				MELANIE
		I did.

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

				MELANIE
		And the second?

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

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

	CLOSE SHOT - ANNIE

	at the phone.

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

	TWO SHOT - MELANIE AND ANNIE

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

				ANNIE
		He's waiting.

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

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

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

	She hangs up and looks at Annie in embarrassment.

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

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

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

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

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

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

				MELANIE
		Do you think I should go?

				ANNIE
		That's up to you.

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

				ANNIE
		Never mind Lydia. Do you want to go?

				MELANIE
			(firmly)
		Yes.

				ANNIE
		Then go.

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

				MELANIE
		Thank you, Annie.

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

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

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

				ANNIE
			(to the emptiness 
			outside)
		Is anyone there?

				MELANIE
			(pointing to the ground)
		Look.

	CLOSE SHOT - A DEAD SEAGULL

	CLOSE SHOT - ANNIE

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

	CLOSE SHOT - MELANIE

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

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

	TWO SHOT - MELANIE AND ANNIE

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

							  FADE OUT

	FADE IN

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

	CLOSER SHOT - THE TOP OF THE DUNES

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

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

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

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

				MITCH
			(with a shrug)
		Cheers.

				MELANIE
		Cheers.

	They drink.

				MELANIE
		What's in this? Nitro-glycerin?

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

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

				MITCH
			(surprised)
		You have a job?

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

				MITCH
		What do you do?

				MELANIE
		I do different things on different 
		days.

				MITCH
		Like what?

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

				MITCH
		Helping travelers.

				MELANIE
		Yes.

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

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

				MITCH
		What about Thursdays and Fridays?

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

				MITCH
		And Fridays? What do you do then?

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

				MITCH
		I'm glad you do.

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

				MITCH
		What?

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

				MITCH
		What'll it say?

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

				MITCH
		No, tell me.

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

	CLOSE SHOT - MELANIE

	serious, introspective.

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

	FULL SHOT - MELANIE AND MITCH

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

	CAMERA PANS - MELANIE AND MITCH

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

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

	MED. SHOT - ANNIE

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

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

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

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

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

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

	A gull is swooping down.

	CLOSE SHOT - CATHY

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

				CATHY
		No touching allowed!

	She almost falls.

	FULL SHOT - THE GULL

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

	CLOSE SHOT - ANNIE

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

	TWO SHOT - MELANIE AND MITCH

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

	MED. SHOT - ANNIE

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

	CLOSE SHOT - LYDIA

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

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

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

	CLOSE SHOT - LYDIA

	reacting to two more gulls diving.

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

	diving toward the children.

	CLOSE SHOT - LYDIA

	She starts to run out CAMERA RIGHT.

	MED. SHOT - LYDIA REACHES CATHY

	She pushes her to the ground as a gull attacks.

	TWO SHOT - TWO MOTHERS

	as a gull swoops between them.

	FULL SHOT - MITCH

	coming out of the house with a broom.

	TWO GULLS

	swooping down at the children's heads.

	MED. SHOT - MITCH

	swinging at gull and missing.

	LONG SHOT - LITTLE BOY

	running toward bank. Gull swooping after him.

	CLOSE SHOT - LITTLE BOY

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

	FULL SHOT - MELANIE AND MITCH

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

	THREE SHOT - MELANIE, MITCH AND LITTLE BOY

	They look up.

	LONG SHOT - THE GULLS

	against the sky, flying away in formation.

	CLOSE SHOT - MITCH

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

				MITCH
		Are you all right?

	TWO SHOT - MELANIE AND MITCH

				MELANIE
		Yes.

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

	TWO SHOT - LYDIA AND MITCH

				LYDIA
		Are they gone?

				MITCH
		They're gone, Mother.

	FULL SHOT - THE LAWN

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

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

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

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

				GIRL #4
		They were bigger than hawks!

				ANNIE
		Children, they were only seagulls.

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

	TWO SHOT - ANNIE AND MELANIE

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

	BACK TO SCENE

				CATHY
		They must have been after the food, 
		Mother.

	They all turn toward the table.

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

	eyes narrowed.

				MITCH
		They didn't touch anything.

	BACK TO SCENE

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

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

	TWO SHOT - MELANIE AND MITCH

	as Annie and the children begin the game behind them.

				MITCH
		You look a little shaken.

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

				MITCH
		Last night? What do you mean?

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

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

				MELANIE
		No, I have my things in the car.

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

	CLOSE SHOT - MELANIE

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

							  DISSOLVE

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

	He is slicing the leftover roast beef.

	MED. SHOT - MITCH

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

				MITCH
		Do you want some mustard with this?

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

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

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

				CATHY
		Oh. Where d'you want the coffee?

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

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

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

				LYDIA
		What's the matter with all the birds?

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

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

	As she moves into the living room.

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

	INT. LIVING ROOM - CLOSE SHOT - LYDIA

	a sharp look at her daughter.

	MED. SHOT - CATHY

	pouring coffee into the cups set on coffee table.

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

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

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

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

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

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

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

				LYDIA
		Yes, I did.

				CATHY
		Just listen to them!

				MITCH
			(to Melanie)
		Some cream?

				MELANIE
		I'll get it.

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

	CLOSE SHOT - MELANIE

	looking curiously.

	CLOSE SHOT - THE FIREPLACE

	a single swift is sitting on the hearth.

	CLOSE SHOT - MELANIE

	turning to Mitch.

				MELANIE
		Mitch...

	CLOSE SHOT - THE FIREPLACE

	as dozens of swifts begin pouring from the opening.

	CLOSE SHOT - MELANIE

	frightened now.

				MELANIE
			(shouting it)
		Mitch!

	CLOSE SHOT - THE FIREPLACE

	hundreds of birds pouring into the room.

	FULL SHOT - LYDIA

	shrieking in terror, dropping her coffee cup.

	FULL SHOT - THE ROOM

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

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

	CLOSE SHOT - LYDIA in terror, surrounded by birds.

				MITCH (O.S.)
		Mother!

	MED. SHOT - MITCH

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

	CLOSE SHOT - CATHY

	covering her face.

	MED. SHOT - MELANIE

	reaching for small fireplace broom.

	CLOSE SHOT - LYDIA

	shrieking as the birds dive at her face.

	CLOSE SHOT - MITCH

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

				MITCH
			(shouting)
		Cathy, get some matches!

	MED. SHOT - CATHY

	running for the kitchen. Birds swooping after her.

	MED. SHOT - MELANIE

	swinging the fireplace broom.

	MED. SHOT - MITCH

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

	CLOSE SHOT - LYDIA

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

	CLOSE SHOT - MELANIE

	swinging the broom, covered with birds.

	MED. SHOT - A PICTURE ON THE WALL

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

	MED. SHOT - CATHY

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

	MED. SHOT - MITCH

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

	CLOSE SHOT - THE MATCH

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

	CLOSE SHOT - ANOTHER WINDOW PANE

	as a bird crashes through it.

	MED. SHOT - MITCH

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

	CLOSE SHOT - THE FIRE

	blazing.

	MED. SHOT - A BIRD

	swooping out of the fireplace, its wings aflame.

	FULL SHOT - THE ROOM

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

	MED. SHOT - THE DRAPES

	as the flaming bird lands on them.

	CLOSE SHOT - THE DRAPES

	catching fire.

	MED. SHOT - MELANIE

	swinging the broom wildly.

				MELANIE
		Mitch! The curtains!

	CLOSE SHOT - MITCH

	turning, seeing, his eyes opening wide.

	MED. SHOT - MITCH

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

	CLOSE SHOT - CATHY

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

	CLOSE SHOT - THE FIREPLACE

	only the blazing fire. No more birds entering.

	MED. SHOT - THE WINDOWS

	birds bursting through the panes, leaving.

	MED. SHOT - MELANIE

	as she beats away another bird.

	CLOSE SHOT - ONE OF THE BROKEN WINDOWS

	the birds leaving en masse now.

	FULL SHOT - THE ROOM

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

							  DISSOLVE

	INT. BRENNER LIVING ROOM - CLOSE SHOT - A HAND

	reaching down to pick up a dead bird.

	MED. SHOT - AL MALONE, THE DEPUTY

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

				MALONE
		That's a chimney swift, all right.

	CLOSE SHOT - MITCH

				MITCH
		We know what it is, Al.

	FULL SHOT - THE ROOM

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

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

				MITCH
		Not by the thousands.

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

				MITCH
		Yes, but the curtains were drawn.

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

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

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

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

	CLOSE SHOT - MALONE

	slight disbelief on his face.

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

	CLOSE SHOT - MITCH

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

	TWO SHOT - MITCH AND MALONE

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

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

				MITCH
		These birds were...

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

				LYDIA
		Tell him about the party.

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

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

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

	CLOSE SHOT - MALONE

	considering this.

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

	TWO SHOT - MALONE AND LYDIA

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

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

				LYDIA
		These birds attacked!

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

	CLOSE SHOT - MITCH

				MITCH
		Does this room look silly?

	TWO SHOT - MITCH AND MALONE

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

	CLOSE SHOT - MITCH

	exasperated.

				MITCH
		I can handle it myself.

	CLOSE SHOT - LYDIA

	giving a small moan.

	CLOSE SHOT - MELANIE

				MELANIE
		I'll take Cathy up to bed.

	CLOSE SHOT - MITCH

				MITCH
		Are you staying?

	CLOSE SHOT - MELANIE

				MELANIE
		I think I should, don't you?

	CLOSE SHOT - LYDIA

	observing, making no comment.

	MED. SHOT - MELANIE

	putting her arm around Cathy's shoulders.

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

	TWO SHOT - MITCH AND MALONE

	as Cathy and Melanie go out.

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

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

				MALONE
		Goodnight, Lydia.

	No answer.

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

	He exits.

	FULL SHOT - THE ROOM

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

							  FADE OUT

	FADE IN

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

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

	 

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

				MITCH'S VOICE
		Okay.

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

				MITCH'S VOICE
		No.

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

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

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

	MED. SHOT - MELANIE

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

				MELANIE
		Mitch?

	There is no answer.

				MELANIE
		Mitch?

	FULL SHOT - MELANIE

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

	CLOSE SHOT - MELANIE AND THE BIRDS

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

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

	FULL SHOT - MELANIE

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

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

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

	MED. SHOT - MELANIE

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

	FULL SHOT - MELANIE

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

	CLOSE SHOT - HER FACE

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

	LONG SHOT - MITCH

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

	MED. SHOT - MELANIE

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

	SLOW PAN

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

	CLOSE SHOT - MELANIE

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

	FULL SHOT - MITCH

	closer to the house now.

	CLOSE SHOT - MELANIE

	waiting, anticipating.

	MED. SHOT - MITCH

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

	CLOSE SHOT - MELANIE

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

	FULL SHOT - MELANIE

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

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

	TWO SHOT - MELANIE AND MITCH

				MITCH
		I wanted to change my shirt.

	Melanie is uncomprehending.

				MITCH
		It smelled of the fire.

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

				MITCH
		Really? Tell me about it.

				MELANIE
			(secretively)
		It's an uprising.

