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