FULL SHOT - THE LIVING ROOM
A kerosene lamp is burning. Melanie is awake, watching the
fire. Lydia has fallen into a semi-recumbent position asleep
on the couch. Cathy is curled up in one of the easy chairs.
Mitch is asleep by the fire. The fire is burning brightly
and steadily. The house is almost still. There is no longer
the sound of the clawing and pecking, but there is another
SOUND now: the sound of SOMETHING FALLING, or dropping in a
steady dribbling, difficult to place.
CLOSE SHOT - MELANIE
listening to the curious sound, trying to fathom its meaning.
MELANIE
(whispering)
Mitch?
MED. SHOT - MELANIE
as she turns toward him.
MELANIE
(still whispering)
Mitch?
CLOSE SHOT - MITCH
asleep.
CLOSE SHOT - MELANIE
seeing this, making her decision. The SOUND is still coming
from somewhere in the house. She decides to let Mitch sleep,
picks up a very long flashlight.
FULL SHOT - MELANIE
as she goes through the house, checking. She stops in the
entry hall, plays the flashlight over the furniture piled
against the door. Everything seems all right. She goes into
the kitchen, again, checks the door, and then plays the beam
on the boarded windows. Satisfied, she goes down the corridor
outside the bedroom. She opens the first bedroom door, enters,
goes to the windows, plays the beam on them. Everything's
all right. She comes into the corridor again, opens the second
bedroom door, again checks windows, and leaves.
FULL SHOT - MELANIE
climbing the steps to the attic. She stops outside the first
door upstairs, opens it, goes into the room, plays the light
on the windows. Nothing. She comes out into the corridor,
goes to the second bedroom, opens the door, enters, walks to
the windows. They are boarded securely. She is starting back
toward the door when she stops.
CLOSE SHOT - MELANIE
looking.
CLOSE SHOT - THE FLOOR
a pile of chipped and broken plaster.
MED. SHOT - MELANIE
turning the flashlight up toward the ceiling.
CLOSE SHOT - THE CEILING
A huge hole in it, showing moonlit sky outside.
CLOSE SHOT - MELANIE
turning her eyes from the ceiling, determination on her face,
and suddenly, her eyes open wide.
CLOSE SHOT - AN OWL
sitting in the darkness, staring at her.
CLOSE SHOT - MELANIE
reacting.
QUICK MED. SHOT - THE OWL
wings spread in the beam of light.
FULL SHOT - MELANIE
backing to the door. The owl hits her, sends her staggering
back, causing the door to slam shut. She looks up at the
FULL SHOT - THE CEILING
a swarm of mixed birds coming through the hole and down toward
her.
MED. SHOT - MELANIE
in the room swinging the lighted flashlight as the birds
attack her.
CLOSE SHOT - MELANIE
in the room, as the owl hits her full in the face.
MED. SHOT - MELANIE
swinging the flashlight as the birds attack her.
MITCH (O.S.)
Melanie!
FULL SHOT - MELANIE AND THE BIRDS
grotesque and silent as she struggles with them. The room is
a crossing cacophony of mixed light beams and fluttering
wings.
MITCH (O.S.)
Melanie, open the door!
He hurls himself against it. Inside the room, where Melanie
struggles, we HEAR his hammering on it. Melanie is overwhelmed
by the birds.
She falls to the floor, the flashlight beside her. In the
spreading rays of the light, we see the frantic fluttering
of wings as the birds cover her. There is a stronger assault
on the door by Mitch outside.
LYDIA (O.S.)
(screaming)
Mitch, get her out of there!
MED. SHOT - THE ROOM
Melanie, collapsed at the base of the door, is no longer in
view. Neither are the birds, whose fluttering shadows we see
on the door as Mitch again hits it from outside.
MITCH (O.S.)
Melanie!
The door begins to open.
FULL SHOT - MITCH
as the door bursts inward and he stumbles into the room. He
begins swinging at the birds immediately, reaching down for
Melanie, fighting off the attack at the same time. He begins
dragging her out of the room. Her clothes have almost been
shredded from her body, and her face is torn and bleeding.
We catch only quick glimpses of her near-nudity, as Mitch
pulls her into the corridor and then, holding the door shut
behind him with one hand, delivers swinging furious blows at
the few birds that have escaped into the corridor.
MITCH
Mother, get a rope!
LYDIA
Oh, my God, look at her!
MITCH
(shouting)
Get a rope!
She rushes off. He struggles grotesquely with the birds.
There is a wild fury in him, and a methodical dedication. He
will not allow them to defeat him. A large bird strikes his
hand, knocking the club from it.