				MITCH
		Of birds?

				MELANIE
		Certainly, of birds.

	Mitch grins.

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

				MITCH
		Growing a beard...

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

				MITCH
		So they united.

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

				MITCH
		Well, they'll go along with anything.

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

				MITCH
		Hear!

				MELANIE
		Why should we submit ourselves to 
		their domination?

				MITCH
		Hear, hear!

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

				MITCH
		Take wing!

				MELANIE
		You have nothing to lose but your 
		feathers.

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

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

				MELANIE
		Mmm?

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

				MELANIE
		With my little sparrow leading team.

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

				MITCH
		It's so damn quiet out there.

				MELANIE
		It was like that yesterday.

				MITCH
		What do you mean?

				MELANIE
		After the gulls attacked.

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

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

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

	CLOSE SHOT - MELANIE

	her face dead serious.

	CLOSE SHOT - MITCH

				MITCH
		...waving his little wings...

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

	CLOSE SHOT - MELANIE

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

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

	TWO SHOT - MELANIE AND MITCH

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

				MITCH
		Melanie, Melanie...

				MELANIE
		I'm frightened, Mitch.

				MITCH
		No, no...

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

				MITCH
		Melanie...

				MELANIE
		...everything I know.

	She looks up at him suddenly.

	CLOSE SHOT - MELANIE

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

	They kiss suddenly and fiercely. On their kiss,

							  DISSOLVE

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

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

	MED. SHOT - LYDIA

				LYDIA
		Dan?

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

				LYDIA
		Dan?

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

	LONG SHOT - FARMHAND ON TRACTOR

	FULL SHOT - THE BARNYARD

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

				LYDIA
			(shouting)
		Hi, there!

	LONG SHOT - THE FARMHAND

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

	CLOSE SHOT - LYDIA

				LYDIA
			(shouting)
		Is Mr. Fawcett home?

	LONG SHOT - THE FARMHAND

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

	CLOSE SHOT - LYDIA

				LYDIA
		Have you seen him this morning?

	LONG SHOT - THE FARMHAND FARMHAND

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

	MED. SHOT - LYDIA

				LYDIA
			(shouting it)
		Thank you!

	FULL SHOT - LYDIA

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

	CLOSE SHOT - LYDIA

	getting an idea.

	MED. SHOT - LYDIA

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

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

	CLOSE SHOT - A CHICKEN

	He struts up to the scattered grain.

	CLOSE SHOT - LYDIA

	watching him.

	CLOSE SHOT - THE CHICKEN

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

	CLOSE SHOT - LYDIA

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

	FULL SHOT - LYDIA

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

				LYDIA
		Dan?

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

				LYDIA
		Dan? Are you home?

	No answer.

	CLOSE SHOT - LYDIA

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

	CLOSE SHOT - THE WINDOW

	A small pane of glass is broken.

	CLOSE SHOT - LYDIA

	puzzled.

	FULL SHOT - LYDIA

	going to the front door, trying the knob.

	MED. SHOT - LYDIA

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

				LYDIA
		Dan?

	The house is still and silent.

	INT. THE ENTRY HALL - FULL SHOT

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

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

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

				LYDIA
		Dan?

	No answer.

	CLOSE SHOT - LYDIA

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

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

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

				LYDIA
		Dan? Are you in there?

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

	CLOSE SHOT - LYDIA

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

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

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

							  CUTS TO:

	CLOSE SHOT - DAN FAWCETT

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

							   CUT TO:

	CLOSE SHOT - LYDIA

	a terrified scream erupting from her mouth.

	FULL SHOT - LYDIA

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

	CAMERA FOLLOWING.  CLOSE SHOT - LYDIA

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

	FULL SHOT - THE TRUCK

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

	CLOSE SHOT - LYDIA

	behind the wheel, unmindful of anything but flight.

	FULL SHOT - THE ROAD - LYDIA'S POV

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

	FULL SHOT - MITCH

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

	MED. SHOT - MITCH

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

				MITCH
			(alarmed)
		What is it?

	CLOSE SHOT - MITCH

	as he sees his mother.

	CLOSE SHOT - LYDIA

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

							  DISSOLVE

	INT. BRENNER KITCHEN - MED. SHOT - MELANIE

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

	TWO SHOT - MELANIE AND MITCH

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

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

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

				MELANIE
		Be careful. Please.

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

	FULL SHOT -- THE KITCHEN

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

				LYDIA (O.S.)
		Mitch?

	FULL SHOT - THE BEDROOM

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

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

	TWO SHOT - LYDIA AND MELANIE

				LYDIA
		Oh, thank you.

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

				LYDIA
		Where's Mitch?

				MELANIE
		Al Malone wanted him out at the 
		Fawcett farm.

				LYDIA
		Why? Didn't Al believe my story?

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

				LYDIA
		Then he saw.

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

				LYDIA
		What good will they do?

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

				LYDIA
		Do you think Cathy's all right?

				MELANIE
		What?

				LYDIA
		Cathy. At the school.

	CLOSE SHOT - MELANIE

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

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

	TWO SHOT - MELANIE AND LYDIA

				LYDIA
		Do I sound foolish to you?

				MELANIE
		No.

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

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

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

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

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

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

				MELANIE
		Yes.

				LYDIA
		I wish I could be that way.

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

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

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

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

				MELANIE
		Why, Mrs. Brenner?

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

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

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

				MELANIE
		And if you don't?

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

				MELANIE
		I think it might also matter to Mitch.

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

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

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

				MELANIE
		Would you like me to go for her?

				LYDIA
		I couldn't ask you to.

				MELANIE
		I don't mind, really.

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

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

	She picks up the tray and starts for the door.

				LYDIA
		Melanie?

	At the door, Melanie turns.

	CLOSE SHOT - LYDIA

	her face soft.

				LYDIA
			(gently)
		Thank you for the tea.

							  DISSOLVE

	EXT. BODEGA BAY - DAY - LONG SHOT

	Melanie's car turns and goes up School Road.

	EXT. SCHOOL - DAY - MED. SHOT

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

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

	MED. SHOT - MELANIE

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

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

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

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

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

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

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

	EXT. SCHOOL - MED. PANNING SHOT

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

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

	CLOSE SHOT

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

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

	CLOSE UP - MELANIE

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

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

	MED. SHOT - PLAY YARD

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

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

	CLOSER SHOT - MELANIE

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

	MED. SHOT - PLAY YARD

	again four more crows arrive.

	CLOSE SHOT - MELANIE

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

	MED. SHOT - PLAY YARD

	Again five more crows arrive.

	CLOSE UP - MELANIE

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

	MED. SHOT - SKY

	A crows is coming down.

	CLOSE UP - MELANIE

	as her eyes follow the flight of the crow.

	MED. SHOT - SKY

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

	CLOSE UP - MELANIE

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

	MED. SHOT - PLAY YARD

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

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

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

	CLOSER SHOT - PLAY YARD

	The play yard is full of crows.

	CLOSE SHOT - MELANIE

	Big head of horrified Melanie.

	MED. SHOT - PLAY YARD

	A closer view of the menacing birds.

	CLOSE SHOT - MELANIE

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

	EXT. PLAY YARD - DOLLY SHOT

	A side view of the crows as seen by Melanie.

	FULL SHOT - THE INTERIOR CORRIDOR

	Melanie in headlong flight toward Annie's room.

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

	FULL SHOT - THE ROOM

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

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

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

				ANNIE
		All right now.

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

	CLOSE SHOT - ANNIE

				ANNIE
		wh...?

	TWO SHOT - ANNIE AND MELANIE

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

				MELANIE
		Outside.

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

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

	Annie gives a quick nod, understanding immediately.

	FULL SHOT - THE ROOM

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

				ANNIE
		Quiet down, children! Quiet down!

	The children modulate into silence.

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

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

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

	The children again fall silent.

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

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

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

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

	CLOSE SHOT - A SINGLE CROW

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

	CLOSE SHOT - MELANIE

				MELANIE
			(whispering)
		Hurry!

	EXT. PLAY YARD - FULL SHOT (6)

	straight on of all the crows.

	NEARER SHOT - PLAY YARD (8)

	but a different angle.

	CLOSER SHOT - PLAY YARD (10)

	but a different angle from the others

	CLOSE SHOT - (12)

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

	EXT. PLAY YARD

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

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

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

	EXT. SCHOOL ROAD (4) (S)

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

	EXT. SCHOOL ROAD (3) (P)

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

	EXT. SCHOOL ROAD (2) (S)

	Profile of running child. Bird catches up and bites.

	EXT. SCHOOL ROAD (3) (S)

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

	EXT. SCHOOL ROAD (1) (P)

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

	EXT. SCHOOL ROAD (2) (S)

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

	EXT. SCHOOL ROAD (1) (P)

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

	EXT. SCHOOL ROAD - CLOSE UP (L)

	of feet running.

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

	showing the crows among the running children.

	EXT. SCHOOL ROAD (1) (P)

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

	EXT. SCHOOL ROAD (1) (P)

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

	EXT. SCHOOL ROAD (2) (S)

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

	EXT. SCHOOL ROAD (1) (FP)

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

	EXT. SCHOOL ROAD () (P)

	Big head of bird coming at CAMERA.

	EXT. SCHOOL ROAD (1) (FP)

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

	EXT. SCHOOL ROAD () (P)

	Big head of bird coming into CAMERA.

	EXT. SCHOOL ROAD (3) (L)

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

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

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

	EXT. SCHOOL ROAD (3) (S)

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

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

	of Michele as she hits ground.

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

	Her glasses smash.

	EXT. SCHOOL ROAD (2) (S)

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

	EXT. SCHOOL ROAD (1) (S)

	Six birds descend on fallen Michele - legs running by.

	EXT. SCHOOL ROAD (3) (S)

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

	EXT. SCHOOL ROAD (2) (S)

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

	EXT. SCHOOL ROAD (3) (S)

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

	EXT. SCHOOL ROAD (2) (L)

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

	EXT. SCHOOL ROAD (5) (L)

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

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

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

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

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

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

	INT. STATION WAGON (3) (P)

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

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

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

	INT. STATION WAGON (2) (S)

	Crows attacking side window.

	INT. STATION WAGON (2) (S)

	Hand on horn ring.

	INT. STATION WAGON (2) (P)

	Cathy and Michele's faces huddled together.

	INT. STATION WAGON (2) (P)

	Melanie's big head - she looks down.

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

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

	INT. STATION WAGON (3) (FP)

	Wipers starting. Crows retreat.

	INT. STATION WAGON (2) (P)

	The three faces staring out.

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

	through windshield. The crows are starting to go away.

	INT. STATION WAGON (2) (P)

	Melanie looks out and sees:

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

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

	INT. STATION WAGON (6) (S)

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

							  DISSOLVE

	INT. THE TIDES - FULL SHOT

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

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

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

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

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

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

	As Deke opens cash register...

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

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

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

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

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

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

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

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

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

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

				DEKE
		In the book right here, Miss.

	As Melanie looks it up...

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

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

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

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

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

	LAUGHTER from salesman at table.

