"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?