"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?

               FADE IN:

               FULL SHOT - MELANIE'S SPORTS CAR

               pulling up in front of Mitch's building, the top down. She 
               glances up at the address, gets out of the car, comes around 
               to the other side, and opens the door.

               CLOSE SHOT - THE LOVEBIRDS

               in a cage as Melanie reaches for them.

               MED. SHOT - MELANIE

               turning from the car and going into the building. She pauses 
               in the lobby, studies the names alongside the bell buttons.

               CLOSE SHOT - HER GLOVED HAND

               running down the list of names slowly. It stops.

               INSERT - THE CARD

               her finger beside it.

               BRENNER, M. 3B

               CLOSE SHOT - HER GLOVED HAND the forefinger extended as she 
               runs it down over every bell button in one column, and then 
               does the same for the next column.

               MED. SHOT - MELANIE

               as she turns from the bells to the inner door of the lobby, 
               grabbing the knob. A BUZZ SOUNDS. She opens the door.

               REVERSE SHOT - MELANIE

               coming through the door and into the lobby. She walks swiftly 
               toward the elevator where a well-dressed man is standing, 
               waiting. Behind her, the inner door is BUZZING wildly with 
               answering BUZZES. Melanie and the man stand waiting for the 
               elevator, silently. Behind her, the BUZZING STOPS. The 
               elevator doors open. The man smiles pleasantly and allows 
               her to enter first. She does so with a small nod.  The 
               elevator doors close.

               TWO SHOT - MELANIE AND THE MAN - IN THE ELEVATOR

               The birds are CHIRPING wildly in their cage. The man and 
               Melanie stand silently side by side. The man's eyes wander 
               down to the bird-cage. Melanie's eyes move toward him.  Self-
               consciously, she stands with the cage of CHATTERING birds. 
               The man is dead-panned, unsmiling. The elevator stops. The 
               doors begin to open.

               FULL SHOT - MELANIE

               stepping out of the elevator as the doors open. The man is 
               right behind her. She begins looking for apartment 3B. The 
               man is walking down the corridor beside her. She stops in 
               front of the apartment, hesitates, hoping the man will turn 
               the corner in the corridor. Instead, he stops at the apartment 
               just opposite. He begins fumbling in his pocket for his key. 
               He looks at Melanie.

               CLOSE SHOT - MELANIE

               smiling at him feebly.

               FULL SHOT - THE CORRIDOR

               The man spread change and an assortment of junk on the palm 
               of his hand as he searches for his key. Impatiently, Melanie 
               watches him. Making a decision, she puts the birdcage down 
               before the door to apartment 3B, and then opens her purse.

               CLOSE SHOT - MELANIE'S GLOVED HAND

               reaching into the purse for a white envelope.

               INSERT - THE FACE OF THE ENVELOPE

               written there in Melanie's handwriting: MR. MITCHELL BRENNER.

               MED. SHOT - MELANIE

               as she props the envelope against the cage, and then hurriedly 
               goes down the hallway, intent on retreat.

                                     MAN'S VOICE
                         Miss...?  She stops, distressed.

               FULL SHOT - THE CORRIDOR

               the man at the one end, key in his hand; Melanie at the other 
               end, near the elevator.

                                     MAN
                         Is that for Mitch Brenner?

                                     MELANIE
                              (curtly)
                         Yes.

                                     MAN
                         He's not home.

                                     MELANIE
                         That's all right.

               She presses button for the elevator.

                                     MAN
                         He won't be back until Monday. I 
                         mean, if those birds are for him....

                                     MELANIE
                         Monday?

                                     MAN
                         Yes. I don't think you should leave 
                         them in the hall, do you?

                                     MELANIE
                              (trapped)
                         Well, I...

               The elevator doors open.

                                     MELANIE
                         Well, where did he go?

                                     MAN
                         Bodega Bay. He goes up there every 
                         weekend.

                                     MELANIE
                         Bodega Bay? Where's that?

                                     MAN
                         Up on the coast. About sixty miles 
                         north of here.

                                     MELANIE
                         Sixty...
                              (her face falls)
                         Oh.

                                     MAN
                         About an hour and a half on the 
                         freeway. Or two if you take the coast 
                         highway.

                                     MELANIE
                         Oh.

                                     MAN
                         I'd hold the birds for him, but I'm 
                         going away myself. Someone's got to 
                         feed them, I suppose.

                                     MELANIE
                              (in utter despair now)
                         Yes. Yes, someone's got to feed them.

                                     MAN
                              (apologetically)
                         I'm awfully sorry.

               He puts the key into his lock, opens the door, and goes 
               inside. The door closes. Melanie is alone in the hallway.

               CLOSE SHOT - MELANIE

               exasperated. She looks at the open elevator. She turns to 
               look at the birds.

               LONG SHOT - THE LOVEBIRDS

               in their cage outside the apartment door, CHATTERING.

               MED. SHOT - MELANIE

               surrendering with a gesture of resignation. She walks down 
               the hall, picks up envelope and puts it in her purse, picks 
               up the bird cage, carries it back to the elevator. The birds 
               are COOING and CHIRPING madly.

                                     MELANIE
                         Oh, shut up!

               And she steps into the elevator.

                                                                   DISSOLVE

               FULL SHOT - MELANIE'S OPEN CAR - (MATTE)

               on the coast highway. It is a spectacularly beautiful day, 
               with a cloudless blue sky. The montage of SHOTS that follow 
               should alternate between the winding, twisting road and the 
               ocean below, and CLOSEUPS of Melanie driving with the caged 
               birds on the seat beside her. The last shot should be a FULL 
               SHOT of the car rounding a particularly sharp curve.

               CLOSE SHOT - MELANIE

               She turns wheel forcefully.

               CLOSE SHOT - THE LOVEBIRDS

               in the cage as the car rounds the bend. They lean to one 
               side as the car turns, come up straight again as the car 
               rounds the curve.

               FULL SHOT - (MATTE)

               Car approaching Bodega Bay seen high up.

               CLOSE SHOT - MELANIE

               at the wheel, she glances out toward the bay.

               FULL SHOT - A CLUSTER OF BUILDINGS AT WATERFRONT

               ahead, through the windshield as the car approaches.

               CLOSE SHOT - MELANIE

               behind the wheel, leaning forward slightly for a look at the 
               town.

               LONG SHOT - DOCKS ON LEFT

               through the windshield as Melanie slows her speed.

               CLOSE SHOT - MELANIE

               behind wheel.

               LONG SHOT - STORES

               on right of the road as Melanie enters the town. SLOW PAN 
               matching car's cruise past BAKERY, SHOE REPAIR, CLEANERS, 
               RADIO AND TELEVISION.

               CLOSE SHOT - MELANIE

               behind wheel.

               LONG SHOT - THE TIDES

               past the gas station and beyond to the parking area and the 
               docks, continuing Melanie's slow observation of the place.

               CLOSE SHOT - MELANIE - (PROCESS)

               studying the town. The car turns into road by gas station.

               FULL SHOT - THE TOWN

               through the windshield. The car turns right. There is life 
               in the town now, fishermen crossing the road, women with 
               their hair in curlers, old ladies carrying shopping bags.  
               This is Saturday morning, and the town -- such as it is -- 
               is alive with its inhabitants. We see them from Melanie's

               P.O.V. AS SHE SCANS THE PLACE FOR ITS POST OFFICE. (THIS TO 
               BE TAKEN ON BACK LOT.)

               FULL SHOT - THE CAR

               pulling in, in front of the post office. Melanie opens the 
               door and steps out. She is smartly dressed in a traveling 
               suit and sweater. She looks up at the sign, and then walks 
               quickly toward the front door.

               MED. SHOT - MELANIE

               enters post office.

               CLOSE SHOT - POSTAL CLERK

               behind cage as Melanie approaches it. He is busy filling out 
               a form of some kind, affixing stamps to it, etc. He does not 
               look up as she approaches.

               CLOSE SHOT - MELANIE

               through the bars of the cage.

                                     MELANIE
                         Good morning.

               CLOSE SHOT - POSTAL CLERK

                                     CLERK
                              (without looking up)
                         Morning.

               TWO SHOT - MELANIE AND THE CLERK

                                     MELANIE
                         I wonder if you could help me.

                                     CLERK
                         Try my best.

                                     MELANIE
                         I'm looking for a man named Mitchell 
                         Brenner.

                                     CLERK
                         Yep.

               He is still busy with his form, still does not look up.

                                     MELANIE
                         Do you know him?

                                     CLERK
                         Yep.

                                     MELANIE
                         Where does he live?

                                     CLERK
                         Right here. Bodega Bay.

                                     MELANIE
                         Yes, but where?

                                     CLERK
                         Right across the bay there.

                                     MELANIE
                         Where?

               It seems as if the Clerk will not answer her. Suddenly, he 
               leaves the window.

               CLOSE SHOT - MELANIE

               through the bars, exasperated.

               REVERSE SHOT - FULL - MELANIE

               as she tries to peek through the bars to see where he's 
               vanished. A door to the left of the window opens, and the 
               Clerk steps out. He walks a little distance as Melanie watches 
               him, then stops, turns and looks at her surprised, as if 
               he'd expected her to be right behind him. He stands stock 
               still, looking at her, saying nothing. She understands then 
               that he wants her to follow him, and she catches up, neither 
               speaking. They go to the front door. He opens it, looks at 
               her, then looks out across the town and the bay. He extends 
               his arm and points.

                                     CLERK
                         See where I'm pointing?

                                     MELANIE
                         Yes?

               FULL SHOT - THE BAY - THEIR P.O.V. - (MATTE)

                                     CLERK (O.S.)
                         See them two big trees across there?

                                     MELANIE (O.S.)
                         Yes?

                                     CLERK (O.S.)
                         And the white house?

                                     MELANIE (O.S.)
                         That's where the Brenners live.

               TWO SHOT - MELANIE AND THE CLERK

                                     MELANIE
                         The Brenners? Mr. and Mrs. Brenner?

                                     CLERK
                         Nope, just Lydia and the two kids.

                                     MELANIE
                         The two kids?

                                     CLERK
                         Yep. Mitch and the little girl.

                                     MELANIE
                         I see. How do I get down there?

                                     CLERK
                         Follow the road straight through 
                         town 'til it curves off on the left.  
                         That'll take you right around the 
                         bay to their front door.