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

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

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

				MRS. BUNDY
		Impossible.

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

	Her background conversation continues through following:

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

				HELEN
		What's this about the school?

				DEKE
		Bunch of crows attacked the school, 
		Helen.

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

				HELEN
		The Lord's not destroying anything, 
		Jason.

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

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

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

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

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

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

	CLOSE SHOT - THE WOMAN AND THE CHILDREN

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

	BACK TO SCENE

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

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

	CLOSE SHOT - SHOLES

	eating.

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

	BACK TO SCENE

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

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

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

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

				SHOLES
		One of my boats did last week.

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

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

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

				DEKE
		Coming right up!

	CLOSE SHOT - WOMAN

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

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

				LITTLE GIRL
		Timmy has a canary.

				HELEN
		That's nice. Are you Timmy?

				LITTLE BOY
		My cousin is Timmy.

	BACK TO SCENE

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

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

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

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

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

				MELANIE
		What were the crows after at the 
		school?

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

				MELANIE
		Daniels. I think they were after the 
		children.

				MRS. BUNDY
		For what purpose?

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

	There is a long silence.

				MRS. BUNDY
		Why?

	Another silence.

				MELANIE
		I don't know why.

				MRS. BUNDY
		I thought not. Birds have been on 
		this planet since archaeopteryx, 
		Miss Daniels; a hundred and twenty 
		million years ago!

	A TRAVELING SALESMAN ENTERS, goes to bar, listens.

				MRS. BUNDY
		Doesn't it seem odd that they'd wait 
		all that time to start a... a war 
		against humanity?

				MELANIE
		No one called it a war!

				SALESMAN
		Scotch, light on the water.

				MRS. BUNDY
		You and Mr. Sholes seem to be implying 
		as much.

				HELEN
		Are you finished here, Sebastian?

				SHOLES
		Let me have some apple pie, Helen.
			(to Mrs. Bundy)
		Who said anything about war? All I 
		said was that some gulls...

				HELEN
			(yelling to kitchen)
		One apple pie! You want more coffee?

				SHOLES
		No. ...came down on one of my boats.  
		They could have been after the fish, 
		just as you said.

				SALESMAN
		Your captain should have shot at 
		them.

				SHOLES
		What?

				SALESMAN
		Gulls are scavengers, anyway. Most 
		birds are. If you ask me, we should 
		wipe them all out. World would be 
		better off without them.

				MRS. BUNDY
			(outraged)
		Birds?

				SALESMAN
		Yeah, birds. All they do is make a 
		mess of everything. Who needs them?

				MRS. BUNDY
		We need them.

				SALESMAN
		Not if they're starting a war.

				MRS. BUNDY
		They are incapable of organized 
		warfare!

				MELANIE
		Have you ever seen a jay protecting 
		a nest?

				MRS. BUNDY
		I have seen jays doing everything it 
		is conceivable for jays to do.  
		Ornithology happens to be my 
		avocation, Miss Daniels. You're 
		talking about preservation of the 
		species, a hen protecting her young.  
		There's a vast difference between...

				MELANIE
		Maybe they're all protecting the 
		species. Maybe they're tired of being 
		shot at and roasted in ovens and...

				MRS. BUNDY
		Are you discussing gamebirds now?  
		All birds are not gamebirds, you 
		know.

				MELANIE
		I don't know anything about birds 
		except that they're attacking this 
		town.

				SALESMAN
		Then fight back. Get yourselves guns 
		and wipe them off the face of the 
		earth.

				MRS. BUNDY
		That would hardly be possible.

				DEKE
		Why not, Mrs. Bundy?

				MRS. BUNDY
		Because there are 8,650 species of 
		birds in the world today, Mr. Carter. 
		It's estimated that five billion, 
		seven hundred and fifty million birds 
		live in the United States alone. The 
		five continents of the world...

				SALESMAN
			(muttering)
		Kill them all. Get rid of them.  
		Messy animals.

				MRS. BUNDY
		...probably contain more than a 
		hundred billion birds!

				DRUNK
		It's the end of the world!

				DEKE
		Well, we seem to have more than our 
		share of them right now, Mrs. Bundy.  
		Maybe this young lady's right.  Maybe 
		they've all gone crazy.

				HELEN
		Here's your pie, Sebastian. You want 
		it at the table?

				SHOLES
		No. Here's fine.
			(he begins eating)

				HELEN
		Where are the Bloody Marys, Deke?

				DEKE
		Coming.

				HELEN
			(angrily)
		Are we running a business here -- or 
		a bird sanctuary?

				SHOLES
			(beginning to change 
			his mind)
		Actually, those gulls must have been 
		after the fish.

				MRS. BUNDY
		Of course.

				SHOLES
		Makes a lot more sense than... well, 
		an attack.

				MRS. BUNDY
		Of course it does. If we believe 
		that birds are attacking, why... why 
		next we'll believe that grasshoppers 
		and cockroaches are capable of...

				DRUNK
		Cockroaches!  Urghh!

	CLOSE SHOT - WOMAN

	getting more and more anxious.

				WOMAN
		Hurry, children. Finish your lunch.

				BOY
		Are the birds gonna eat us, Mommy?

				SHOLES
		Maybe we're all getting a little 
		carried away by this. Admittedly, a 
		few birds acted strangely. That's no 
		reason to believe...

				MELANIE
		This isn't a few birds! I keep telling 
		you that! These are gulls and swifts 
		and crows and...

				MRS. BUNDY
		And what? Vultures? Hawks? Eagles?

				MELANIE
		Maybe! Is it impossible?

				MRS. BUNDY
		Yes. I have never known birds of 
		different species to flock together.  
		The very concept is unimaginable.
			(laughing)
		Why if that happened, we wouldn't 
		have a chance. How could we possible 
		hope to fight them?

				SHOLES
		We couldn't. You're right, Mrs.  
		Bundy.

				WOMAN
			(calling from table)
		Excuse me, may I have a check, please?

				HELEN
			(concerned)
		Is everything all right, ma'am?

				WOMAN
		Yes, I... I'm anxious to get on the 
		road.

				SAM
			(coming from kitchen)
		What's the matter? Something wrong 
		out here?

				DEKE
		Nothing's wrong.

				SAM
		All this shouting.

				MRS. BUNDY
		We're fighting a war, Sam.

				SAM
		A war? Against who? Did the 
		Russians...?

				SHOLES
		Against birds.

				WOMAN
			(suddenly)
		I'm glad you all think this is so 
		amusing. You've frightened my children 
		half out of their wits.

				BOY
		I'm not scared, Mommy.

				WOMAN
		Keep quiet. If that young lady saw 
		an attack on the school, why won't 
		you believe her?

				SAM
		What attack? Who attacked the school?

				WOMAN
		Birds did. Crows! And you're all 
		sitting around here debating! What 
		do you want them to do next? Crash 
		through that window?

				LITTLE GIRL
			(frightened by her 
			mother)
		Mommy!

				WOMAN
		Quiet! Why don't you all get home?  
		Lock your doors and windows!
			(her hysteria rising)
		Put on your coats, children!
			(to Deke)
		What's the fastest road to San 
		Francisco?

				DEKE
		The freeway, ma'am.

				WOMAN
		Where do I get it?

				SALESMAN
		I'm going out that way, lady. You 
		can follow me.

				WOMAN
		Then let's go. Now!

				SALESMAN
		I haven't finished my drink.

				WOMAN
			(on edge of panic, 
			shouting at her 
			children)
		Put on your coats! Do you want to 
		get trapped here?

				BOY
		I can't find my scarf.

				WOMAN
		Look in your sleeve!

	The door opens. Mitch and Al Malone come in.

				MITCH
		Melanie?

	At the far table, the salesman begin singing, rowdily.

				MITCH
			(going to her)
		I got here as fast as I could.  
		Where's Cathy?

				MELANIE
		At Annie's house. She's all right.

				SAM
		Al, why aren't you over there where 
		the attack was?

				MALONE
		Because I just got back from Dan 
		Fawcett's place, that's why.

				MITCH
		He was killed last night. By birds.

				MALONE
		Now hold it, Mitch. You don't know 
		that for a fact.

				MRS. BUNDY
		What are the facts, Mr. Malone?

				MALONE
		Santa Rosa police think it was a 
		felony murder. They think a burglar 
		broke in and killed him.

				WOMAN
		Were the Santa Rosa police at your 
		school today?
			(impatiently, to 
			salesman)
		Are you coming?

				SALESMAN
		Take it easy, lady.
			(through window)
		There isn't a bird anywhere in sight.

				DRUNK
			(quoting)
		"Look at the birds of the air: they 
		do not sow or read, yet your heavenly 
		father feeds them."

				WOMAN
		I'll never feed another bird as long 
		as I live!

				SALESMAN
		Something like this happened in Santa 
		Cruz last year. The town was covered 
		with seagulls.

				WOMAN
		Can't you please finish your drink?

				MRS. BUNDY
		That's right, sir, I recall it. A 
		large flock of seagulls got lost in 
		a fog and headed in for the town, 
		where all the lights were.

				SALESMAN
		They made some mess, too, smashing 
		into houses and everything.
			(shaking his head)
		They always make a mess. We're better 
		off without them.

				MRS. BUNDY
		The point is that no one seemed to 
		get upset about it. They were gone 
		the next morning, just as if nothing 
		at all had happened. Poor things.

				WOMAN
		I'm leaving! Are you coming?

				SALESMAN
		All right, all right!
			(he downs his drink)
		Hope you figure this out, folks.

				DRUNK
		It's the end of the world.

	The Tides is silent for a moment.

				SHOLES
		Well, I'd better get back to the 
		cannery. What do I owe you, Deke?

				DEKE
		Let's see. Scallops and coffee...

				MITCH
		Hold it just a minute, Sebastian.

	Sholes turns to him.

	CLOSE SHOT - MITCH

	his face very serious.

				MITCH
		Sebastian, I'm not an alarmist.

				SHOLES
		No one ever said you were, Mitch.

				MITCH
			(flatly)
		I think we're in trouble. I don't 
		know how or why this started, but I 
		know it's here and I know we'd be 
		crazy to ignore it.

				MRS. BUNDY
			(sarcastically)
		Ignore what? The bird war?

				MITCH
			(exploding)
		Yes, the bird war, the bird attack, 
		the bird plague, you can call it 
		what you want to, they're out there 
		massing someplace and they'll be 
		back, you can count on that!

				MRS. BUNDY
		Ridiculous!

				MITCH
		Mrs. Bundy, why don't you go home 
		and polish your binoculars?

				SAM
		Go on, Mitch.

				MITCH
		If we don't do something now, if we 
		don't get Bodega Bay on the move...

				SHOLES
		Look, Mitch, even if this is true, 
		even if all the birds...

				MITCH
		Do you believe it's true, Sebastian?

				SHOLES
			(after a long pause)
		No. I don't, Mitch. Because I can't 
		see any reason for it.

				MITCH
		It's happening. Isn't that a good 
		enough reason?