MED. SHOT - MITCH
as the bird strikes at his face. He reaches out with his
hands, grasping the bird, letting go of the door knob.
Another bird flutters into the corridor.
CLOSE SHOT - MITCH
in anger and desperation as he throttles the bird with his
hands. He reaches behind him to grab the doorknob again, and
is immediately attacked by the other bird.
MITCH
(yelling)
Mother! Hurry!
TWO SHOT - LYDIA AND MITCH
as she runs up the steps and into the corridor, carrying a
heavy piece of rope. Mitch grabs the bird and hurls it angrily
to the floor. Lydia is staring down at Melanie in terror and
compassion. He takes the rope from her, loops it over the
doorknob, pulls it taut across the hallway, and ties it to
the bannister, sealing the door. He turns immediately to
Melanie, picks her up and carries her to the steps, Lydia
following. As they go downstairs:
MITCH
Cathy! Get a blanket and some
bandages!
CATHY
(at the foot of the
stars, on the verge
of tears)
Is she all right?
CLOSE SHOT - MELANIE
cradled against Mitch's shoulder, her face bleeding profusely.
MELANIE
I'm... I'm....
FULL SHOT - MITCH
as he carries her into the living room, but her down on the
couch.
MITCH
Just lie there and keep still.
Cathy rushes to them with a roll of bandages and a blanket.
By the light of the lantern, Mitch drapes the blanket over
Melanie and then begins unrolling the bandage. But his hands
are trembling, and he drops it.
LYDIA
Let me do that, Mitch.
She picks up the bandage.
MITCH
I can handle it.
LYDIA
I know you can.
(her eyes meet his)
But I'd like to.
He nods. Silently, she begins working on Melanie.
MELANIE
(weakly)
Please don't mess me up with bandages,
Mrs. Brenner.
LYDIA
Shhhh. Shhhh.
MELANIE
Please.
But she begins cleaning the wounds, taping bandages over the
cuts. The house is still. She works silently and quickly.
LYDIA
(as she works)
I'm not very good at this, Mitch.
MITCH
You're doing fine.
LYDIA
(Apologizing)
I mean. I want to...
Pause.
CATHY
Listen!
CLOSE SHOT - LYDIA
raising her eyes. The room is silent. There is nothing to
hear.
LYDIA
They're gone. God have mercy, they're
gone.
FULL SHOT - MITCH
as he goes to the front door, and cautiously moves away the
table and chair. He opens the door a crack.
FULL SHOT - THE YARD
through the crack. Daylight is almost here. There are no
birds visible.
FULL SHOT - THE DOOR
from outside as Mitch opens it wider. The door is scarred
and splintered. As he opens the door, one or two dead birds
spill into the room. He steps out into the yard. Lydia is
directly behind him.
FULL SHOT - THE HOUSE
a shambles, all the windows broken.
TWO SHOT - LYDIA AND MITCH
MITCH
They're gone. The same pattern.
LYDIA
But they'll be back.
MITCH
We won't be here.
LYDIA
Where can we go, Mitch? There's no
place to go.
MITCH
I want to try for San Francisco.
There are buildings there. Steel and
concrete!
LYDIA
(shaking her head)
We'd never make it. They're probably
all over the road.
MITCH
We have to try it.
(a long silence)
We can't stay here.
(silence)
Melanie needs help.
(silence)
Mother, the house won't take another
attack.
LYDIA
If...
(pause)
If... when we get to San Francisco...
(pause)
If they're already there?
MITCH
They won't be.
LYDIA
If they are?
MITCH
We'll worry about that when we get
there.
LYDIA
I'm frightened, terribly frightened.
I... I don't know what's out there,
Mitch.
MITCH
What do we have to know, Mother?
We're all together, we all love each
other, we all need each other. What
else is there? Mother, I want us to
stay alive!
LYDIA
(nodding; then after
a pause)
I started to say... inside...
MITCH
You don't have to.
He holds out his hand to her.
MITCH
I think we'd better get started.
DISSOLVE
FULL SHOT - THE BRENNER YARD
It is covered with the eerie half-light that comes just before
dawn, a light that persists throughout all of the following
until the penultimate shot in the picture. The silence is
deafening. There is not a bird in sight. The door to Melanie's
convertible are open as she and Mitch come out of the house
together and he helps her to the car. He puts her in the
back seat, tucks the blanket around her. In the background
is the pickup truck, too small to hold all of them. Lydia
comes to the door and quickly crosses the yard, not looking
down at the dead birds. Cathy appears in the doorway to the
house.
CLOSE SHOT - CATHY
She is carrying the cage of lovebirds. She hesitates just
outside the doorway. She looks at Mitch.