                                     MELANIE
                         The front door.
                              (pause)
                         Isn't there a back road I can take?

                                     CLERK
                         Nope. That's the road. Straight 
                         through town, stay on your left, 
                         right around the bay to the front 
                         door.

                                     MELANIE
                         You see, I wanted to surprise them.

                                     CLERK
                         Mmmm.

                                     MELANIE
                         I didn't want to come right down the 
                         road, where they could see me.

                                     CLERK
                         Mmmm.

                                     MELANIE
                         It's a surprise, you see.

                                     CLERK
                         Mmmmmm.
                              (long pause)
                         'Course, you could get yourself a 
                         boat, cut right across the bay with 
                         it. The Brenners got a little dock 
                         there you could tie up at. If that's 
                         what you wanted to do.

                                     MELANIE
                         Where would I get a boat?

                                     CLERK
                         Down at the dock by the Tides 
                         Restaurant. Ever handled an outboard 
                         boat?

                                     MELANIE
                              (looking at him)
                         Of course.

                                     CLERK
                              (looks back at her)
                         D'you want me to order one for you?

                                     MELANIE
                              (surprised)
                         Thank you.

                                     CLERK
                         What name?

                                     MELANIE
                         Daniels.

                                     CLERK
                         Okay.

               He nods briefly and goes inside. Melanie looks across the 
               bay.

               FULL SHOT - THE BAY - MELANIE'S P.O.V. - (MATTE)

               CLOSE SHOT - MELANIE

               smiling. She gets a new idea. She reaches into her purse for 
               the envelope. She looks at the envelope, then tears it up 
               and stuffs the torn envelope into her handbag. She turns 
               back toward the post office.

               INT. THE POST OFFICE - FULL SHOT

               as Melanie approaches the Clerk's window. He is still busy, 
               still does not look up.

                                     MELANIE
                         I wonder if you could tell me...

                                     CLERK
                         Yep?

                                     MELANIE
                         The little girl's name.

                                     CLERK
                         The little Brenner girl?

                                     MELANIE
                         Yes.

                                     CLERK
                         Alice, I think.
                              (he turns, shouts to 
                              someone in rear)
                         Harry, what's the little Brenner 
                         girl's name?

                                     HARRY'S VOICE
                              (shouting)
                         What?

                                     CLERK
                              (shouting)
                         The little Brenner girl.

                                     HARRY'S VOICE
                              (shouting)
                         Lois!

                                     CLERK
                              (shouting)
                         It's Alice, ain't it?

                                     HARRY'S VOICE
                              (shouting)
                         No, it's Lois!

                                     CLERK
                              (to Melanie)
                         It's Alice.

                                     MELANIE
                         Are you sure?

                                     CLERK
                         Well, I ain't positive, if that's 
                         what you mean.

                                     MELANIE
                         I need her exact name, you see.

                                     CLERK
                         That case, I tell you what you do.  
                         You go straight through town 'til 
                         you see a little hotel on your left 
                         there. Not the motel, that's the 
                         other end of town. This is the hotel. 
                         Now you take a right turn there, you 
                         got that?

                                     MELANIE
                         Yes?

                                     CLERK
                         Near the top of the hill, you'll see 
                         the school and right behind it, the 
                         church. You head for the school.  
                         Now just past the school, you'll see 
                         a little house with a red mail box.  
                         That's where Annie Hayworth lives, 
                         she's the school teacher. You ask 
                         her about the little Brenner girl.

                                     MELANIE
                         Thank you.

                                     CLERK
                         Yep.
                              (pause)
                         Could save yourself a lot of trouble. 
                         Her name's Alice for sure.

                                     MELANIE
                         Can I have the boat in about twenty 
                         minutes?

               The Clerk nods.

                                     MELANIE
                         How much for the phone calls?

                                     CLERK
                              (brushing this aside)
                         It's nothing.

               CLOSE SHOT - MELANIE

               grinning, as she makes for the door and EXITS.

               EXT. GENERAL STORE - MED. SHOT - MELANIE

               getting into the car and slamming the door.

                                                                   DISSOLVE

               LONG SHOT (MATTE) - MELANIE'S CAR turning in school road.

               FULL SHOT - MELANIE'S CAR

               passing the school and pulling up outside the teacher's house.

               CLOSE SHOT - THE RED MAIL BOX

               with the name "Hayworth" on it. PULL BACK to reveal:

               FULL SHOT - MELANIE

               passing the mail box and going up the walk to the front door.  
               The house is a two-story frame with steps leading to the 
               front door. There are white curtains in every window of the 
               house, and a sign in the window to the left of the doorway 
               advises, ROOM TO LET. Melanie rings the doorbell.

               CLOSE SHOT - MELANIE

               waiting. She RINGS the bell again:

                                     ANNIE'S VOICE
                              (shouting)
                         Yes? Who is it?

                                     MELANIE
                         Me!

                                     ANNIE'S VOICE
                         Who's me?

               FULL SHOT - MELANIE

               walking along the porch of the house. The walk in front of 
               the house is lined with beautifully planted and cared-for 
               flowers. ANNIE HAYWORTH comes round from the back of the 
               house as Melanie reaches the corner. She is a woman of thirty-
               two, tall, big-boned, with a strong beautiful face.  Her 
               hair is disarrayed at the moment, and she is dressed for the 
               garden, wearing slacks and a loose-fitting sweater, and earth-
               stained gloves. But there is something about her, a feeling 
               of expansive comfort, rather than sloppiness.

                                     MELANIE
                         Miss Hayworth?

                                     ANNIE
                         Yes?

                                     MELANIE
                         I'm Melanie Daniels. I'm sorry to 
                         bother you, but...

               CLOSE SHOT - ANNIE

               She is puzzled by Melanie who, exquisitely dressed and 
               groomed, seems singularly out of place in Bodega Bay. She 
               studies her openly.

                                     ANNIE
                         Yes?

               TWO SHOT - MELANIE AND ANNIE

                                     MELANIE
                         The man at the post office sent me.  
                         He said you'd know the name of the 
                         little Brenner girl.

                                     ANNIE
                         Cathy?

                                     MELANIE
                         The one who lives in the white house 
                         across the bay?

                                     ANNIE
                         That's the one. Cathy Brenner.

                                     MELANIE
                              (smiling)
                         They seemed sure it was either Alice 
                         or Lois.

                                     ANNIE
                         Which is why the mail in this town 
                         never gets delivered to the right 
                         place.
                              (She takes out package 
                              of cigarettes, offers 
                              one to Melanie)
                         Did you want to see Cathy about 
                         something?

               CLOSE SHOT - MELANIE

               taking cigarette, hesitating.

                                     MELANIE
                         Well... not exactly.

               CLOSE SHOT - ANNIE

               studying her, thinking she understands.

                                     ANNIE
                         Are you a friend of Mitch's?

                                     MELANIE
                         No, not really.

               TWO SHOT - MELANIE AND ANNIE

               There is an awkwardness here. Annie wants to know more. She 
               puffs on the cigarette, smiles, tries a friendly approach.

                                     ANNIE
                         I've been wanting a cigarette for 
                         the past twenty minutes, but I 
                         couldn't convince myself to stop.  
                         This 'tilling of the soil' can get a 
                         little compulsive, you know.

                                     MELANIE
                         It's a lovely garden.

                                     ANNIE
                         Thank you. It gives me something to 
                         do with my spare time.
                              (pause)
                         There's a lot of spare time in Bodega 
                         Bay.
                              (another pause)
                         Did you plan on staying long?

                                     MELANIE
                         No. Just a few hours.

                                     ANNIE
                         You're leaving after you see Cathy?

                                     MELANIE
                         Well... something like that.
                              (pause)
                         I'm sorry. I don't mean to sound so 
                         mysterious.

                                     ANNIE
                         Actually, it's none of my business.

               There is a pause. Melanie, by her silence, affirms that it 
               is none of Annie's business.

                                     ANNIE
                              (putting out cigarette)
                         I'd better get on my way. Thank you 
                         very much.

                                     ANNIE
                         Not at all.

               They begin walking toward the car.

                                     ANNIE
                              (still curious)
                         Did you drive up from San Francisco?

                                     MELANIE
                         Yes.

                                     ANNIE
                         It's a nice drive.
                              (pause)
                         Is that where you met Mitch?

                                     MELANIE
                              (hesitating, then)
                         Yes.

                                     ANNIE
                         I guess that's where everyone meets 
                         him.

               CLOSE SHOT - MELANIE

               as she gets in behind the wheel. Annie's remark is not lost 
               on her, and a quick look of sudden understanding crosses her 
               face.

                                     MELANIE
                         Now you sound a bit mysterious, Miss 
                         Hayworth.

               TWO SHOT - MELANIE AND ANNIE

               as Annie leans over the seat.

                                     ANNIE
                         Do I?
                              (she shakes her head, 
                              smiles wistfully)
                         No, I'm an open book, I'm afraid.
                              (pause)
                         Or maybe a closed one.
                              (she smiles again, 
                              sees the lovebirds)
                         Pretty. What are they?

                                     MELANIE
                         Lovebirds.

               Taking this as a further indication of Melanie's relationship 
               with Mitch:

                                     ANNIE
                         Mmm.
                              (pause)
                         Well, good luck, Miss Daniels.

                                     MELANIE
                         Thank you.

               She nods pleasantly, starts the car, pulls away.

               CLOSE SHOT - ANNIE

               watching the car, a look of sad resignation on her face.

                                                                   DISSOLVE

               MED. SHOT - MELANIE

               coming out of Brinkmeyer's General Store, carrying a small 
               paper bag, walking toward her car out front. The CAMERA 
               FOLLOWS her as she gets in. She opens her purse and reaches 
               in for the paper bag.

               CLOSE SHOT - HER HANDS

               She pulls out a birthday card from the paper bag.

               MED. SHOT - MELANIE

               reaching into her purse again for a fountain pen. She unscrews 
               the cap, braces the card on her closed purse.

               INSERT - THE CARD

               Happy Birthday, the usual rhyming sentiments. The pen writes: 
               To Cathy

                                                                   DISSOLVE

               FULL SHOT - MELANIE'S CAR

               crossing the highway down into the parking area behind the 
               Tides, close to the docks.

               HIGH SHOT

               She gets out of the car and walks onto one of the docks, the 
               bird cage in her hand. Melanie approaches a waiting fisherman. 
               She asks for her boat. The fisherman nods. He leads her to 
               the dock and the waiting boat.  She gets into the outboard 
               motorboat, the fisherman helping her. He hands down the 
               lovebirds in their cage.