				SHOLES
			(thoughtfully)
		I like Bodega Bay as well as any 
		man. If I thought...
			(he shakes his head)

				MITCH
		Then help me, Sebastian. You're an 
		important man in this town. If you'll 
		help, the rest will.

				SHOLES
		Help how? What do you want to do?

				MITCH
		I'm not sure, but...

				SHOLES
		If you don't even know what you want 
		to do...

				MELANIE
		Listen to him, please.

				SAM
			(taking position beside 
			Melanie)
		You listen to him, Sebastian!

				MITCH
		I only know we've got to drive them 
		away from town -- before they drive 
		us away.

				SHOLES
		How?

				MITCH
		Mrs. Bundy, you said something about 
		Santa Cruz. About seagulls getting 
		lost in the fog, and heading in for 
		the lights.

				DEKE
		We don't have any fog this time of 
		year, Mitch.

				MITCH
		We'll make our own fog.

				SHOLES
		How do you plan to do that?

				MITCH
		With smoke.

				MALONE
		There's an ordinance against burning 
		anything in this town, unless it's...

				MITCH
		We'll use smoke pots. Like the Army 
		uses.

				DEKE
		What good'll that do? Smoke's as bad 
		as birds.

				MRS. BUNDY
		Birds are not bad!

				SHOLES
		How can we go on living here if we 
		blanket the town with smoke?

				MITCH
		Can we go on living here otherwise?

	Pause. They are silent.

				SAM
			(slowly)
		It's worth a try, Sebastian.

	There is more silence as they all consider. And then suddenly:

				MELANIE
		Look!

	They turn toward the window.

	TIDES CAR PARK - FULL SHOT

	Viewed from the side window inside the Tides we see three or 
	four gulls diving down toward the highway over the roof of 
	the Tides Office. Two more swoop into the foreground of the 
	window and out to the left.

				DEKE
			(alarmed)
		Gulls!

				MITCH
		They're back!

				SHOLES
		They're only the usual... What are 
		you...

	TIDES TOWN - LONG SHOT

	The first gull reaches the gas station but misses the 
	attendant who is in the act of filling the car. The owner is 
	seen disappearing into the men's room.

	INT. TIDES

	A quick flash of the group of faces at the window of the 
	Tides Restaurant.

	TIDES TOWN - MED. SHOT

	A nearer view of the gas station. A second gull hits the man 
	on the back -- he falls -- hits his head on the pump and 
	then collapses over the gasoline hose pipe, pulling it out 
	and causing it to spill. The third and fourth gulls sweep 
	by.  The gas begins to flow away.

	MED. SHOT - MELANIE AND MITCH

	inside the Tides. Mitch dashes toward the door -- Melanie 
	after him. Through the glass windows into the street we see 
	people dashing off to the right, in the direction of the gas 
	station. At the door, Mitch turns.

				MITCH
			(to Melanie)
		Stay back in here.

	Deke Carter comes running from behind the bar to join Mitch.  
	They both EXIT. Melanie dashes back to her original place at 
	the window. The CAMERA RETREATING with her, we come to the 
	window and over Melanie's shoulder we see the men arrive to 
	rescue the attacked gas station attendant.

	Three or four gulls are still attacking and they flutter 
	away as the men appear to beat them off. Suddenly Melanie in 
	the foreground turns in full profile to her right and looks 
	down.

	TIDES CAR PARK - MED. SHOT

	on the sloping pavement before her a stream of gasoline is 
	flowing to the right into the car park.

	CLOSE SHOT - GASOLINE

	flowing down to the car park.

	CLOSE SHOT - MELANIE

	through the window. She suddenly looks toward the gas station.

	MED. SHOT - THE CAMERA PANS

	along the flowing gas back to the station.

	CLOSEUP - MELANIE

	She turns back to the car park.

	FROM MELANIE'S VIEWPOINT

	We see the flow of gasoline trickling toward the car parked 
	below her. At this particular moment, a car has pulled up, 
	has come to a stop and a man emerges. He is in the act of 
	lighting his dead cigar, but his attention is drawn to the 
	happenings around the gas station. With this half-drawn 
	attention, he strikes the match and holds it to the cigar.

	CLOSEUP - MELANIE

	She quickly slides the window open and yells down to the 
	man.

	FROM MELANIE'S VIEWPOINT

	The man looks about him, holding the match I his fingers. As 
	he catches sight of Melanie, the match burns his finger and 
	he drops it.

	CLOSEUP - MELANIE

	Her horror-stricken face.

	FULL SHOT - THE PARKING AREA

	Three fast explosions in a row as the man's car, Mitch's 
	car, and the one next to it go up in flames.

	CLOSE SHOT - THE HORRIFIED FACE OF MELANIE

	TURNING TO SEE

	FULL SHOT - THE GAS STATION

	The line of flame running swiftly from the burning cars, 
	following the gasoline on the ground, directly to the pump, 
	which blows up as the men are jumping away with the injured 
	attendant.

	EXT. TIDES TOWN AND CAR PARK - MATTE SHOT

	A very high shot shows the beginning of the people of the 
	town rushing around the car park and the streets across the 
	highway, endeavoring to put out the two fires. We see 
	automobiles coming to a stop on Highway One, and the oil 
	smoke beginning to rise from the burning gas station and the 
	parked cars. Some men have managed to start a fire hose and 
	have trained it on the burning cars. Suddenly but slowly the 
	foreground in the sky just below the CAMERA begins to fill 
	with wheeling gulls. The whole picture below becomes 
	obliterated by the foreground birds who now begin to swoop 
	down on the town.

	EXT. TIDES TOWN

	A raking shot outside the Tides Restaurant showing the phone 
	booth and motel off in the background. People are rushing 
	out from the restaurant and look up in the sky. Gulls begin 
	to descend into the scene, driving the people back into the 
	restaurant. Melanie is seen in the distance calling for Mitch:

				MELANIE
		Mitch...! Mitch!

	We see her look up to the sky.

	LONG SHOT - THE SKY

	The sky is full of seagulls.

	CLOSE SHOT - MELANIE

	Looking about her frantically. She turns her face up again 
	to see the descending gulls. She is driven to take refuge in 
	the phone booth.

	CLOSEUP - INSIDE THE PHONE BOOTH - MELANIE

	slams the door shut. Gulls are now beating at the glass all 
	around her.

	EXT. TIDES TOWN

	From Melanie's viewpoint inside the booth we see the people 
	who have been rushing to put out the fire now faced with 
	clouds of birds coming on them.

	CLOSEUP - MELANIE

	looking out in terrified alarm but still searching with her 
	eyes for Mitch.

	MED. SHOT - PEOPLE RUSHING FROM THE TIDES

	CLOSEUP - MELANIE

	in the phone booth. She turns and looks swiftly in the 
	direction of the car park.

	EXT. TIDES CAR PARK

	Some men have secured a hose and are obviously getting water 
	from the bay. They are turning the stream onto the burning 
	cars. At this time, the birds are filling the area around 
	them. They suddenly turn the hose up into the birds.

	CLOSEUP - MELANIE

	Her eyes turn up quickly.

	LONG SHOT - FROM HER VIEWPOINT

	We see the stream of water swing to and from among the birds.  
	Melanie turns back from this at the sound of a roaring car.

	EXT. TIDES TOWN - FROM HER VIEWPOINT

	We see a car zig zag down from the town in a drunken manner 
	coming toward her in the phone booth.  We can see birds flying 
	in and out of the windows of the car.  We can see the arm 
	and hand of the driver trying to beat them away. In the 
	background of this scene we see the fire truck arrive.

	CLOSEUP - THE HORRIFIED FACE OF MELANIE

	as the car comes toward her in the booth.

	EXT. TIDES TOWN

	At the last minute, the car swerves away from the booth.

	CLOSER SHOT

	A side view of the car after practically scraping the side 
	of the booth. We see that it's full of birds attacking the 
	driver. As it goes by, it near tilts over to inadvertently 
	give us a view of its interior.

	FLASH CLOSEUP - MELANIE

	watching the car.

	EXT. TIDES CAR PARK

	The car goes on and smashes into the other burning cars. It 
	explodes.

	CLOSEUP - MELANIE

	Suddenly she hears the firing of a gun. She turns.

	TIDES TOWN - LONG SHOT

	She sees a man with a gun shooting up at birds but to no 
	avail. One or two descend upon him. He throws the gun down 
	and rushes back into the Tides Office. Melanie, with a slight 
	turn, now sees:

	THE TIDES TOWN

	The fire volunteers with birds descending around them drop 
	their hose.

	CLOSER SHOT

	shows the hose snaking wildly and jumping. At one moment the 
	water turns and comes in a powerful stream hitting the windows 
	of the phone booth.

	CLOSEUP - MELANIE

	recoils from this water attack. Through the streaming window 
	she sees the fire volunteers rushing away for cover. To the 
	left we see a horse with its head covered with gulls; its 
	palomino-colored body covered with crows. It is bucking and 
	leaping and kicking its van to pieces.

	At this moment the scene is obliterated by the appearance of 
	a man groping his way closely past the phone booth windows.  
	His face is poring with blood: his head and shoulders are 
	covered with attacking birds. He disappears from sight.  
	Melanie, now almost in a faint, opens her eyes to see Tides 
	Town. Through the booth window she sees Mitch and Deke Carter, 
	the owner of the Tides, coming down toward the CAMERA and 
	waving the birds away from them with flailing arms.

	CLOSE SHOT - MELANIE

	opens the booth doors and starts out with a cry of 
	recognition, but she has barely stepped out when more gulls 
	crash around the booth causing her to go back.

	CLOSEUP - MELANIE IN PROFILE

	looking out again toward Mitch.

	EXT. TIDES TOWN

	Through window she sees Deke Carter run off in one direction 
	while Mitch suddenly sees a child at the window of the burning 
	building adjacent to the flaming and smoking gas station. 
	Mitch dashes across and goes up the short staircase into the 
	smoking building.

	CLOSEUP - MELANIE

	looking across in horror.

	LONG SHOT - THE BURNING BUILDING

	For a moment there is no sign of anyone about, then suddenly 
	Mitch appears with the small child at the window. He calls 
	down. One man dashes from the direction of the Tides Office, 
	another from the Tides Restaurant. They both wait below the 
	window as Mitch drops the child.

	FLASH - MELANIE

	watching this breathlessly.

	CLOSER SHOT

	The moment the child has dropped, Mitch suddenly looks up.  
	He slams the window as two or three birds crash into the 
	windows. They disappear into the building.

	CLOSEUP - MELANIE

	holding her breath.

	LONG SHOT - THE BURNING BUILDING

	No sign of Mitch.

	CLOSEUP - MELANIE

	getting more desperate.

	CLOSEUP - BUILDING

	No sign of Mitch. Suddenly a chair flies through the window 
	and Mitch climbs OUT and drops to the ground.

	CLOSE SHOT - MELANIE

	opening the door of the booth, yells out to him.

	LONG SHOT - MITCH

	sees her and starts running toward the booth.

	HIGH SHOT - MITCH

	beating his way through the birds. He reaches the booth.