CLOSE SHOT - MITCH
looking back at her.
FULL SHOT - CATHY, MITCH, AND LYDIA
Across the expanse of the desolated yard.
CATHY
May I take them, Mitch?
He does not answer. She continues looking at him.
CATHY
They haven't harmed anyone.
LYDIA
Take them.
MITCH
(with a slow nod)
We'll put them in the trunk, Cathy.
He takes the birds from her and goes to the back of the car.
The CAMERA STAYS on Cathy who gets into the car on the front
seat. Mitch comes around the other side of the car, stops,
and looks toward the trees.
MED. SHOT - THE TREES
covered with waiting birds.
MED. SHOT - MITCH
getting into car.
MITCH
Be careful with that door.
Cathy closes the door gently, and almost soundlessly. Mitch
does the same with his door.
MELANIE
(weakly)
Mitch, if they hear the car
starting... if they see movement...
MITCH
We'll take it slow until we get to
the main road.
(pause)
Are you ready?
CLOSE SHOT - MITCH'S HAND
turning the key. The motor springs to life.
FULL SHOT - INT. THE CAR
anticipation on all the faces.
MITCH
All right.
(he takes a deep breath)
Here we go.
FULL SHOT - THE CAR
from the outside, as it creeps out of the yard. The bay is
still, the road is still, the car makes barely a sound as it
passes the gate and starts down the road.
MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD
as they begin driving slowly. The wires are down. A small
fire is burning in the brush, where the wires made contact.
The car continues to move. It turns the first bend in the
road.
CLOSE SHOT - MELANIE - LOOKING THROUGH THE WINDOW
She gasps quickly.
MED. SHOT - A GROUP OF HERONS - AT WATER'S EDGE
standing, waiting silently.
FULL SHOT - THE CAR - INTERIOR
as the tension begins to starts.
MITCH
Shhh. Shhhh.
MED. SHOT - THE ROAD AHEAD - THROUGH THE WINDSHIELD
as they approach the derelict barge. It is covered with
waiting seagulls.
CLOSE SHOT - LYDIA
seeing them. Her lip begins to tremble.
CLOSE SHOT - MITCH
turning toward the side of the road ahead.
FULL SHOT - AN OVERTURNED SCHOOL BUS - MITCH'S P.O.V.
covered with waiting birds.
CATHY
(whispering)
Mitch, let's turn back.
MITCH
Shhh. Shhhhh.
MED. SHOT - A ROADSIDE HOUSE
as the car passes. A barricade has been set up on the front
porch, and a man is leaning over it, dead, a shotgun in his
hands. The porch is covered with waiting birds. At the boarded
window, we see a woman and child peering from a gap.
CLOSE SHOT - CATHY
reacting.
FULL SHOT - THE CAR - BIRD'S P.O.V.
as it threads its way slowly and cautiously along the winding
road to town. The birds are sitting on some of the still-
standing wires, watching, waiting.
FULL SHOT - THE TOWN APPROACH - THROUGH THE WINDSHIELD as
the car turns a bend in the road. There are thousands of
birds ahead, on every gutted and smoldering rooftop, on every
pole, on every fence.
LYDIA
Mitch!
MED. SHOT - MITCH
as he stops the car and looks ahead.
FULL SHOT - THE CAR
in the middle of the road, stopped. Ahead are the birds.
CLOSE SHOT - MELANIE
frightened, try not to reveal her fear.
MELANIE
Can we turn back?
CLOSE SHOT - MITCH
MITCH
I... I don't think so. If we get
through town, I think we'll be all
right.
FULL SHOT - INT. THE CAR
There is a long silence. It is Melanie who has the strongest
reason for fearing the birds. It is Melanie, her fear growing,
who makes the decision.
MELANIE
Then go ahead, Mitch.
FULL SHOT - EXT. THE CAR
as it begins moving forward again at an excruciatingly slow
rate of speed, into the town and the waiting birds.
CLOSE SHOT - LYDIA
as she turns to look out the window on her side.
CLOSE SHOT - A LINE OF BIRDS
as the car moves past them slowly.
CLOSE SHOT - LYDIA
closing her eyes.
FULL SHOT - BRINKMEYER'S GENERAL STORE
through the windshield. The roof and sills are covered with
birds. The window is smashed in, canned goods are strewn all
over the sidewalk, bolts of cloth run in a riot from the
open door and across the road, dead people are lying in the
gutter. But in the hotel, we see some faces behind broken
windows.
TWO SHOT - CATHY, MITCH
The tension on their faces,
MED. SHOT - THE STORES OPPOSITE THE TIDES
as the car approaches them. The windows are all broken, and
merchandise is lying on the sidewalk. Birds are everywhere,
waiting.
