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Scripts: The Birds (final draft, 2nd rev, 02/Mar/1962) - part 4

 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