	LOW SHOT

	close to the Tides Restaurant entrance. We see Mitch drag 
	Melanie from the phone booth and run with her toward the 
	CAMERA through the birds into the restaurant.

	INT. THE TIDES

	There must be at least twenty people all looking toward the 
	windows. It is as though they are hiding from a storm. The 
	CAMERA is high enough to see Melanie and Mitch COME IN, very 
	hurriedly close the door. We see the gulls wheeling outside.  
	There is a kind of stunned silence among the people. We can 
	hear the sound of the screaming gulls outside. Suddenly a 
	woman's voice SCREAMS out:

				WOMAN
		Why are they doing it?! Why are they 
		doing it...?!

	Some of the heads of the group turn.

	CLOSE SHOT

	It is the woman who had the two children screaming at Mrs.  
	Bundy who is seated in a booth table staring numb and 
	helpless. Mrs. Bundy turns and looks at her and mutters some 
	words.

				MRS. BUNDY
			([Mrs. Bundy offers a 
			weak explanation of 
			why the birds could 
			have gone berserk 
			like this. This 
			information should 
			be obtained from Dr. 
			Stager.])

	CLOSE SHOT - MELANIE AND MITCH

	looking across at this slight scene. They turn back and over 
	their shoulders the gulls seem to be in much less quantity.

				MITCH
			(looking up)
		I think they're going.

	Melanie follows his look. At this moment there is a loud 
	CRASH OF GLASS. They turn their heads suddenly.

	MED. SHOT - FROM MITCH'S AND MELANIE'S VIEWPOINT

	And past the heads of the other people who have also turned, 
	we see one of the back windows of the Tides Restaurant has 
	gone and gulls are coming in. Two or three of the men who 
	are on the edge of the crowd turn and go back toward the 
	window, beating them out. They succeed in doing this.

	CLOSE SHOT - MELANIE AND MITCH

	They turn from the gulls in the restaurant to look to the 
	street.

				MITCH
		I think it's safe to get out now.

				MELANIE
		Don't let's take any chances.

				MITCH
		We've got to get Cathy.

	They open the door and make their way out into the street, 
	running and looking about them desperately.

	EXT. BODIGA STREET

	There are one or two gulls flying around. Others are perched 
	on roofs as we see Mitch and Melanie dashing along the 
	sidewalk.

	EXT. BODIGA STREET

	There are still one or two gulls or crows in evidence as 
	they move along past the last street and come into the more 
	countrified part of the town.

	LONG SHOT - THE SCHOOL YARD

	We see them turn and dash up the road toward the school which 
	we see in the distance. There are some birds perched on the 
	school roof.

	SIDE-ON DOLLY SHOT - MELANIE AND MITCH

	going up the school road. He stops for a moment and looks 
	up, Melanie following his look.

	SKY SHOT - FULL

	of wheeling gulls.

	SIDE-ON CLOSE SHOT - THE TWO

	They move on and go past Melanie's waiting car outside the 
	school. Suddenly Melanie brings him to a halt.

	LONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT

	There are a few blackbirds on it.

				MELANIE'S VOICE
		Look... the crows again.

	CLOSE SHOT - THE TWO

	Mitch starts off. Melanie restrains him.

				MELANIE
		Careful, Mitch. The crows may be 
		back in the play yard.

	CLOSE SHOT - THE TWO

	They advance cautiously. When they are level with the play 
	yard, we see what they see.

	MED. SHOT

	THE CAMERA DOLLIES along the play yard. It is again full of 
	crows.

	CLOSE SHOT

	They walk stealthily past.

	CLOSE SHOT

	CAMERA PANNING ALONG the waiting crows.

	CLOSE SHOT

	Shooting over the shoulders of Melanie and Mitch, they 
	approach Annie's house. Melanie glances apprehensively over 
	her shoulder toward the crows.

	EXT. ANNIE'S HOUSE

	Melanie and Mitch arrive. They come to a sudden stop.

	LONG SHOT - ANNIE'S HOUSE

	A woman is crumpled lifelessly on the front steps before the 
	door.

	MED. SHOT - MITCH

	He reaches the body. He rolls it over.

	QUICK CLOSE SHOT - ANNIE

	dead.

	QUICK CLOSE SHOT - MITCH

	The shock registering on his face.

	CLOSE SHOT - MELANIE

	realizing that Annie is dead, and wondering for a moment 
	what Mitch's reaction will be.

	MED. SHOT - MITCH - MELANIE'S P.O.V.

	He kneels silently by the body. Gently, he touches Annie's 
	face, and then gently and illogically takes off his jacket 
	and covers her, as if he is tucking a blanket around her to 
	keep her warm. He turns away then.

	MED. SHOT - THE WINDOW

	with its ROOM TO LET sign. Cathy is standing near the sign, 
	with her eyes peering at something outside.

	CLOSE SHOT - MITCH

	turning to follow Cathy's gaze.

	CLOSE SHOT - MIXED BIRDS

	Malevolent, sitting on the fence, the killers.

	FULL SHOT - THE ROAD

	As in fury, Mitch picks up stones and begins hurling them at 
	the birds. Melanie dashes forward.

				MELANIE
			(as the birds flutter 
			into the air)
		Mitch! Don't!

	She runs to him, grabs his arm, struggles with him as he 
	maniacally continues hurling stones at the birds, who are 
	now hovering flight.

				MELANIE
		Please! Get Cathy!  Let's get out of 
		here!

	Her words reach him. Breathing heavily, he goes INTO the 
	house and COMES OUT carrying Cathy, who is dazed and in a 
	state of shock. The CAMERA PANS him over to Melanie who holds 
	Cathy to her.

	CLOSER THREE SHOT

	as Melanie looks anxiously toward the house.

				MELANIE
		Mitch, you can't leave her out there.

	He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder 
	is the white face of Cathy. We HEAR a DRAGGING SOUND and 
	then a door is CLOSED.

	MED. SHOT - MELANIE'S P.O.V.

	We see Mitch EMERGING from the house. The body is no longer 
	in the pathway. He comes toward the CAMERA.

	MED. SHOT

	He joins Melanie and Cathy. The CAMERA MOVES AHEAD of the 
	three of them as they silently make their way past the crows 
	once more, Melanie holding Cathy close to her. They look out 
	cautiously to the right.

	MED. SHOT

	CAMERA DOLLYING PAST the crows again.

	BACK TO THE DOLLY SHOT OF THE THREE

	They move forward stealthily, CAMERA AHEAD of them.

	MED. SHOT

	Another DOLLY SHOT past the crows.

	CLOSE SHOT - THE THREE

	The CAMERA is now behind them. They move away from us and go 
	toward the waiting car.

	MED. SHOT

	They arrive at the car.

				MELANIE
		You drive, Mitch.

	She goes round the far side and gets into the car. Mitch 
	slips in behind the driver's seat. The car turns into the 
	CAMERA and goes down the school road.

	FULL SHOT - THE CAR - INTERIOR

	Mitch, Cathy and Melanie facing the CAMERA, tensely. Melanie 
	looks over her shoulder.

				MELANIE
			(holding her breath)
		I don't think they're coming.

	Cathy does not turn: she is staring ahead of her, her eyes 
	wide, her lip trembling. They drive in silence, and then 
	suddenly, Cathy begins speaking, almost as if to herself, as 
	the CAMERA COMES IN TIGHT on her face in shock.

				CATHY
		On our way back from taking Michele 
		home... we... we heard the explosion 
		and went outside to... see what... 
		what it was.
			(pause)
		All at once the... the birds were 
		everywhere. All at once.  She... she 
		pushed me inside and... they covered 
		her.
			(pause)
		Annie.
			(pause)
		She pushed me inside.

	TWO SHOT - CATHY AND MELANIE

	as she takes the child in her arms to comfort her.

							  DISSOLVE

	CLOSE SHOT - A LONE GULL flying low over the water, the CAMERA 
	TRACKING it. The bay is silent. The gull spreads its wings 
	to brake, and then sits on the water. The CAMERA continues 
	low over the water, going through thousands of gulls sitting 
	there patiently, as if it is threading itself through a crowd, 
	not a sound, over the gulls, and then lifting to show the 
	Brenner house in the distance.

	FULL SHOT - THE BRENNER HOUSE

	Behind the panes of glass, we can see the boards Mitch nailed 
	across the windows. He is on the roof now, testing the two 
	attic dormer windows. He turns to look out over the bay.

	LONG SHOT - THE BAY

	covered with sitting gulls. In the distance, the town is 
	still smoldering. But the sky is clear of birds.

	MED. SHOT - MITCH

	picking up his hammer, sliding over the shingles to where 
	the ladder leans against the side of the house.

	FULL SHOT - THE HOUSE

	as Mitch comes down the ladder and Melanie turns the corner, 
	carrying a load of driftwood and old lumber.

	TWO SHOT - MELANIE AND MITCH

	as she drops the wood outside the door and he joins her. She 
	is looking out over the bay when he comes to her. This is 
	not the Melanie we saw at the beginning of the picture. Her 
	hair is disarrayed, and her face and clothing are streaked 
	with soot. But beyond a surface physical appearance, there 
	is a weary wisdom in her eyes, and a strength to her as she 
	stands looking toward the distant smoldering town.

				MELANIE
		The town looks clear.

				MITCH
		The bay doesn't.

				MELANIE
		How long have they been gathering 
		there?

				MITCH
		The past fifteen minutes.
			(pause)
		It seems to be a pattern, doesn't 
		it? They strike and disappear, and 
		then they start massing again.

	Melanie nods. They are both silent, watching the bay.

				MELANIE
		I keep thinking of Annie.
			(she squeezes her 
			eyes shut)

				MITCH
			(after a long pause)
		It... it doesn't look very different, 
		does it? A little smoke over the 
		town, but otherwise...

				MELANIE
			(looking)
		Even the birds sitting out there.  
		It does look very much the same, 
		Mitch. This could be last week.

				MITCH
		It may not be last week again for a 
		long long time.

	They are both silent.

				MELANIE
		Look. They're still coming.

	Mitch nods. Silence.

				MITCH
		Do you want to try your father again?
			(Melanie shakes her 
			head.  Puzzled, Mitch 
			looks at her)

				MELANIE
		I tried a little while ago. The 
		phone's dead.

				MITCH
		Have we still got power?

				MELANIE
		Yes.
			(leaning against him)
		I'm tired, Mitch. I'm so very very 
		tired.

				LYDIA (O.S.)
		Mitch! I'm getting something on the 
		radio!

	INT. THE LIVING ROOM - FULL SHOT

	Lydia is hovering near the radio. Cathy is sitting on a 
	footstool. The windows are boarded, and the lights in the 
	room are on. A tremendous amount of static is coming from 
	the radio as Mitch and Melanie join them

				LYDIA
		I can't get any of the local stations.  
		I think this is San Francisco.

				ANNOUNCER
		...would include formulation of a 
		central financing committee to handle 
		credit and to allocate responsibility 
		for the various facets of the project. 
		A vote on the motion is expected 
		early tomorrow morning.

	TWO SHOT - MELANIE AND MITCH

	listening.