               FULL SHOT - THE BOAT

               pulling away from the dock, heading across the bay.

               VERY LONG SHOT (MATTE) - THE BOAT

               and the wide expanse of the bay, as it heads on a direct 
               course for the house on the other side.

               VERY LONG SHOT (MATTE)

               Another spectacular SHOT of the small boat.

               FULL SHOT - THE BOAT

               coming head-on toward CAMERA, Melanie at the tiller. She 
               cuts the motor. The motor drifts to a stop. The bay is silent 
               except for the cry of the gulls.

               LONG SHOT - THE BRENNER HOUSE - MELANIE'S P.O.V.

               There is not a sign of activity as the boat drifts just a 
               little closer. As Melanie watches, the front door opens and 
               a woman comes out, walks to a red pickup truck, starts the 
               engine. A little girl comes out of the house, goes to the 
               truck, gets in. The woman shouts something to a man -- Mitch 
               Brenner, probably, though it is difficult to tell from this 
               distance -- and he comes over to the truck.

               The truck grinds into gear, goes around the turnabout, and 
               heads down the road away from the farm, a huge cloud of dust 
               behind it. The farm is still again. Mitch stands looking 
               after the truck for a moment, and then begins walking up 
               toward the barn in the distance.

               CLOSE SHOT

               watching, biting her lip.

               LONG SHOT - THE BRENNER HOUSE

               Mitch reaching the barn and entering. Silence.

               CLOSE SHOT - MELANIE

               watching, waiting.

               LONG SHOT - THE BRENNER HOUSE

               Not a sign of life.

               MED. SHOT - MELANIE

               picking up paddle from deck, beginning to paddle in toward 
               dock.

               FULL SHOT - THE BOAT

               edging in toward the dock. Closer, closer, Melanie puts down 
               the paddle. The boat drifts in.

               MED. SHOT - MELANIE

               leaping ashore, tying up the boat, reaching down for the 
               cage. She climbs onto the dock and approaches the CAMERA 
               until she is in WAIST SHOT. The CAMERA STARTS to RECEDE in 
               front of her as she walks forward.

               THE CAMERA MOVING TOWARD THE HOUSE AND BARN

               The barn door closed, still no sign of Mitch.

               WAIST SHOT - MELANIE

               Coming off the dock and onto the lawn, the CAMERA still 
               RETREATING in front of her. She makes her way carefully across 
               the lawn, glancing toward the barn, carrying the bird cage.  

               FULL SHOT - CAMERA GETTING NEAR THE HOUSE AND BARN

               WAIST SHOT - MELANIE

               crossing the lawn, the CAMERA RETREATING in front of her.

               FULL SHOT - CLOSER - CAMERA APPROACHING THE HOUSE AND BARN

               CLOSE SHOT - MELANIE - WALKING

               CAMERA RETREATING in front of her: Excitement and anticipation 
               on her face. She wets her lips. The CAMERA PANS WITH her as 
               she goes to front door and lets herself in.

               FULL SHOT - INT. THE BRENNER HOUSE ENTRY

               as the door opens. Melanie ENTERS quickly, and closes the 
               door behind her. She glances around for a moment, getting 
               her bearings. The house is silent.

               MED. SHOT - MELANIE

               entering the dining room. Hastily, she puts the cage on the 
               dinning room table, props the card up against it, then glances 
               through the lace curtains on the dinning room window.

               FULL SHOT - THE BARN - CLOSER - THROUGH THE CURTAINS

               as before.

               EXT. BRENNER HOUSE - WAIST SHOT - MELANIE - MOVING P.O.V.

               as the front door opens and Melanie EMERGES. CAMERA PANS AND 
               FOLLOWS her back down front walk. Melanie glances over her 
               shoulder toward the barn.

               EXT. BARN - MOVING P.O.V.

               Mitch has not emerged.

               MOVING P.O.V. - MELANIE

               CAMERA CONTINUES MOVING on Melanie's back toward the end of 
               the dock. Melanie again glances over her shoulder toward the 
               barn.

               MOVING P.O.V.

               further along the dock toward the barn. Still no Mitch.

               BACK TO MELANIE

               CAMERA CONTINUES on her back for a short distance and STOPS 
               as Melanie continues to the end of the dock and climbs into 
               the boat.

               MOVING P.O.V. - MELANIE

               CAMERA CONTINUES on her back for a short distance and STOPS 
               as Melanie continues to the end of the dock and climbs into 
               the boat.

               MOVING P.O.V. - MELANIE

               CAMERA FOLLOWS Melanie as she paddles away from the dock.

               CLOSE SHOT - MELANIE (PROCESS)

               as she looks toward the house and barn. She starts to duck 
               down.

               EXT. BARN - MELANIE'S P.O.V.

               as Mitch EMERGES from the barn and goes toward the house. He 
               goes INSIDE.

               CLOSE SHOT - MELANIE (PROCESS)

               peering over the stern of the boat.

               EXT. HOUSE - MELANIE'S P.O.V.

               Mitch dashes OUT of the front door and looks around.

               CLOSE SHOT - MELANIE

               as she watches Mitch.

               MELANIE'S P.O.V.

               as Mitch runs back INTO the house.

               CLOSE SHOT - MELANIE (PROCESS)

               peering over stern of the boat.

               MITCH - MELANIE'S P.O.V.

               as he EMERGES from the front door and raises binoculars.

               EXTREME CLOSE SHOT - MITCH

               as he looks towards Melanie's boat through the binoculars.  
               The Bay is reflected in the glass.

               CLOSE SHOT - MELANIE (THROUGH BINOCULARS)

               She is pulling at the cord which starts the motor. She sits 
               down and grabs the tiller. She looks back over her shoulder, 
               as the boat moves away.

               CLOSE SHOT - MITCH

               He is smiling with amused recognition; he lowers the 
               binoculars and dashes OUT OF FRAME.

               CLOSE SHOT - MELANIE (PROCESS)

               The CAMERA IS MOVING WITH her as she looks toward Mitch.

               LONG SHOT - THE BRENNER HOUSE

               Mitch is running for his car. The car door SLAMS. The ENGINE 
               STARTS. The car practically leaps out of the driveway.

               CLOSE SIDE-ON SHOT - MELANIE

               as she watches the car race along the shore.

               LONG SHOT - CAR - MELANIE'S P.O.V.

               Mitch's car racing along the shore.

               CLOSE SHOT - THREE QUARTER BACK LEFT - MELANIE (PROCESS)

               She looks off RIGHT toward car.

               CAR - MELANIE'S P.O.V.

               Mitch's car racing along the shore road, turns inland at 
               Keesport.

               CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

               Melanie looks CAMERA RIGHT, her eyes slowly turn CAMERA LEFT.

               CAR - MELANIE'S MOVING P.O.V.

               Mitch's car races past wrecked ferry boat.

               CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

               Her head continues to turn CAMERA LEFT. She looks off and 
               sees:

               LONG SHOT - THE DOCK - MELANIE'S MOVING P.O.V.

               moves forward slower. Mitch drives onto dock, gets out of 
               the car and stands waiting.

               CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

               partially posing for Mitch, her hair blowing in the wind, 
               her head tilted back, a smile on her face.

               FULL SHOT - GULL

               swooping down from UPPER LEFTHAND CORNER OF FRAME TO LOWER 
               RIGHT.  CLOSE SHOT - STRAIGHT BACK - MELANIE (PROCESS)

               as gull strikes the back of her head. She recoils and looks 
               up with shock and pain.

               GULL - MELANIE'S P.O.V.

               The gull soars away from LOWER RIGHTHAND corner of frame to 
               UPPER LEFT.

               CLOSE SHOT - MELANIE

               reacting to the sudden attack and looking after receding 
               gull. Blood is starting down her temple from her hair.

               MED. SHOT - MITCH

               as the boat comes closer. The boat drifts in toward a second 
               boat tied up at the dock. Mitch crosses the docked boat, 
               leaps into Melanie's boat.

               MED. SHOT - MITCH AND MELANIE

               in the boat.

                                     MITCH
                         That was the damndest thing I ever 
                         saw.

                                     MELANIE
                         What made it...

                                     MITCH
                         It deliberately came down at you --
                         you're bleeding...

               CLOSE SHOT - MELANIE

               a thin line of blood trickling from the cut on top of her 
               head, down onto her forehead and cheek. She seems dazed.  
               She shakes her head in answer to him, then touches the top 
               of her head, looks at her bloody fingers, and then nods 
               weakly.

               CLOSE SHOT - MITCH

               concerned.

                                     MITCH
                         Come on, let's take care of that.

               FULL SHOT - THE DOCK

               as they climb onto it. A fisherman standing by looks at 
               Melanie curiously.

                                     FISHERMAN
                         What happened, Mitch?

                                     MITCH
                              (over his shoulder)
                         A gull hit her.

                                     FISHERMAN
                         A what?

               The CAMERA FOLLOWS them as they walk across the parking area 
               behind the Tides, and to the closest office. Mitch tries the 
               door knob. The door is locked.

               INSERT - SIGN ON DOOR OUT TO LUNCH TWO SHOT - MELANIE AND 
               MITCH

               as he tries door of next office. It, too, is locked.

                                     MITCH
                         Come on, we'd better go up to the 
                         restaurant.

               They walk quickly up the slope to the Tides, establishing 
               gas station across the road, the collection of stores 
               opposite, the cars pulling in and out. Mitch opens the door 
               for her, and they ENTER.

               INT. THE TIDES - FULL SHOT

               This is a small neighborhood restaurant, with the feeling of 
               a local hangout. There are fishermen lounging at the bar, 
               and a teenage boy playing one of the pinball machines. Two 
               ladies in housedresses, with their hair in curlers, are 
               sitting at one of the booths, having coffee. The rear wall 
               of the restaurant is almost all window, looking out over the 
               bay and the parking area below. A television set over the 
               bar is going. The shots and horsehoof beats of an old Western 
               movie should be HEARD muted throughout following.  DEKE 
               CARTER, who owns the restaurant with his wife, alternates 
               his attention between serving his customers and watching the 
               Western. He looks up immediately when Mitch and Melanie ENTER.

               MED. SHOT - THE BAR

               Mitch and Melanie coming over to it.

