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Scripts: The Birds (final draft, 2nd rev, 02/Mar/1962) - part 6

 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