				ANNOUNCER
		Continuing with the local news, police 
		are still investigating the series 
		of valuable jade burglaries in the 
		Chinatown area. The round-up of known 
		criminals has not as yet produced a 
		suspect, but Commissioner Nelson 
		said today he was certain the 
		burglaries were quote linked and the 
		work of the team of professionals 
		unquote.
			(pause)
		In Bodega Bay early this morning, a 
		large flock of crows attacked a group 
		of children who were leaving the 
		school during a fire drill. One little 
		girl was seriously injured and taken 
		to the hospital in Santa Rosa, but 
		the majority of children reached 
		safety in the town.
			(pause)
		On the national scene today, the 
		opening of the new session of Congress 
		was marked by a State of the Union 
		address that...

				MITCH
		Is that all?

				ANNOUNCER (O.S.)
		...drew a standing ovation for the 
		President. The Chief Executive, in 
		discussing our relation to Europe 
		and the rest of the world community 
		said: "These various elements of our 
		foreign policy lead as I have said 
		to a single goal --

				MITCH
			(sighing)
		We're going to need more wood for 
		the fire. We can't let it go out.

				ANNOUNCER
			(continuing as drone 
			in background)
		The goal of a peaceful world of free 
		and independent states.  This is our 
		guide for the present and our vision 
		for the future -- a free community 
		of nations, independent but 
		interdependent, uniting north and 
		south, east and west, in one great 
		family of man, outgrowing and 
		transcending the hates and fears 
		that rend our age.  We will not reach 
		that goal today or tomorrow.  We may 
		not reach it in our lifetime.  But 
		the quest is the great adventure of 
		our century.  We sometimes chafe at 
		the burdens of our obligations, the 
		complexity of our decisions, the 
		agony of our choices, but there is 
		no comfort or security for us in 
		evasion, no solution in abdication, 
		no relief in irresponsibility.
			(pause)
		In assuming the tasks of the 
		Presidency, I said that few 
		generations, in all history, had 
		been granted the role of being the 
		great defender of freedom in its 
		hour of maximum danger.  This is our 
		good fortune, and I welcome it now 
		as I did when I first took office.
			(pause)
		For it is the fate of this generation -- 
		Of you in the Congress and of me as 
		President -- to live with a struggle 
		we did not start, in a world we did -
		not make. But the pressures of life 
		are not always distributed by choice. 
		And while no nation has ever faced 
		such a challenge, no nation has ever 
		been ready to seize the burden and 
		the glory of...

				LYDIA
			(pause)
		Did you you get the windows in the 
		attic, Mitch?

				MITCH
		 I got them all, Mother.

				LYDIA
		When do you think they'll come?

				MITCH
		I don't know.

				LYDIA
		If there are... larger birds, Mitch... 
		they'll get into the house.

				MITCH
		That's a chance we have to take.

				LYDIA
		Maybe we ought to leave.

				MITCH
		Not now.  Not while they're massing 
		out there.

				LYDIA
		When? 

				MITCH
		I don't know when.  We'll see what...

				LYDIA
		Where will we go?

				MITCH
		I don't know yet.  I think we'll be 
		safe here.
			(Pause)
		Let's bring that wood in.

				LYDIA
		What happens when we run out of wood?

	Music begins to play.  The music is sweet, with violins and 
	long piano arpeggios, almost too much to bear against the 
	tension being played in front of it.

				MITCH
		I don't know. We'll break up the 
		furni...

				LYDIA
			(shouting)
		You don't know, you don't know!  
		When will you know? When we're all 
		dead? Like Annie?

				CATHY
			(shrieking it, her 
			face white)
		Mother!

				LYDIA
			(at Mitch)
		If your father were here...

				MITCH
			(sharply)
		Mother! I'm trying my best!
			(shaking his head)
		I'm... trying... my...

				LYDIA
			(trembling, nodding)
		I'm sorry, Mitch.

	CLOSE SHOT - MITCH

	the strain showing on his face. He nods briefly.

				MITCH
		Let's get the wood. Why don't you 
		make us all some coffee, Mother?

	FULL SHOT - HOUSE

	as Melanie and Mitch come out and head for the pile of wood.  
	There is a NOISE in the sky. Startled, glancing upward, they 
	begin to run back toward the house and then stop and slowly 
	scan the sky.

	FULL SHOT - ENORMOUS FLOCK OF BIRDS

	flying in tight formation.

	TWO SHOT - MELANIE AND MITCH

				MELANIE
		Where are they heading?

				MITCH
		Inland.

				MELANIE
		Santa Rosa?

				MITCH
		Maybe.

	CLOSE SHOT - MELANIE

	watching the birds. A look of utter sadness crosses her face. 
	It is clear that she is thinking the birds will reach Santa 
	Rosa, and eventually San Francisco as well.

				MITCH (O.S.)
			(gently)
		Come on. Let's get this wood in.

	Melanie nods. But the look of sadness stays on her face, and 
	her eyes remain on the sky.

							  DISSOLVE

	FULL SHOT - THE LIVING ROOM

	Lydia is pouring coffee into cups. In the dining room, we 
	can HEAR the CHATTER of the lovebirds. As Lydia pours the 
	sound distracts her. Cathy is sorting candles at the couch.  
	There is evidence of preparation everywhere: flashlights, 
	kerosene lamps, a butane burner. Mitch is at the fireplace 
	putting more wood on the fire. Melanie comes into the room 
	and dumps another load.

				MELANIE
		That's the last of it.

				LYDIA
		Did you close the door?

				MELANIE
		And locked it.

				CATHY
		Mitch, can I bring the lovebirds in 
		here?

				LYDIA
			(snapping it)
		No!

				CATHY
		Mom, they're in a cage!

				LYDIA
		They're birds!

	CLOSE SHOT - MITCH

	studying his mother, realizing how close she is to breaking.

				MITCH
			(softly)
		Let them stay in the other room.

	CLOSE SHOT - LYDIA

	her hand trembling as she pours the coffee.

	FULL SHOT - THE ROOM

	as they all sit and accept their coffee. The room is silent 
	except for the CRACKLE of the fire. Mitch rises to put more 
	wood on the fire. In the dining room, the lovebirds still 
	are CHATTERING wildly. Their chirping is the only sound in 
	the house.

				CATHY
		Mitch? Why are they doing this?  The 
		birds.

				MITCH
			(putting wood on fire)
		I don't know, honey.

				CATHY
		Why are they trying to kill people?

				MITCH
		I wish I could say. But if I could 
		answer that, I could also tell you 
		why people are trying to kill people.

	The room is silent again except for the TWEETING of the 
	lovebirds offscreen. And then, suddenly, the lovebirds fall 
	silent.

	CLOSE SHOT - CATHY

	turning to look toward the other room, her face going white, 
	her eyes widening.

	CLOSE SHOT - MELANIE

	waiting.

	CLOSE SHOT - LYDIA

	waiting.

	CLOSE SHOT - MITCH

	waiting.

	FULL SHOT - THE ROOM

	dead silent now. Each of them is sitting on the edges of 
	their chairs, waiting. There is the SUDDEN SOUND of 
	splintering glass.

				LYDIA
		Mitch...

				MITCH
		Shhh. Shhh.

	Silence. Into the silence, another pane of glass, SHATTERING, 
	the THUD of a bird against the boards. Silence.  More panes 
	of glass SHATTERING. The SOUND of birds striking the boards 
	and the outside of the house begins building, almost like 
	muffled drumbeats. THUD, THUD, with an irregularity of rhythm. 
	Interspersed, like the counterpoint in an alien orchestration, 
	is the FLUTTER of wings. And then, like another section 
	entering, we begin to hear the SCRATCHING and CLAWING at the 
	roof.

	CLOSE SHOT - LYDIA

	looking up toward the roof, the SOUND getting louder. She 
	squeezes her eyes shut.

	TWO SHOT - CATHY AND MELANIE

	as the child cuddles up into her arms. Over the other sounds, 
	there comes a NEW SOUND, the unmistakable rat-tat-tat-tattat

	of a woodpecker. It stops. It begins again. Rat-tat-tat tattat-
	tat. Tat-

				CATHY
			(in terror)
		I'm... I'm sick, Melanie. I want.. I 
		want to throw...

	Her face pale, she rises suddenly and starts for the bathroom.

				MELANIE
		I'll go with you.

	They leave the room. Mitch and Lydia sit in silence. We HEAR 
	Cathy retching offscreen, almost drowned out by the shuffling 
	of wings and the rasping of claws, the incessant thudding of 
	birds striking the house.

	FULL SHOT - THE ROOM

	Mitch rises and puts more wood on the fire. The SOUND of the 
	birds is still everywhere around the house. He looks at his 
	watch. He rises, walks into the kitchen to check the back 
	door. It seems all right. The CAMERA FOLLOWS him into the 
	dining room. He stops at the cage with the lovebirds.

	CLOSE SHOT - THE LOVEBIRDS

	watching him. Is there menace or innocence in their eyes?  
	He cannot tell.

	CLOSE SHOT - MITCH

	looking at the lovebirds in puzzlement. There is suddenly a 
	NEW SOUND offscreen, the splintering of wood, the tearing 
	sound of bigger beaks. Alarmed, he turns.

	MED. SHOT - MITCH

	coming into the entry hall.

	CLOSE SHOT - THE FRONT DOOR

	The wood is beginning to splinter as the bigger birds outside 
	assail the door.

	FULL SHOT - MITCH

	turning quickly, the CAMERA FOLLOWING him into the dining 
	room. He pulls the cloth off the table, begins moving it 
	toward the door. In the entry, he lifts the table on end and 
	piles it against the door. He goes into the kitchen again, 
	CAMERA FOLLOWING. He upends the enamel-topped table, drags 
	it to the back door. He is piling chairs against the table 
	when Melanie COMES IN. She looks at what he is doing with 
	alarm. Mitch looks in the direction of where his mother is 
	and then back to Melanie, with an expression almost of 
	desperation. Both turn back to the barricaded door. The 
	CLAWING and the PECKING fills the void. The noise is a din 
	now, insidious and increasingly more frightening.

				MELANIE
		When will they stop?

				MITCH
		I thought they'd have stopped by 
		now.

				MELANIE
		What time is it?

				MITCH
		Almost two a.m.

				MELANIE
		You must be exhausted.

				MITCH
		How about you?

	She shakes her head. They both move into the dining room, 
	the CAMERA FOLLOWING THEM. The lovebirds are sitting in their 
	cage, close together, silent. Mitch picks up a chair, ready 
	to carry it to the front door. He hesitates, puts down the 
	chair, goes to the cage.

	CLOSE SHOT - MITCH

	looking at the birds, wondering.

	CLOSE SHOT - THE BIRDS

	looking back at him. Again, it is impossible to read their 
	expressions. Malice or benevolence?

	MED. SHOT - MITCH

	He raises his hand, brings it toward the bars of the cage.

	CLOSE SHOT - THE BIRDS

	watching, unmoving.

	CLOSE SHOT - MITCH'S FINGER

	as he thrusts it through the bars. The birds sit unmoving.  
	One of them tweets.