                                     MITCH
                         Deke, have you got a first aid kit 
                         back there?

                                     DEKE
                              (instantly alarmed)
                         What happened?

                                     MITCH
                         Young woman cut herself.

                                     DEKE
                         Shall I call the doctor?

                                     MITCH
                              (accepting the first 
                              aid kit)
                         I don't think it's that serious.  
                         You want to sit up here?

               Melanie climbs onto the stool.

                                     DEKE
                         You cut yourself outside, Miss?

                                     MITCH
                         Stop worrying, Deke. She was in a 
                         boat.

               He is rummaging around in the kit.

                                     DEKE
                         I had a man trip and fall in the 
                         parking lot once, sued me before I 
                         could bat an eyelash.

                                     MITCH
                         I don't think Miss Daniels is going 
                         to sue anybody.

                                     DEKE
                              (doubtfully)
                         Well, you're the lawyer.
                              (goes to other end of 
                              bar)

               TWO SHOT - MELANIE AND MITCH

               as he unscrews cap from bottle of peroxide.

                                     MELANIE
                         What's that?

                                     MITCH
                         Just some peroxide. I want to clean 
                         out the cut.

               He pours peroxide onto a gauze pad and begins swabbing the 
               cut. They are silent for several seconds. Then:

                                     MELANIE
                         So you're a lawyer.

                                     MITCH
                         That's right. What are you doing in 
                         Bodega Bay?

                                     MELANIE
                         Do you practice here?

                                     MITCH
                         No, San Francisco. What are you...?

                                     MELANIE
                         What kind of law?

                                     MITCH
                         Criminal.

                                     MELANIE
                         Is that why you'd like to see everyone 
                         behind bars?

                                     MITCH
                         Not everyone, Miss Daniels.

                                     MELANIE
                         Only violators and practical jokers.

                                     MELANIE
                         That's right.

               As he swabs cut.

                                     MELANIE
                         Ouch!

                                     MITCH
                         I'm sorry.
                              (pause)
                         What are you doing up here?

                                     MELANIE
                         Didn't you see the lovebirds?

                                     MITCH
                         You came all the way up here to bring 
                         me those birds?

                                     MELANIE
                         To bring your sister those birds.  
                         You said it was her birthday.  
                         Besides, I was coming up anyway.

                                     MITCH
                         What for?

                                     MELANIE
                         To see a friend of mine.
                              (she winces)
                         Will you please be careful?

                                     MITCH
                         I'm sorry.
                              (pause)
                         Who's your friend?

                                     MELANIE
                         Why...
                              (pause, stymied)

                                     MITCH
                         Yes?

                                     MELANIE
                              (blurting the only 
                              name she knows)
                         Annie. Annie Hayworth.

                                     MITCH
                         Well, well, small world. Annie 
                         Hayworth.

                                     MELANIE
                              (realizing this was a 
                              mistake)
                         Yes.

                                     MITCH
                         How do you know Annie?

                                     MELANIE
                              (the lie getting deeper)
                         We... we went to school together.  
                         College.

                                     MITCH
                         Did you! Imagine that! How long will 
                         you be staying?

                                     MELANIE
                         Just a few... just a day or two... 
                         the weekend.

                                     MITCH
                         I think we'll have to shave the hair. 
                         Deke, have you got a razor?

                                     MELANIE
                              (pulling away)
                         Oh, no you don't!

                                     MITCH
                         It's still bleeding a little. Here, 
                         let me put this on.

               He takes up a tiny Band-Aid and, tearing the gauze off, says:

                                     MITCH
                         Bend your head down. This little 
                         Band-Aid won't show.

               He presses the tiny Band-Aid over the cut. Melanie takes a 
               mirror from her handbag and, bending her head down, looks at 
               it. She covers her hair over it as Mitch says:

                                     MITCH
                         So you came up to see Annie, huh?

                                     MELANIE
                         Yes.

                                     MITCH
                         I don't believe you.
                              (grins)
                         I think you came up to see me.

                                     MELANIE
                         Why would I want to see you, of all 
                         people?

                                     MITCH
                              (shrugging)
                         I don't know. But it seems to me you 
                         must have gone to a lot of trouble 
                         to find out who I was, and where I 
                         lived and...

                                     MELANIE
                         It was no trouble at all. I simply 
                         called my father's paper. Besides, I 
                         was coming up here anyway, I already 
                         told you...

                                     MITCH
                              (grinning)
                         You like me, huh?

                                     MELANIE
                         I loathe you. You have no manners.  
                         And you're arrogant and conceited 
                         and... I wrote you a letter about 
                         it, in fact, but I tore it up.

                                     MITCH
                         What did it say?

                                     MELANIE
                         None of your business.
                              (pause)
                         Am I still bleeding?

               She lowers her head.

                                     MITCH
                         Can't see a thing.

                                     MELANIE
                         I can't say I like your seagulls 
                         much, either. I come all the way up 
                         here to...

                                     MITCH
                         But you were coming up anyway, 
                         remember?

                                     MELANIE
                         I was! And all I get for my pains is 
                         a... a... a hole in the head!

                                     MITCH
                              (grinning)
                         Right next to the one you already 
                         had.

                                     MELANIE
                              (angrily)
                         Look, Mr. Brenner...

                                     LYDIA (O.S.)
                         Mitch?

               They turn toward the door.

               MED. SHOT - LYDIA BRENNER

               closing the door behind her, coming toward the bar. She is a 
               woman in her late forties, attractive, wearing shirt, blouse, 
               cardigan sweater, low heels. There is nothing agrarian-looking 
               about her. She speaks with the quick tempo of the city 
               dweller, and there is lively inquiry in her eyes.

                                     LYDIA
                              (puzzled)
                         I thought I saw your car. What are 
                         you doing in town?

                                     MITCH
                              (rising to greet her)
                         I had to acknowledge a delivery.
                              (grins)
                         Mother, I'd like you to meet...

                                     LYDIA
                         A what?

                                     MITCH
                              (continuing)
                         Melanie Daniels. Melanie, my mother.

               CLOSE SHOT - LYDIA

               Her eyebrows raising ever so slightly, not in displeasure, 
               but simply in enormous curiosity as she acknowledge the 
               introduction.

                                     LYDIA
                         How do you do, Miss Daniels?
                              (to Mitch)
                         Acknowledge a what?

               BACK TO SCENE

                                     MITCH
                         A delivery, Mother. Miss Daniels 
                         brought some birds from San Francisco.

               Lydia thinks she understands. This is one of Mitch's San 
               Francisco chippies.

                                     LYDIA
                         Oh. I see.

                                     MITCH
                         For Cathy. For her birthday. By the 
                         way, where is she?

                                     LYDIA
                         Across at Brinkmeyer's.

                                     MITCH
                         Miss Daniels is staying for the 
                         weekend. In fact, I've already invited 
                         her to dinner tonight.

               CLOSE SHOT - MELANIE

               turning to him in surprise, beginning to shake her head.

               CLOSE SHOT - MITCH

                                     MITCH
                         After all, you did go to the trouble 
                         of bringing up those birds.

                                     MELANIE (O.S.)
                         I'm sorry. I couldn't possibly...

               BACK TO SCENE

                                     LYDIA
                         You did say birds?

                                     MITCH
                         Yes, lovebirds. We couldn't let you...

                                     LYDIA
                              (understanding 
                              completely now)
                         Lovebirds, I see.

                                     MITCH
                         ...get away without thanking you in 
                         some small way. After all, you haven't 
                         even met Cathy and you are staying 
                         for the weekend...

                                     MELANIE
                         Yes, but...

                                     MITCH
                         You are, aren't you?

                                     MELANIE
                         Certainly, but...

                                     MITCH
                         Then it's settled. What time is 
                         dinner, Mother?

                                     LYDIA
                         Seven o'clock, same as usual.

                                     MITCH
                         I'll pick you up, Miss Daniels.  
                         Where are you staying?

                                     MELANIE
                         With... with Annie, of course.

                                     MITCH
                         Of course, how stupid of me. A quarter 
                         to seven, will that be all right?

                                     MELANIE
                         Annie... Annie may have made other 
                         plans. I'll have to see. Besides, I 
                         can find my own way.

                                     MITCH
                         You're sure now? You won't hire a 
                         boat or anything?

                                     MELANIE
                         I'm sure.

                                     MITCH
                         Seven o'clock then.

                                     MELANIE
                         Maybe.

               CLOSE SHOT - MITCH

               grinning.

                                     MITCH
                         We'll be waiting. How's your head 
                         now?

               MED. SHOT - THE GROUP

               Lydia looks at Mitch inquiringly.

                                     MELANIE
                              (with an overwarm 
                              smile)
                         It's nothing, Mrs. Brenner. A gull 
                         hit me, that's all.

               Lydia stares at her doubtfully.

                                                                   DISSOLVE

               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

               INT. ANNIE HAYWORTH'S LIVING ROOM - MED. SHOT - ANNIE

               HAYWORTH

               In an easy chair, reading. She is wearing a robe and smoking, 
               absorbed in her book. She turns when she hears the front 
               DOOR OPENING.

                                     ANNIE
                         Miss Daniels? Is that you?

                                     MELANIE (O.S.)
                         Yes.

               Annie rises to greet her. As Melanie ENTERS THE SHOT:

                                     ANNIE
                         Hi.
                              (seeing her face)
                         Is something wrong? Is that cut 
                         beginning to bother you?

                                     MELANIE
                              (touching her head)
                         No, it's not the cut that's bothering 
                         me.

                                     ANNIE
                              (concerned)
                         Would you like some brandy?

                                     MELANIE
                         If you have some, I'd...

                                     ANNIE
                         I'll get it, sit down, Miss Daniels.  
                         Do you want a sweater or something?  
                         A quilt?

               As Annie gets the brandy:

                                     MELANIE
                         No, thank you.
                              (pause)
                         Won't you call me Melanie?

                                     ANNIE
                         All right.
                              (she smiles)

               MED. SHOT - MELANIE sitting, tucking her legs up under her. 
               She is disturbed by her conversation with Mitch and, in fact, 
               by the way this entire trip has worked out. Annie brings her 
               the glass of brandy, and she takes it gratefully.

                                     MELANIE
                         Thank you.

                                     ANNIE
                              (sitting opposite her)
                         It gets a little chilly here at night 
                         sometimes. Especially if you're over 
                         near the bay.