CLOSE SHOT - A DEAD MAN
lying on the sidewalk, clutching a television set in his
arms.
CLOSE SHOT - MITCH
strained, looking at the road ahead.
LONG SHOT - THE ROAD AHEAD
a clear sky, a bird-free stretch,
CLOSE SHOT - MITCH
MITCH
(almost as a prayer)
Here we go.
(he rams down on the
accelerator)
FULL SHOT - THE CAR - EXTERIOR
as Mitch rams the accelerator to the floor and it zooms ahead
in a burst of speed.
FULL SHOT - THOUSANDS OF BIRDS
taking wing.
MED. SHOT - MORE BIRDS
taking wing.
CLOSE SHOT - MELANIE
screaming.
MELANIE
Mitch!
CLOSE SHOT - MITCH
wrenching at the wheel as the car turns a bend.
FULL SHOT - THE ROAD AHEAD
through the windshield, as a flock of birds take wing
immediately ahead.
CLOSE SHOT - THE WINDSHIELD
from the inside, as birds flutter against it.
CLOSE SHOT - THE ROOF OF THE CAR
from the inside, as a beak slashes it, letting in a thin
line of light.
CLOSE SHOT - MITCH
wrenching at the wheel again, another bend.
HELICOPTER SHOT - THE CAR
navigating the sharp bends in the road as birds streak at it
in straight lines.
TWO SHOT - LYDIA AND MELANIE
in the back seat as several slashes appear in the roof over
their heads, letting in more light.
CLOSE SHOT - THE ROOF
More slashes, more light in scattered beams.
CLOSE SHOT - MELANIE
her fear growing as the scattered light beams bring back the
memory of the attic room and her flashlight battle with the
owl.
CLOSE SHOT - THE ROOF
more slashes, building, the beak thrusts combining with the
incoming beams of light in a weirdly horrifying way.
CLOSE SHOT - LYDIA
LYDIA
(almost a prayer)
Dear God... dear God... please,
please, what have we done? Please.
(and then in anger at
the roof and the birds)
Can't they leave us alone?
(shrieking it)
LEAVE US ALONE!
MED. SHOT - THE CAR INTERIOR all the passengers, as the roof
suddenly rips back.
FULL SHOT - BIRDS
from inside the car, hovering over it the moment the roof
tears back.
CLOSE SHOT - MELANIE
This is too much for her. She screams at sight of the birds,
and then turns her face into Lydia's shoulder.
TWO SHOT - LYDIA AND MELANIE
as Lydia recognizes Melanie's need. She puts her arm around
Melanie's shoulder and gently, soothingly, holds her close.
FULL SHOT - THE CAR
racing along as the birds hover over it.
CLOSE SHOT - MITCH
his face screwed in anguish, tears rolling down his cheeks
as he grips the wheel and hits the gas pedal.
FULL SHOT - THE OPEN CAR
streaming canvas ribbons behind it. It turns another bend in
the road.
FULL SHOT - THE ROAD AHEAD - (THROUGH THE WINDSHIELD)
It is arrow-straight, no curves.
FULL SHOT - THE CAR
in a burst of speed as it hits the straightaway. It begins
to outdistance the birds. The gap widens. A flock of birds
attacks it from the side of the road, but it speeds into
them and through them. The gap grows wider and wider. They
are well ahead of the birds now.
CLOSE SHOT - LYDIA
LYDIA
We're losing them.
CLOSE SHOT - MITCH
only a nod, his face streaming tears.
LONG SHOT - THE CAR (BIRDS' P.O.V.)
as they fall way behind now, the car moving swiftly into the
distance.
TWO SHOT - LYDIA AND MELANIE
on the back seat. Melanie begins sobbing in a sudden release
of tension. Lydia, in compassion, and tenderly, cradles
Melanie's head on her shoulder. Melanie, her eyes glistening,
looks ahead through the windshield.
FULL SHOT - THE CAR INTERIOR
all their faces visible.
CATHY
Mitch? Do... do you think they'll
be all right? In the trunk? Can they
breath?
MITCH
(with the faintest
smile)
I think they'll be all right, honey.
There is hope on their faces as the car streaks into the
wind. Not a wild exuberance, but a relaxation of tension.
They stare ahead through the windshield, and then they squint
their eyes against the sudden sunrise ahead, and Mitch reaches
up to turn down the sun visor.
MITCH
It looks... it looks clear up ahead.
FULL SHOT - THE CAR
moving AWAY FROM THE CAMERA FAST into magnificent sunrise
over the crest of the hills. Further and further into the
distance it goes.
FADE OUT:
THE END
