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