               Melanie nods and sips at the brandy. There is a long pause.

                                     ANNIE
                         Well, how'd your evening go?

               Melanie shrugs.

                                     ANNIE
                         Did you meet Lydia?

               Melanie nods.

                                     ANNIE
                         Or would you rather I changed the 
                         subject?

                                     MELANIE
                              (with a tired smile)
                         I think so.

                                     ANNIE
                              (nodding)
                         How do you like our little hamlet?

                                     MELANIE
                         I despise it.

                                     ANNIE
                              (laughing)
                         Well, I don't suppose it offers much 
                         to the casual visitor. Unless you're 
                         thrilled by a collection of shacks 
                         on a hillside. It takes a while to 
                         get used to.

                                     MELANIE
                         Where are you from originally, Annie?

                                     ANNIE
                         San Francisco.

                                     MELANIE
                         How'd you happen to come here?

                                     ANNIE
                         Oh, someone invited me up for the 
                         weekend a long time ago.

               There is an awkward pause. Annie shrugs.

                                     ANNIE
                         Look, I see no reason for being coy 
                         about this. It was Mitch Brenner.

               Melanie nods.

                                     ANNIE
                         I guess you knew that, anyway.

                                     MELANIE
                         I suspected as much.

                                     ANNIE
                         You needn't worry. It's over and 
                         done with. A long time ago.

                                     MELANIE
                         Annie -- there's nothing between 
                         Mitch and me.

                                     ANNIE
                         Isn't there?
                              (she shrugs)
                         Maybe there isn't. Maybe there's 
                         never anything between Mitch and any 
                         girl.

                                     MELANIE
                         What do you mean?

                                     ANNIE
                         I think I'll have some of that, too.
                              (she pours brandy, 
                              drinks, sighs)
                         I was seeing quite a lot of him in 
                         San Francisco, you know.
                              (she smiles weakly)
                         And then, one weekend, he asked me 
                         up to meet Lydia.

                                     MELANIE
                         When was this?

                                     ANNIE
                         Four years ago. Of course, that was 
                         shortly after his father died.  Things 
                         may be different now.

                                     MELANIE
                         Different?

                                     ANNIE
                         With Lydia.
                              (pause)
                         Did she seem a trifle distant?

                                     MELANIE
                              (smiling)
                         A trifle.

                                     ANNIE
                         Then maybe it isn't different at 
                         all. You know, her attitude nearly 
                         drove me crazy. I simply couldn't 
                         understand it.

                                     ANNIE
                         When I got back to San Francisco I 
                         spent days trying to figure out just 
                         what I'd done to displease her.

                                     MELANIE
                         And what had you done?

                                     ANNIE
                         Nothing! I simply existed. So what 
                         was the answer? A jealous woman, 
                         right? A clinging possessive mother.
                              (she shakes her head)
                         Wrong. With all due respect to 
                         Oedipus, I don't think that was the 
                         case at all.

                                     MELANIE
                         Then what was it?

                                     ANNIE
                         Lydia liked me, you see. That was 
                         the strange part of it. In fact, now 
                         that I'm no longer a threat, we're 
                         very good friends.

                                     MELANIE
                         Then why did she object to you?

                                     ANNIE
                         Because she was afraid.

                                     MELANIE
                         Afraid you'd take Mitch?

                                     ANNIE
                         Afraid I'd give Mitch.

                                     MELANIE
                         I don't understand.

                                     ANNIE
                         Afraid of any woman who'd give Mitch 
                         the only thing Lydia can give him --
                         love.

                                     MELANIE
                         Annie, that adds up to a jealous, 
                         possessive woman.

                                     ANNIE
                         No, I don't think so. She's not afraid 
                         of losing her son, you see.  She's 
                         only afraid of being abandoned.

                                     MELANIE
                         Someone ought to tell her she'd be 
                         gaining a daughter.

                                     ANNIE
                         She already has a daughter.

                                     MELANIE
                         What about Mitch? Didn't he have 
                         anything to say about this?

                                     ANNIE
                              (apologetically)
                         I can understand his position. He 
                         went through a lot with Lydia after 
                         his father died. He didn't want to 
                         risk going through it all over again.

                                     MELANIE
                         I see.

                                     ANNIE
                         So it ended. Not immediately, of 
                         course. I went back to San Francisco, 
                         and I still saw Mitch every now and 
                         then... but we both knew it was 
                         finished.

                                     MELANIE
                         Then what are you doing here in Bodega 
                         Bay?

                                     ANNIE
                         You get straight to the point, don't 
                         you?

                                     MELANIE
                         I'm sorry. Forgive me.

                                     ANNIE
                         No, that's all right, I don't mind.  
                         I came up here for two reasons. To 
                         begin with, I was bored with my job 
                         in San Francisco. I was teaching at 
                         a private school there... well, you 
                         know, you probably went to one 
                         yourself.

                                     MELANIE
                         I did.

                                     ANNIE
                         Then you know. Little girls in brown 
                         beanies. Deadly. Here I have a life. 
                         I'll go into that classroom on Monday 
                         morning, and I'll look out at twenty-
                         five upturned little faces, and each 
                         of them will be saying, 'Yes, please 
                         give me what you have.'
                              (pause)
                         And I'll give them what I have. I 
                         haven't got very much, but I'll give 
                         them every ounce of it. To me, that's 
                         very important. It makes me want to 
                         stay alive for a long long time.
                              (she sighs)
                         That's the first reason.

                                     MELANIE
                         And the second?

                                     ANNIE
                              (simply)
                         I wanted to be near Mitch.
                              (pause)
                         It was over, and I knew it, but I 
                         wanted to be near him, anyway.
                              (she smiles)
                         You see, I still like him a hell of 
                         a lot. That's rare, I think. I don't 
                         want to lose his friendship... ever.

               There is a moment of silence. Into the silence, the TELEPHONE 
               shrills. Annie hesitates a moment, and then goes to answer 
               it.

               CLOSE SHOT - ANNIE

               at the phone.

                                     ANNIE
                         Hello?  Oh, hello. No, no, I wasn't 
                         asleep. What is it?
                              (pause)
                         Yes, just a little while ago. Sure, 
                         hold on.
                              (she turns to Melanie)
                         It's Mitch. For you.

               TWO SHOT - MELANIE AND ANNIE

               as they stare at each other across the room, Melanie 
               hesitating.

                                     ANNIE
                         He's waiting.

               Melanie rises and goes to the phone. The CAMERA FOLLOWS Annie 
               to the wing chair in the foreground and stays on her 
               throughout following, recording her reactions as Melanie 
               talks to Mitch in the background.

               Annie is not devastated by this call, and yet there is a 
               wistfulness to her expression as she realizes she may finally 
               and irrevocably be losing Mitch to another girl.

                                     MELANIE
                              (at phone; coolly)
                         Hello? Yes, this is Melanie. Fine, 
                         thank you. No, no trouble at all.  I 
                         simply followed the road. It's a 
                         very bright night.
                              (pause)
                         What?  Oh. Well, there's no need to 
                         apologize. I can understand...
                              (pause; she listens)
                         Well...
                              (she listens again)
                         That's very kind of you. No, I'm not 
                         angry.
                              (she listens)
                         I couldn't. I'm afraid I have to get 
                         back to San Francisco.
                              (pause)
                         No, I wouldn't want to disappoint 
                         Cathy, but...
                              (pause)
                         I see.
                              (she is warming)
                         I see. Well, if you really...
                              (pause)
                         All right. Yes, I'll be there.
                              (pause)
                         Good night, Mitch.

               She hangs up and looks at Annie in embarrassment.

                                     MELANIE
                         He wants me to go to Cathy's party 
                         tomorrow afternoon.
                              (pause)
                         I said I would.

                                     ANNIE
                         I'll be going, too, to help out. It 
                         should be fun, Melanie.

                                     MELANIE
                         It seems so pointless.
                              (she sighs)
                         I think I'll go to sleep. This has 
                         been a busy day.
                              (picking up her paper 
                              bag)
                         My luggage.

               She smiles, takes out a flowered muumuu, holds it up to Annie.

                                     ANNIE
                         Pretty. Did you get that at 
                         Brinkmeyer's?

               Melanie nods and drapes the muumuu over her arm. She is silent 
               for a moment, pensive. Then:

                                     MELANIE
                         Do you think I should go?

                                     ANNIE
                         That's up to you.

                                     MELANIE
                         It's really up to Lydia, isn't it?

                                     ANNIE
                         Never mind Lydia. Do you want to go?

                                     MELANIE
                              (firmly)
                         Yes.

                                     ANNIE
                         Then go.

               The room is silent. Melanie nods, slowly, and then smiles.

                                     MELANIE
                         Thank you, Annie.

               Suddenly, into the silence, comes a THUMP at the door, 
               startling them both.

                                     ANNIE
                              (rising)
                         Who can that be at this hour?
                              (she walks to door)
                         Who is it?
                              (no answer)
                         Is someone there?

               Melanie goes to stand beside Annie. Puzzled, Annie unlocks 
               the door, and then opens it. She looks out into the night.  
               There is nothing but the SOUND of the wind.

                                     ANNIE
                              (to the emptiness 
                              outside)
                         Is anyone there?

                                     MELANIE
                              (pointing to the ground)
                         Look.

               CLOSE SHOT - A DEAD SEAGULL

               CLOSE SHOT - ANNIE

                                     ANNIE
                              (sympathetically)
                         Ohhh. Oh, the poor thing. He probably 
                         lost his way in the dark.

               CLOSE SHOT - MELANIE

               who stares at the dead bird as Annie stoops to pick it up.  
               And then, slowly:

                                     MELANIE
                         But... it isn't dark, Annie.  There's 
                         a full moon.

               TWO SHOT - MELANIE AND ANNIE

               as Annie, stooping, looks up at her. On their puzzlement and 
               consternation:

                                                                   FADE OUT

               FADE IN

               HIGH SHOT - THE BRENNER HOUSE The place is decorated with 
               balloons strung from the house to various points on the lawn. 
               The children, in party clothes, with their parents, are 
               clustered around a long folding table upon which are 
               sandwiches, ice cream and soft drinks. The parents are either 
               helping the children to more or telling them they are having 
               too much. There is a general SOUND of kid's CHATTER and 
               LAUGHTER. Coming up the sloping path, away from the party, 
               are Melanie and Mitch. The CAMERA PANS them UP the slope and 
               away from the party in background. As they turn the hairpin 
               bend of the slope, and come up toward the CAMERA, we see the 
               entrance of the harbor and the Pacific in the background. 
               The CAMERA PANS them as they come near to us and, once more, 
               the party is in the background. Mitch and Melanie pass the 
               CAMERA out to the left.