	TWO SHOT - MELANIE AND MITCH

				MITCH
		I wonder if Cathy fed them.

	He turns away from her, goes to the cupboard, opens the door, 
	takes out a small box of bird feed.

	CLOSE SHOT - THE CAGE

	as his hand approaches the door. The birds are watching him.  
	His hand hesitates. Then his thumb and forefinger lift the 
	small catch on the cage door. His fingers open the door.  
	Cautiously, in TIGHT CLOSEUP, his hand goes into the cage.  
	The birds sit and watch. One of them tweets. He removes the 
	small feeding tray, puts the bird seed into it, replaces it 
	in the cage. The birds hesitate another moment. Then, 
	tweeting, they begin to eat.

	FULL SHOT - THE DINING ROOM

	as Mitch closes the door to the cage. Melanie is slumped 
	against the wall. He goes to her and takes her in his arms.  
	Wearily, she raises her head. The SOUND of the shuffling, 
	pecking, clawing birds is everywhere around them.

				MITCH
			(holding her)
		You should have left when you wanted 
		to.

	She shakes her head.

				MITCH
		You'd have been safe in San Francisco.

				MELANIE
		I don't want to be safe. I want to 
		be with you.

	There is something pathetically comic about her voice, like 
	a small child's, confused but defiant. Holding her close, 
	Mitch laughs, and she laughs with him. Exhausted, they stand 
	in each other's arms, laughing in that weary, silly, dead of 
	night sort of way. And suddenly... The lights go out.

				MITCH
			(in the darkness)
		The power.

				MELANIE
		Mitch...

				MITCH
		Wait here. Don't move.

	The screen is totally black for perhaps five seconds. In the 
	blackness, we HEAR the birds clawing and ripping, and the 
	SOUND is enormously MAGNIFIED. A flashlight suddenly goes 
	on.

	TWO SHOT - MELANIE AND MITCH

	as he comes to her with the flash. We see them only dimly as 
	he directs the beam upwards.

				MITCH
		We'd better light some of those lamps.

				MELANIE
		No... wait.
			(pause)
		Hold me.

	In the near darkness, we see them embrace and kiss. It is 
	almost black in the room except for the strange effect of 
	the flashlight as he holds it behind her.

				MITCH
		I think they're easing off.

							  DISSOLVE

	FULL SHOT - THE LIVING ROOM

	A kerosene lamp is burning. Melanie is awake, watching the 
	fire. Lydia has fallen into a semi-recumbent position asleep 
	on the couch. Cathy is curled up in one of the easy chairs.  
	Mitch is asleep by the fire. The fire is burning brightly 
	and steadily. The house is almost still. There is no longer 
	the sound of the clawing and pecking, but there is another 
	SOUND now: the sound of SOMETHING FALLING, or dropping in a 
	steady dribbling, difficult to place.

	CLOSE SHOT - MELANIE

	listening to the curious sound, trying to fathom its meaning.

				MELANIE
			(whispering)
		Mitch?

	MED. SHOT - MELANIE

	as she turns toward him.

				MELANIE
			(still whispering)
		Mitch?

	CLOSE SHOT - MITCH

	asleep.

	CLOSE SHOT - MELANIE

	seeing this, making her decision. The SOUND is still coming 
	from somewhere in the house. She decides to let Mitch sleep, 
	picks up a very long flashlight.

	FULL SHOT - MELANIE

	as she goes through the house, checking. She stops in the 
	entry hall, plays the flashlight over the furniture piled 
	against the door. Everything seems all right. She goes into 
	the kitchen, again, checks the door, and then plays the beam 
	on the boarded windows. Satisfied, she goes down the corridor 
	outside the bedroom. She opens the first bedroom door, enters, 
	goes to the windows, plays the beam on them.  Everything's 
	all right. She comes into the corridor again, opens the second 
	bedroom door, again checks windows, and leaves.

	FULL SHOT - MELANIE

	climbing the steps to the attic. She stops outside the first 
	door upstairs, opens it, goes into the room, plays the light 
	on the windows. Nothing. She comes out into the corridor, 
	goes to the second bedroom, opens the door, enters, walks to 
	the windows. They are boarded securely. She is starting back 
	toward the door when she stops.

	CLOSE SHOT - MELANIE

	looking.

	CLOSE SHOT - THE FLOOR

	a pile of chipped and broken plaster.

	MED. SHOT - MELANIE

	turning the flashlight up toward the ceiling.

	CLOSE SHOT - THE CEILING

	A huge hole in it, showing moonlit sky outside.

	CLOSE SHOT - MELANIE

	turning her eyes from the ceiling, determination on her face, 
	and suddenly, her eyes open wide.

	CLOSE SHOT - AN OWL

	sitting in the darkness, staring at her.

	CLOSE SHOT - MELANIE

	reacting.

	QUICK MED. SHOT - THE OWL

	wings spread in the beam of light.

	FULL SHOT - MELANIE

	backing to the door. The owl hits her, sends her staggering 
	back, causing the door to slam shut. She looks up at the

	FULL SHOT - THE CEILING

	a swarm of mixed birds coming through the hole and down toward 
	her.

	MED. SHOT - MELANIE

	in the room swinging the lighted flashlight as the birds 
	attack her.

	CLOSE SHOT - MELANIE

	in the room, as the owl hits her full in the face.

	MED. SHOT - MELANIE

	swinging the flashlight as the birds attack her.

				MITCH (O.S.)
		Melanie!

	FULL SHOT - MELANIE AND THE BIRDS

	grotesque and silent as she struggles with them. The room is 
	a crossing cacophony of mixed light beams and fluttering 
	wings.

				MITCH (O.S.)
		Melanie, open the door!

	He hurls himself against it. Inside the room, where Melanie 
	struggles, we HEAR his hammering on it. Melanie is overwhelmed 
	by the birds.

	She falls to the floor, the flashlight beside her. In the 
	spreading rays of the light, we see the frantic fluttering 
	of wings as the birds cover her. There is a stronger assault 
	on the door by Mitch outside.

				LYDIA (O.S.)
			(screaming)
		Mitch, get her out of there!

	MED. SHOT - THE ROOM

	Melanie, collapsed at the base of the door, is no longer in 
	view. Neither are the birds, whose fluttering shadows we see 
	on the door as Mitch again hits it from outside.

				MITCH (O.S.)
		Melanie!

	The door begins to open.

	FULL SHOT - MITCH

	as the door bursts inward and he stumbles into the room.  He 
	begins swinging at the birds immediately, reaching down for 
	Melanie, fighting off the attack at the same time. He begins 
	dragging her out of the room. Her clothes have almost been 
	shredded from her body, and her face is torn and bleeding.  
	We catch only quick glimpses of her near-nudity, as Mitch 
	pulls her into the corridor and then, holding the door shut 
	behind him with one hand, delivers swinging furious blows at 
	the few birds that have escaped into the corridor.

				MITCH
		Mother, get a rope!

				LYDIA
		Oh, my God, look at her!

				MITCH
			(shouting)
		Get a rope!

	She rushes off. He struggles grotesquely with the birds.  
	There is a wild fury in him, and a methodical dedication. He 
	will not allow them to defeat him. A large bird strikes his 
	hand, knocking the club from it.

	MED. SHOT - MITCH

	as the bird strikes at his face. He reaches out with his 
	hands, grasping the bird, letting go of the door knob.  
	Another bird flutters into the corridor.

	CLOSE SHOT - MITCH

	in anger and desperation as he throttles the bird with his 
	hands. He reaches behind him to grab the doorknob again, and 
	is immediately attacked by the other bird.

				MITCH
			(yelling)
		Mother! Hurry!

	TWO SHOT - LYDIA AND MITCH

	as she runs up the steps and into the corridor, carrying a 
	heavy piece of rope. Mitch grabs the bird and hurls it angrily 
	to the floor. Lydia is staring down at Melanie in terror and 
	compassion. He takes the rope from her, loops it over the 
	doorknob, pulls it taut across the hallway, and ties it to 
	the bannister, sealing the door. He turns immediately to 
	Melanie, picks her up and carries her to the steps, Lydia 
	following. As they go downstairs:

				MITCH
		Cathy! Get a blanket and some 
		bandages!

				CATHY
			(at the foot of the 
			stars, on the verge 
			of tears)
		Is she all right?

	CLOSE SHOT - MELANIE

	cradled against Mitch's shoulder, her face bleeding profusely.

				MELANIE
		I'm... I'm....

	FULL SHOT - MITCH

	as he carries her into the living room, but her down on the 
	couch.

				MITCH
		Just lie there and keep still.

	Cathy rushes to them with a roll of bandages and a blanket.  
	By the light of the lantern, Mitch drapes the blanket over 
	Melanie and then begins unrolling the bandage. But his hands 
	are trembling, and he drops it.

				LYDIA
		Let me do that, Mitch.

	She picks up the bandage.

				MITCH
		I can handle it.

				LYDIA
		I know you can.
			(her eyes meet his)
		But I'd like to.

	He nods. Silently, she begins working on Melanie.

				MELANIE
			(weakly)
		Please don't mess me up with bandages, 
		Mrs. Brenner.

				LYDIA
		Shhhh. Shhhh.

				MELANIE
		Please.

	But she begins cleaning the wounds, taping bandages over the 
	cuts. The house is still. She works silently and quickly.

				LYDIA
			(as she works)
		I'm not very good at this, Mitch.

				MITCH
		You're doing fine.

				LYDIA
			(Apologizing)
		I mean. I want to...

	Pause.

				CATHY
		Listen!

	CLOSE SHOT - LYDIA

	raising her eyes. The room is silent. There is nothing to 
	hear.

				LYDIA
		They're gone. God have mercy, they're 
		gone.

	FULL SHOT - MITCH

	as he goes to the front door, and cautiously moves away the 
	table and chair. He opens the door a crack.

	FULL SHOT - THE YARD

	through the crack. Daylight is almost here. There are no 
	birds visible.

	FULL SHOT - THE DOOR

	from outside as Mitch opens it wider. The door is scarred 
	and splintered. As he opens the door, one or two dead birds 
	spill into the room. He steps out into the yard. Lydia is 
	directly behind him.

	FULL SHOT - THE HOUSE

	a shambles, all the windows broken.

	TWO SHOT - LYDIA AND MITCH

				MITCH
		They're gone. The same pattern.

				LYDIA
		But they'll be back.

				MITCH
		We won't be here.

				LYDIA
		Where can we go, Mitch? There's no 
		place to go.

				MITCH
		I want to try for San Francisco.  
		There are buildings there. Steel and 
		concrete!

				LYDIA
			(shaking her head)
		We'd never make it. They're probably 
		all over the road.

				MITCH
		We have to try it.
			(a long silence)
		We can't stay here.
			(silence)
		Melanie needs help.
			(silence)
		Mother, the house won't take another 
		attack.

				LYDIA
		If...
			(pause)
		If... when we get to San Francisco...
			(pause)
		If they're already there?

				MITCH
		They won't be.

				LYDIA
		If they are?

				MITCH
		We'll worry about that when we get 
		there.

