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.