               CLOSER SHOT - THE TOP OF THE DUNES

               Melanie and Mitch come INTO the picture from the right and 
               stand against the sky. Mitch takes a martini shaker from one 
               of his pockets, and two glasses from the other. He hands one 
               of the glasses to Melanie, and then pours.

                                     MELANIE
                         I really shouldn't have any more.  
                         I'm a little tipsy already.

                                     MITCH
                         I'm trying to get you to stay for 
                         dinner. We're going to have a lot of 
                         roast left over.

                                     MELANIE
                         I couldn't possibly. I have to get 
                         back.

                                     MITCH
                              (with a shrug)
                         Cheers.

                                     MELANIE
                         Cheers.

               They drink.

                                     MELANIE
                         What's in this? Nitro-glycerin?

                                     MITCH
                         Why do you have to rush off? What's 
                         so important in San Francisco?

                                     MELANIE
                         Well... I have to get to work tomorrow 
                         morning, for one thing.

                                     MITCH
                              (surprised)
                         You have a job?

                                     MELANIE
                              (sipping at the martini)
                         I have several jobs.

                                     MITCH
                         What do you do?

                                     MELANIE
                         I do different things on different 
                         days.

                                     MITCH
                         Like what?

                                     MELANIE
                              (hesitating)
                         On Mondays and Wednesdays, I work 
                         for the Travelers' Aid. At the 
                         airport.

                                     MITCH
                         Helping travelers.

                                     MELANIE
                         Yes.

               She hesitates for a moment, thinking. She has never really 
               considered before what she does with her time, and now that 
               she is accounting for it, it sounds a little meaningless and 
               unimportant.

                                     MELANIE
                         And on Tuesdays, I take a course in 
                         General Semantics at Berkeley.  That's 
                         not a job, of course. I just take it 
                         because...

                                     MITCH
                         What about Thursdays and Fridays?

                                     MELANIE
                         On Thursdays I have my meeting and 
                         lunch.
                              (pause)
                         I'm chairman of a group that's sending 
                         a little Korean boy through school.  
                         We plan how to raise funds and... 
                         things like that.
                              (she shrugs)

                                     MITCH
                         And Fridays? What do you do then?

                                     MELANIE
                         Nothing.
                              (she smiles)
                         I go to bird shops on Fridays.

                                     MITCH
                         I'm glad you do.

                                     MELANIE
                         Do you know what I was doing in that 
                         shop?

                                     MITCH
                         What?

                                     MELANIE
                         I have an aunt, you see. Aunt Tessa. 
                         She's seventy years old, and veddy 
                         prim and strait-laced.
                              (she does an imitation)
                         She's coming back from Europe at the 
                         end of the month, and I'm going to 
                         give her a myna bird that'll talk to 
                         her.

                                     MITCH
                         What'll it say?

                                     MELANIE
                              (facetiously)
                         You'll think me very bold, sir.

                                     MITCH
                         No, tell me.

               She leans over and whispers in his ear. They both burst out 
               LAUGHTER. But then suddenly, a very serious look comes into 
               Melanie's face.

               CLOSE SHOT - MELANIE

               serious, introspective.

                                     MELANIE
                         That's silly, isn't it?  Teaching a 
                         bird to shock my aunt. That's just 
                         silly and childish.
                              (slight pause)
                         Maybe I ought to go join the other 
                         children.

               FULL SHOT - MELANIE AND MITCH

               as she moves abruptly away from him, and starts toward where 
               the children have begun playing Blind Man's Bluff. Mitch 
               stares after her for a moment, moved by this sudden glimpse 
               of character, and then follows her down the dune. The children 
               are all in a circle. Annie is busy changing the blindfold 
               from Michele to Cathy.

               CAMERA PANS - MELANIE AND MITCH

               The CAMERA is now on the lawn POINTING UP toward dunes. We 
               see Mitch and Melanie descending. They are coming down by 
               way of a short cut and are not on the zig-zag path. As they 
               reach the lawn they move along the side of it at the foot of 
               the dunes. They are absorbed in each other. The CAMERA PANS 
               OFF them and BRING INTO the picture Annie, surrounded by the 
               children. She is in the act of changing the blindfold from 
               Michele to Cathy. She hands Michele her glasses back.  During 
               this, and while she is putting the blindfold round the eyes 
               of Cathy, she is looking to her right and obviously is 
               watching Mitch and Melanie.

               MITCH AND MELANIE - ANNIE'S P.O.V.

               MED. SHOT - ANNIE

               CAMERA MOVES A LITTLE to her left (CAMERA RIGHT). At this 
               moment, in the background, Lydia is emerging with the birthday 
               cake. The candles on it are unlit. Lydia immediately also 
               catches sight of Mitch and Melanie and she slows up somewhat 
               as she walks to the long table, her eyes still on the couple. 
               During this we see Annie in the foreground sending Cathy 
               off.

                                     ANNIE
                         All right then, here we go.
                              (she spins her)
                         Once!
                              (she spins her again)
                         Twice!
                              (she spins her again)
                         Three! Go get 'em, Cathy!

               She says all this while still looking toward the couple. She 
               turns her head away from the couple with a new expression on 
               her face. She twists completely around to look at Lydia as 
               though she were wondering if Lydia sees what she sees.  
               Suddenly we HEAR a little boy's voice crying:

                                     LITTLE BOY (O.S.)
                         Look! Look!

               Annie swings round and the CAMERA RUSHES INTO her face as 
               she looks up.

               LONG SHOT - ANNIE'S P.O.V.

               A gull is swooping down.

               CLOSE SHOT - CATHY

               as she changes her tactics, stops dead, and then cautiously 
               reaches out in front of her at the air. The gull suddenly 
               swoops at her, hitting her shoulder. She whirls.

                                     CATHY
                         No touching allowed!

               She almost falls.

               FULL SHOT - THE GULL

               seen from Cathy's position. He flies off, cycles and then 
               returns.

               CLOSE SHOT - ANNIE

               reacting to gull. She turns her head back to Cathy.

               TWO SHOT - MELANIE AND MITCH

               reacting to the gull hitting Cathy. They start towards Cathy.

               MED. SHOT - ANNIE

               with Cathy and the children around. The CAMERA PANS DOWN as 
               she ducks with two gulls swooping by.

               CLOSE SHOT - LYDIA

               hurriedly putting the cake onto the table. She rushes round 
               to the front of it.

               FULL SHOT - ANNIE - LYDIA'S P.O.V.

               Annie rising from the ground. Cathy and the other children 
               are running in the background.

               CLOSE SHOT - LYDIA

               reacting to two more gulls diving.

               FULL SHOT - TWO GULLS - LYDIA'S P.O.V.

               diving toward the children.

               CLOSE SHOT - LYDIA

               She starts to run out CAMERA RIGHT.

               MED. SHOT - LYDIA REACHES CATHY

               She pushes her to the ground as a gull attacks.

               TWO SHOT - TWO MOTHERS

               as a gull swoops between them.

               FULL SHOT - MITCH

               coming out of the house with a broom.

               TWO GULLS

               swooping down at the children's heads.

               MED. SHOT - MITCH

               swinging at gull and missing.

               LONG SHOT - LITTLE BOY

               running toward bank. Gull swooping after him.

               CLOSE SHOT - LITTLE BOY

               falling forward against the bank as the gull smashes into 
               him.

               FULL SHOT - MELANIE AND MITCH

               running to the injured boy, who is lying against the bank.

               THREE SHOT - MELANIE, MITCH AND LITTLE BOY

               They look up.

               LONG SHOT - THE GULLS

               against the sky, flying away in formation.

               CLOSE SHOT - MITCH

               about to swing with the broom again, but the birds are no 
               longer there. A puzzled look crosses his face. He turns to 
               Melanie.

                                     MITCH
                         Are you all right?

               TWO SHOT - MELANIE AND MITCH

                                     MELANIE
                         Yes.

                                     ANNIE
                              (coming over)
                         That's the darnest thing thing I've 
                         ever seen in my life.

               TWO SHOT - LYDIA AND MITCH

                                     LYDIA
                         Are they gone?

                                     MITCH
                         They're gone, Mother.

               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

               EXT. FAWCETT FARM - FULL SHOT - THE RED PICKUP TRUCK

               Lydia at the wheel, pulling into the Fawcett farm, the name 
               of the farm clearly visible on a painted arch over the gate.  
               Lydia gets out of the truck and walks to the front door. She 
               knocks. There is no answer.

               MED. SHOT - LYDIA

                                     LYDIA
                         Dan?

               She comes down off the steps, the CAMERA FOLLOWING, back a 
               little away from the house.

                                     LYDIA
                         Dan?

               There is no answer. She shades her eyes and looks out over 
               the fields.

               LONG SHOT - FARMHAND ON TRACTOR

               FULL SHOT - THE BARNYARD

               as Lydia crosses to a fence and cups her hands to her mouth.

                                     LYDIA
                              (shouting)
                         Hi, there!

               LONG SHOT - THE FARMHAND

               He stops the tractor, turns toward Lydia, shading his eyes.

               CLOSE SHOT - LYDIA

                                     LYDIA
                              (shouting)
                         Is Mr. Fawcett home?

               LONG SHOT - THE FARMHAND

                                     FARMHAND
                              (shouting back)
                         I think so, ma'm. His missus is in 
                         Santa Cruz, but he ought to be here.

               CLOSE SHOT - LYDIA

                                     LYDIA
                         Have you seen him this morning?

               LONG SHOT - THE FARMHAND FARMHAND

               No, ma'm. I reckon he's in there, though.

               MED. SHOT - LYDIA

                                     LYDIA
                              (shouting it)
                         Thank you!

               FULL SHOT - LYDIA

               as she crosses the barnyard again. There are several chickens 
               scurrying about. She walks closer to them, sees an open bag 
               of feed lying against the fence.

               CLOSE SHOT - LYDIA

               getting an idea.

               MED. SHOT - LYDIA

               reaching into the bag of feed. She scatters some on the 
               ground.

                                     LYDIA
                         Here, chick, chick, chick, chick.  
                         Here, chick, chick, chick, chick.

