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Scripts: The Birds (final draft, 2nd rev, 02/Mar/1962) - part 1

                              "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?