				LYDIA
		I'm frightened, terribly frightened.  
		I... I don't know what's out there, 
		Mitch.

				MITCH
		What do we have to know, Mother?  
		We're all together, we all love each 
		other, we all need each other. What 
		else is there? Mother, I want us to 
		stay alive!

				LYDIA
			(nodding; then after 
			a pause)
		I started to say... inside...

				MITCH
		You don't have to.

	He holds out his hand to her.

				MITCH
		I think we'd better get started.

							  DISSOLVE

	FULL SHOT - THE BRENNER YARD

	It is covered with the eerie half-light that comes just before 
	dawn, a light that persists throughout all of the following 
	until the penultimate shot in the picture. The silence is 
	deafening. There is not a bird in sight. The door to Melanie's 
	convertible are open as she and Mitch come out of the house 
	together and he helps her to the car. He puts her in the 
	back seat, tucks the blanket around her. In the background 
	is the pickup truck, too small to hold all of them. Lydia 
	comes to the door and quickly crosses the yard, not looking 
	down at the dead birds. Cathy appears in the doorway to the 
	house.

	CLOSE SHOT - CATHY

	She is carrying the cage of lovebirds. She hesitates just 
	outside the doorway. She looks at Mitch.

	CLOSE SHOT - MITCH

	looking back at her.

	FULL SHOT - CATHY, MITCH, AND LYDIA

	Across the expanse of the desolated yard.

				CATHY
		May I take them, Mitch?

	He does not answer. She continues looking at him.

				CATHY
		They haven't harmed anyone.

				LYDIA
		Take them.

				MITCH
			(with a slow nod)
		We'll put them in the trunk, Cathy.

	He takes the birds from her and goes to the back of the car.  
	The CAMERA STAYS on Cathy who gets into the car on the front 
	seat. Mitch comes around the other side of the car, stops, 
	and looks toward the trees.

	MED. SHOT - THE TREES

	covered with waiting birds.

	MED. SHOT - MITCH

	getting into car.

				MITCH
		Be careful with that door.

	Cathy closes the door gently, and almost soundlessly. Mitch 
	does the same with his door.

				MELANIE
			(weakly)
		Mitch, if they hear the car 
		starting... if they see movement...

				MITCH
		We'll take it slow until we get to 
		the main road.
			(pause)
		Are you ready?

	CLOSE SHOT - MITCH'S HAND

	turning the key. The motor springs to life.

	FULL SHOT - INT. THE CAR

	anticipation on all the faces.

				MITCH
		All right.
			(he takes a deep breath)
		Here we go.

	FULL SHOT - THE CAR

	from the outside, as it creeps out of the yard. The bay is 
	still, the road is still, the car makes barely a sound as it 
	passes the gate and starts down the road.

	MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD

	as they begin driving slowly. The wires are down. A small 
	fire is burning in the brush, where the wires made contact.  
	The car continues to move. It turns the first bend in the 
	road.

	CLOSE SHOT - MELANIE - LOOKING THROUGH THE WINDOW

	She gasps quickly.

	MED. SHOT - A GROUP OF HERONS - AT WATER'S EDGE

	standing, waiting silently.

	FULL SHOT - THE CAR - INTERIOR

	as the tension begins to starts.

				MITCH
		Shhh.  Shhhh.

	MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD

	as they approach the derelict barge. It is covered with 
	waiting seagulls.

	CLOSE SHOT - LYDIA

	seeing them. Her lip begins to tremble.

	CLOSE SHOT - MITCH

	turning toward the side of the road ahead.

	FULL SHOT - AN OVERTURNED SCHOOL BUS - MITCH'S P.O.V.

	covered with waiting birds.

				CATHY
			(whispering)
		Mitch, let's turn back.

				MITCH
		Shhh. Shhhhh.

	MED. SHOT - A ROADSIDE HOUSE

	as the car passes. A barricade has been set up on the front 
	porch, and a man is leaning over it, dead, a shotgun in his 
	hands. The porch is covered with waiting birds. At the boarded 
	window, we see a woman and child peering from a gap.

	CLOSE SHOT - CATHY

	reacting.

	FULL SHOT - THE CAR - BIRD'S P.O.V.

	as it threads its way slowly and cautiously along the winding 
	road to town. The birds are sitting on some of the still-
	standing wires, watching, waiting.

	FULL SHOT - THE TOWN APPROACH - THROUGH THE WINDSHIELD as 
	the car turns a bend in the road. There are thousands of 
	birds ahead, on every gutted and smoldering rooftop, on every 
	pole, on every fence.

				LYDIA
		Mitch!

	MED. SHOT - MITCH

	as he stops the car and looks ahead.

	FULL SHOT - THE CAR

	in the middle of the road, stopped. Ahead are the birds.

	CLOSE SHOT - MELANIE

	frightened, try not to reveal her fear.

				MELANIE
		Can we turn back?

	CLOSE SHOT - MITCH

				MITCH
		I... I don't think so. If we get 
		through town, I think we'll be all 
		right.

	FULL SHOT - INT. THE CAR

	There is a long silence. It is Melanie who has the strongest 
	reason for fearing the birds. It is Melanie, her fear growing, 
	who makes the decision.

				MELANIE
		Then go ahead, Mitch.

	FULL SHOT - EXT. THE CAR

	as it begins moving forward again at an excruciatingly slow 
	rate of speed, into the town and the waiting birds.

	CLOSE SHOT - LYDIA

	as she turns to look out the window on her side.

	CLOSE SHOT - A LINE OF BIRDS

	as the car moves past them slowly.

	CLOSE SHOT - LYDIA

	closing her eyes.

	FULL SHOT - BRINKMEYER'S GENERAL STORE

	through the windshield. The roof and sills are covered with 
	birds. The window is smashed in, canned goods are strewn all 
	over the sidewalk, bolts of cloth run in a riot from the 
	open door and across the road, dead people are lying in the 
	gutter. But in the hotel, we see some faces behind broken 
	windows.

	TWO SHOT - CATHY, MITCH

	The tension on their faces,

	MED. SHOT - THE STORES OPPOSITE THE TIDES

	as the car approaches them. The windows are all broken, and 
	merchandise is lying on the sidewalk. Birds are everywhere, 
	waiting.

	CLOSE SHOT - A DEAD MAN

	lying on the sidewalk, clutching a television set in his 
	arms.

	CLOSE SHOT - MITCH

	strained, looking at the road ahead.

	LONG SHOT - THE ROAD AHEAD

	a clear sky, a bird-free stretch,

	CLOSE SHOT - MITCH

				MITCH
			(almost as a prayer)
		Here we go.
			(he rams down on the 
			accelerator)

	FULL SHOT - THE CAR - EXTERIOR

	as Mitch rams the accelerator to the floor and it zooms ahead 
	in a burst of speed.

	FULL SHOT - THOUSANDS OF BIRDS

	taking wing.

	MED. SHOT - MORE BIRDS

	taking wing.

	CLOSE SHOT - MELANIE

	screaming.

				MELANIE
		Mitch!

	CLOSE SHOT - MITCH

	wrenching at the wheel as the car turns a bend.

	FULL SHOT - THE ROAD AHEAD

	through the windshield, as a flock of birds take wing 
	immediately ahead.

	CLOSE SHOT - THE WINDSHIELD

	from the inside, as birds flutter against it.

	CLOSE SHOT - THE ROOF OF THE CAR

	from the inside, as a beak slashes it, letting in a thin 
	line of light.

	CLOSE SHOT - MITCH

	wrenching at the wheel again, another bend.

	HELICOPTER SHOT - THE CAR

	navigating the sharp bends in the road as birds streak at it 
	in straight lines.

	TWO SHOT - LYDIA AND MELANIE

	in the back seat as several slashes appear in the roof over 
	their heads, letting in more light.

	CLOSE SHOT - THE ROOF

	More slashes, more light in scattered beams.

	CLOSE SHOT - MELANIE

	her fear growing as the scattered light beams bring back the 
	memory of the attic room and her flashlight battle with the 
	owl.

	CLOSE SHOT - THE ROOF

	more slashes, building, the beak thrusts combining with the 
	incoming beams of light in a weirdly horrifying way.

	CLOSE SHOT - LYDIA

				LYDIA
			(almost a prayer)
		Dear God... dear God... please, 
		please, what have we done? Please.
			(and then in anger at 
			the roof and the 
			birds)
		Can't they leave us alone?
			(shrieking it)
		LEAVE US ALONE!

	MED. SHOT - THE CAR INTERIOR all the passengers, as the roof 
	suddenly rips back.

	FULL SHOT - BIRDS

	from inside the car, hovering over it the moment the roof 
	tears back.

	CLOSE SHOT - MELANIE

	This is too much for her. She screams at sight of the birds, 
	and then turns her face into Lydia's shoulder.

	TWO SHOT - LYDIA AND MELANIE

	as Lydia recognizes Melanie's need. She puts her arm around 
	Melanie's shoulder and gently, soothingly, holds her close.

	FULL SHOT - THE CAR

	racing along as the birds hover over it.

	CLOSE SHOT - MITCH

	his face screwed in anguish, tears rolling down his cheeks 
	as he grips the wheel and hits the gas pedal.

	FULL SHOT - THE OPEN CAR

	streaming canvas ribbons behind it. It turns another bend in 
	the road.

	FULL SHOT - THE ROAD AHEAD - (THROUGH THE WINDSHIELD)

	It is arrow-straight, no curves.

	FULL SHOT - THE CAR

	in a burst of speed as it hits the straightaway. It begins 
	to outdistance the birds. The gap widens. A flock of birds 
	attacks it from the side of the road, but it speeds into 
	them and through them. The gap grows wider and wider. They 
	are well ahead of the birds now.

	CLOSE SHOT - LYDIA

				LYDIA
		We're losing them.

	CLOSE SHOT - MITCH

	only a nod, his face streaming tears.

	LONG SHOT - THE CAR (BIRDS' P.O.V.)

	as they fall way behind now, the car moving swiftly into the 
	distance.

	TWO SHOT - LYDIA AND MELANIE

	on the back seat. Melanie begins sobbing in a sudden release 
	of tension. Lydia, in compassion, and tenderly, cradles 
	Melanie's head on her shoulder. Melanie, her eyes glistening, 
	looks ahead through the windshield.

	FULL SHOT - THE CAR INTERIOR

	all their faces visible.

				CATHY
		Mitch?  Do... do you think they'll 
		be all right? In the trunk? Can they 
		breath?

				MITCH
			(with the faintest 
			smile)
		I think they'll be all right, honey.

	There is hope on their faces as the car streaks into the 
	wind. Not a wild exuberance, but a relaxation of tension.  
	They stare ahead through the windshield, and then they squint 
	their eyes against the sudden sunrise ahead, and Mitch reaches 
	up to turn down the sun visor.

				MITCH
		It looks... it looks clear up ahead.

	FULL SHOT - THE CAR

	moving AWAY FROM THE CAMERA FAST into magnificent sunrise 
	over the crest of the hills. Further and further into the 
	distance it goes.

							 FADE OUT:

					 THE END