               CLOSE SHOT - A CHICKEN

               He struts up to the scattered grain.

               CLOSE SHOT - LYDIA

               watching him.

               CLOSE SHOT - THE CHICKEN

               He seems to be examining the feed. Then he turns away from 
               it and struts off.

               CLOSE SHOT - LYDIA

               a small knowledgeable nod of her head. The chicken's reaction 
               strengthens her determination to talk to Fawcett.  She turns.

               FULL SHOT - LYDIA

               approaching the front door again. She knocks. No answer.

                                     LYDIA
                         Dan?

               She backs away from the house again. The barnyard is silent.  
               In the distance, we can HEAR the SOUND of the tractor.

                                     LYDIA
                         Dan? Are you home?

               No answer.

               CLOSE SHOT - LYDIA

               a little annoyed. She glances at the ground floor window 
               closest to the door.

               CLOSE SHOT - THE WINDOW

               A small pane of glass is broken.

               CLOSE SHOT - LYDIA

               puzzled.

               FULL SHOT - LYDIA

               going to the front door, trying the knob.

               MED. SHOT - LYDIA

               The door opening ahead of her as she pokes her head into the 
               house.

                                     LYDIA
                         Dan?

               The house is still and silent.

               INT. THE ENTRY HALL - FULL SHOT

               as Lydia comes in. We can see the living room off to the 
               right, but it looks normal and untouched. Lydia turns to her 
               left and looks down a long corridor.

               FULL SHOT - THE CORRIDOR - LYDIA'S P.O.V.

               a door at the end of it is partially ajar, spilling artificial 
               light into the corridor.

                                     LYDIA
                         Dan?

               No answer.

               CLOSE SHOT - LYDIA

               a little troubled. She seems deciding whether or not she 
               should leave. A determined look comes over her face.

               FULL SHOT - THE CORRIDOR - LYDIA'S P.O.V.

               as she walks down it slowly toward the open door at the 
               opposite end. Outside the door, she pauses.

                                     LYDIA
                         Dan? Are you in there?

               No answer. Lydia puts out her hand, slowly begins showing 
               the door open.

               CLOSE SHOT - LYDIA

               coming into the room. Her eyes begin to take in the room.

               SLOW PAN OF THE ROOM - LYDIA'S P.O.V.

               starting to the right of the doorway as she enters and 
               continuing a little below eye level, the CAMERA PICKS OUT: A 
               standing floor lamp, the shade dangling, but the light still 
               burning; a picture hanging askew on the wall, its glass 
               shattered; the window to the left of the picture, every pane 
               of glass shattered; a dresser with two stuffed birds on its 
               top; both birds have been badly damaged, the stuffing ripped 
               out of them, the head of one hanging at a crooked near 
               decapitated angle; the window to the left of the dresser, 
               all the panes shattered. The level of the CAMERA DESCENDS, 
               and begins a SLOW PAN of the floor. It PICKS OUT broken glass, 
               continues its PAN to SHOW scattered feathers, continues its 
               PAN to SHOW a broom, feathers caught in the straw, a single 
               bedroom slipper, continues to SHOW a pair of legs in pajamas, 
               one foot bare, the other slippered, and then immediately 

                                                                   CUTS TO:

               CLOSE SHOT - DAN FAWCETT

               His face. Covered with blood, the eyes missing from their 
               empty staring sockets.  Immediately

                                                                    CUT TO:

               CLOSE SHOT - LYDIA

               a terrified scream erupting from her mouth.

               FULL SHOT - LYDIA

               turning and running for the door. The CAMERA FOLLOWS her in 
               an unbroken headlong flight, the scream continuing as if she 
               is incapable of stopping it, as she stumbles, runs, trips 
               her way down the corridor and bursts out of the house, still 
               screaming, into the pickup truck. The engine starts, she 
               backs the truck out at breakneck speed and hits the highway,

               CAMERA FOLLOWING.  CLOSE SHOT - LYDIA

               at the wheel, her face stamped with terror, her eyes wide.

               FULL SHOT - THE TRUCK

               at breakneck speed, negotiating the severe curves on the 
               highway. It almost hits a small car coming from the opposite 
               direction, swerves, screeches around the curve.

               CLOSE SHOT - LYDIA

               behind the wheel, unmindful of anything but flight.

               FULL SHOT - THE ROAD - LYDIA'S POV

               through the windshield, blurring past. She turns the bend 
               leading to the house. For an instant, through the windshield, 
               there is a quick glimpse of Melanie and Mitch in embrace in 
               the garden. Then the tires shriek, and the truck turns and 
               barrels into the front yard.

               FULL SHOT - MITCH

               alarmed as he runs out of the garden and toward the truck 
               just as it jerks to a stop.

               MED. SHOT - MITCH

               through the truck as he pulls open the door opposite Lydia.

                                     MITCH
                              (alarmed)
                         What is it?

               CLOSE SHOT - MITCH

               as he sees his mother.

               CLOSE SHOT - LYDIA

               slumped on the wheel of the car, her head on her arms, 
               sobbing. On her sobs...

                                                                   DISSOLVE

               INT. BRENNER KITCHEN - MED. SHOT - MELANIE

               at the kitchen stove, taking a kettle of tea from the burner.  
               She pours it into a cup, puts the cup on a tray already set 
               with sugar and creamer. She looks up as Mitch comes into the 
               kitchen.

               TWO SHOT - MELANIE AND MITCH

                                     MITCH
                         That was Al on the phone. He wants 
                         me to meet him out at the Fawcett 
                         place. Says some detectives from 
                         Santa Rosa'll be there in a little 
                         while.
                              (pause)
                         Will you be all right here?

                                     MELANIE
                         Yes. I was just taking her in some 
                         tea.

               He goes to her, puts his arms around her from behind, kisses 
               her hair. But she turns in his arms suddenly and clings to 
               him fiercely, and then buries her head in his shoulder.

                                     MELANIE
                         Be careful. Please.

               She walks him to the door. At the door, they kiss -- a long, 
               full kiss.

               FULL SHOT -- THE KITCHEN

               as Mitch goes out. Melanie looks after him for a moment, and 
               then picks up the tray. Outside, we HEAR the SOUND of his 
               car starting. The CAMERA FOLLOWS Melanie out of the kitchen, 
               through the dining room, and to one of the bedroom doors on 
               the other side of the house. Gently, she KNOCKS.

                                     LYDIA (O.S.)
                         Mitch?

               FULL SHOT - THE BEDROOM

               This is Lydia's room, and cluttered with the mementos of a 
               life no longer valid.  There are photographs of her dead 
               husband, souvenirs of trips taken together, bric-a-brac of 
               Mitch's childhood. Under it all, there is a distinct 
               femininity. She sits up in bed as Melanie enters, bearing 
               the tray.

                                     MELANIE
                         No, it's me, Mrs. Brenner. I thought 
                         you might like some tea.

               TWO SHOT - LYDIA AND MELANIE

                                     LYDIA
                         Oh, thank you.

               There is a long silence as Melanie puts the tray on the bed, 
               arranges the pillows behind Lydia.

                                     LYDIA
                         Where's Mitch?

                                     MELANIE
                         Al Malone wanted him out at the 
                         Fawcett farm.

                                     LYDIA
                         Why? Didn't Al believe my story?

                                     MELANIE
                         He was calling from the farm, Mrs.  
                         Brenner.

                                     LYDIA
                         Then he saw.

                                     MELANIE
                         He must have. He sent for the Santa 
                         Rosa police.

                                     LYDIA
                         What good will they do?

               She sips at the tea. There is a long awkward pause. Melanie 
               walks to the window and looks out over the bay.

                                     LYDIA
                         Do you think Cathy's all right?

                                     MELANIE
                         What?

                                     LYDIA
                         Cathy. At the school.

               CLOSE SHOT - MELANIE

               at the window, her face turned away from Lydia. Her expression 
               clearly shows that she doesn't know whether Cathy is all 
               right. But when she turns to Lydia, there is a comforting 
               smile on her face, and her voice is soothing.

                                     MELANIE
                         Yes, I'm sure she's fine.

               TWO SHOT - MELANIE AND LYDIA

                                     LYDIA
                         Do I sound foolish to you?

                                     MELANIE
                         No.

                                     LYDIA
                         I keep seeing Dan Fawcett's face.
                              (she shudders)
                         They have such big windows at the 
                         school.
                              (pause)
                         All the windows were broken. In Dan's 
                         bedroom. All the windows.

                                     MELANIE
                         Try not to think of that, Mrs.  
                         Brenner.

                                     LYDIA
                         I wish I were a stronger person.  
                         There is a long awkward silence. She 
                         sips at her tea reflectively.

                                     LYDIA
                         I lost my husband four years ago, 
                         you know.
                              (pause)
                         It's odd how you depend on someone 
                         for strength, and then suddenly all 
                         the strength is gone, and you're 
                         alone.
                              (pause)
                         I'd love to relax some time. I'd 
                         love to be able to sleep.
                              (pause; the worried 
                              look again)
                         Do you think Cathy's all right?

                                     MELANIE
                         Annie's there. She'll be all right.

                                     LYDIA
                         I'm not this way, you know. Not 
                         usually. I don't fuss and fret over 
                         my children.
                              (pause)
                         When Frank died...
                              (pause)
                         You see, he knew the children, he 
                         really knew them. He had the knack 
                         of being able to enter into their 
                         world, of becoming a part of them.  
                         That's a rare talent.

                                     MELANIE
                         Yes.

                                     LYDIA
                         I wish I could be that way.

               There is another silence. A curious thing is happening in 
               this room. Lydia, for perhaps the first time since her 
               husband's death, is discussing it with another person.  
               Curiously, the person is Melanie.

                                     LYDIA
                              (honestly and simply)
                         I miss him.
                              (pause)
                         You know, sometimes I wake up in the 
                         morning, and I think 'I have to make 
                         Frank's breakfast,' and I... I get 
                         up and there's a... a very good reason 
                         for getting out of bed until... until, 
                         of course, I remember.
                              (pause)
                         I miss talking to him.
                              (pause)
                         Cathy's a child, you know, and 
                         Mitch...
                              (she shrugs a little 
                              sadly)
                         ...Mitch has his own life.
                              (pause)
                         I'm glad he stayed here today. I 
                         feel safer with him here.
                              (she sighs deeply)

                                     MELANIE
                         Would you like to rest now, Mrs.  
                         Brenner.

                                     LYDIA
                         No.  No... don't go yet.
                              (pause)
                         I feel as if I... I don't understand 
                         you. And I want so much to understand.

                                     MELANIE
                         Why, Mrs. Brenner?

                                     LYDIA
                         Because my son is...
                              (pause)
                         My son seems to be fond of you.
                              (pause)
                         And I...
                              (pause)
                         I'm not quite sure how I feel about 
                         it. I really don't know if I... like 
                         you or not.

                                     MELANIE
                         Is that so important, Mrs. Brenner?  
                         You liking me?

                                     LYDIA
                         Yes, I think so. My son is important 
                         to me. I want to like any girl he 
                         chooses.

                                     MELANIE
                         And if you don't?

                                     LYDIA
                              (with a faint smile)
                         Then I don't suppose it'll matter 
                         much to anyone but me.

                                     MELANIE
                         I think it might also matter to Mitch.

                                     LYDIA
                              (shaking her head)
                         Mitch has always done exactly what 
                         he wanted to do.
                              (pause)
                         I'm not complaining. That's the mark 
                         of a man.  But...
                              (pause)
                         You see, I... I wouldn't want to 
                         be... be left alone. I don't think I 
                         could bear being left alone.  I... 
                         forgive me. This business with the 
                         birds has me upset.  I... I don't 
                         know what I'd do if Mitch weren't 
                         here.

                                     MELANIE
                              (going to the bed; 
                              adjusting the pillow)
                         Why don't you try to sleep now, Mrs.  
                         Brenner.

                                     LYDIA
                              (sighing)
                         I wish I were stronger.
                              (she pauses and looks 
                              toward the window.)
                         Do you think she's all right? Do you 
                         think she's safe at the school?

                                     MELANIE
                         Would you like me to go for her?

                                     LYDIA
                         I couldn't ask you to.

                                     MELANIE
                         I don't mind, really.

                                     LYDIA
                         Would you? I'd feel so much better.

                                     MELANIE
                         I'll just clear up here, and then 
                         dress.

               She picks up the tray and starts for the door.

                                     LYDIA
                         Melanie?

               At the door, Melanie turns.

               CLOSE SHOT - LYDIA

               her face soft.

                                     LYDIA
                              (gently)
                         Thank you for the tea.

                                                                   DISSOLVE

               EXT. BODEGA BAY - DAY - LONG SHOT

               Melanie's car turns and goes up School Road.

               EXT. SCHOOL - DAY - MED. SHOT

               Closer shot of the car coming to a stop outside school.  
               Inside the school, we HEAR the children SINGING.

                                     CHILDREN (O.S.)
                         I married my wife in the month of 
                         June. Ristle-tee, rostle-tee, mo, mo 
                         mo!

               MED. SHOT - MELANIE

               smiling as she gets out of the car and heads for the school.

                                     CHILDREN (O.S.)
                         I carried her off in a silver spoon.  
                         Ristle-tee, rostle-tee, hey bombosity, 
                         knickety-knackety, retro-retroquo- 
                         quality, willoby-wallaby, quo-mo, 
                         mo, mo!  Uality, willoby-wallaby, 
                         quo-mo, mo, mo!

               The CAMERA FOLLOWS Melanie into the school and down the 
               corridor. The children's VOICES are LOUDER now.

                                     CHILDREN (O.S.)
                         She combed her hair but once a year.  
                         Ristle-tee, rostle-tee, Mo, mo, mo!  
                         With every rake, she shed a tear.  
                         Ristle-tee, rostle-tee, hey bombosity, 
                         knickety-knackety, retro-quo-quality, 
                         willoby-wallaby, Mo, mo, mo!

               Melanie is at the door to Annie's room now. She opens the 
               door and looks in.

               FULL SHOT - ANNIE - MELANIE'S P.O.V.

               leading the children in song. She catches sight of Melanie 
               at the door. Melanie wiggles her fingers. Annie points to 
               her wristwatch indicating that she'll be finished in a few 
               minutes and motions for her to wait in the play-yard outside.  
               Melanie turns and starts down the corridor again.

               EXT. SCHOOL - MED. PANNING SHOT

               Melanie emerges and strolls up street toward Annie's house.  
               Inside the children are still singing.

                                     CHILDREN (O.S.)
                         She swept the floor but once a year.  
                         Ristle-tee, rostle-tee, mo, mo, mo!  
                         She swore her broom was much too 
                         dear. Ristle-tee, rostle-tee, hey 
                         bombosity, knickety-knackety, retro-
                         quo-quality, willoby-wallaby, mo, 
                         mo, mo!

               CLOSE SHOT

               Melanie turns back and seats herself on seat in front of 
               play yard.

                                     CHILDREN (O.S.)
                         She churned the butter in Dad's old 
                         boot. Ristle-tee, rostle-tee, mo, 
                         mo, mo!  And for a dasher she used 
                         her foot.  Ristle-tee, rostle-tee, 
                         hey bombosity, knickety-knackety, 
                         retro-quo-quality, willoby-wallaby, 
                         mo, mo, mo!

               CLOSE UP - MELANIE

               A side profile of Melanie as she sits. Size of shot has seat 
               on bottom of screen. We are shooting three-quarter toward 
               the school.

                                     CHILDREN (O.S.)
                         The butter came out a grizzle-y- 
                         ygrey.  Ristle-tee, rostle-tee, grey.  
                         Mo, mo, mo!  The cheese took legs 
                         and ran away!  Ristle-tee, rostle-
                         tee, hey bombosity, knickety-knackety, 
                         retro-quo-quality, willoby-wallaby, 
                         mo, mo, mo!

               MED. SHOT - PLAY YARD

               Three-quarter angle on play yard behind Melanie. A CROW 
               alights on the Jungle Jim.

                                     CHILDREN (O.S.)
                         I brought my wife a horse one day.  
                         Ristle-tee, rostle-tee, mo, mo, mo!  
                         She let the critter get away.  Ristle-
                         tee, rostle-tee, hey bombosity, 
                         knickety-knackety, retro-quo-quality, 
                         willoby-wallaby, mo, mo, mo!

               CLOSER SHOT - MELANIE

               a nearer cut of Melanie same angle as previous. Waist shot.

               MED. SHOT - PLAY YARD

               again four more crows arrive.

               CLOSE SHOT - MELANIE

               Nearer shot of Melanie smoking. Same angle. Just above waist - 
               bust shot.

               MED. SHOT - PLAY YARD

               Again five more crows arrive.

               CLOSE UP - MELANIE

               head and shoulders of Melanie as she sits smoking. There is 
               no sound except for the faint voices of the children singing 
               inside the schoolhouse. Melanie is puffing away at her 
               cigarette and occasionally glances in the direction of the 
               school. We hold on this shot of Melanie for a very long time 
               so that we are able to express her ignorance of what is going 
               on behind her with the crows. After a wait of about what 
               seems to be a half a minute or more, Melanie's attention is 
               drawn to something above her.

               MED. SHOT - SKY

               A crows is coming down.

               CLOSE UP - MELANIE

               as her eyes follow the flight of the crow.

               MED. SHOT - SKY

               Crow moving down and LEFT to RIGHT, the sky and Annie's roof 
               in the background.

               CLOSE UP - MELANIE

               Her head has twisted around to follow the flight of the crow.  
               She is almost looking into the play yard.

               MED. SHOT - PLAY YARD

               A crow slowly descends to the play yard and as the CAMERA 
               FOLLOWS it down, we see for the first time that the number 
               of crows has increased to an alarming number - almost 200 or 
               even perhaps 250. This last crow settles down with the others.

                                     CHILDREN (O.S.)
                              (throughout preceding)
                         I asked my wife to wash the floor.  
                         Ristle-tee, rostle-tee, mo, mo, mo!  
                         She gave me my hat and showed me the 
                         door! Ristle-tee, rostle-tee, hey 
                         bombosity, knickety-knackety,
                         Retro-quo-quality,
                              (the song slows -- it 
                              is near the end)
                         Willoby-wallaby, mmmmmmmo, mmmmmmmoo,
                         Mo!

               CLOSE SHOT - MELANIE The CAMERA WHIPS UP as she leaps to her 
               feet in alarm. Her body has turned, but we are now facing 
               the opposite side of the school yard.

               CLOSER SHOT - PLAY YARD

               The play yard is full of crows.

               CLOSE SHOT - MELANIE

               Big head of horrified Melanie.

               MED. SHOT - PLAY YARD

               A closer view of the menacing birds.

               CLOSE SHOT - MELANIE

               Big profile of Melanie. She turns with back to CAMERA and 
               goes toward school looking at crows as she goes away. The 
               CAMERA FOLLOWS her for a few paces and then STOPS so that 
               her image becomes smaller as she goes up steps into

               EXT. PLAY YARD - DOLLY SHOT

               A side view of the crows as seen by Melanie.

               FULL SHOT - THE INTERIOR CORRIDOR

               Melanie in headlong flight toward Annie's room.

                                     ANNIE (O.S.)
                         All right, children. Now please put 
                         your books in your desks, and bring 
                         the songsheets to the front of the 
                         room. No one's going out to play 
                         until I have all the songsheets.

               FULL SHOT - THE ROOM

               Annie is lining the children up near the door leading to the 
               play yard.

                                     ANNIE
                         We're not going outside until we 
                         quiet down. Ralph? Did you hear me?

               The children mutter for a moment, and then are still.

                                     ANNIE
                         All right now.

               She begins opening the play yard door. Suddenly, the door 
               from the corridor bursts open, and Melanie rushes wildly 
               INTO the room. She goes directly to Annie, shoves her out of 
               the way, and SLAMS shut the play yard door.

               CLOSE SHOT - ANNIE

                                     ANNIE
                         wh...?

               TWO SHOT - ANNIE AND MELANIE

               against a background of children's VOICES, as they react to 
               this new excitement.

                                     MELANIE
                         Outside.

               LONG SHOT - THE CROWS - THROUGH THE WINDOWS TWO SHOT - ANNIE 
               AND MELANIE

                                     MELANIE
                         We've got to get the children out of 
                         here. These big windows... there's 
                         no way to board them up.

               Annie gives a quick nod, understanding immediately.

               FULL SHOT - THE ROOM

               Through the windows, we can see the waiting crows. One moves 
               restlessly into flight, then settles on the equipment again.

                                     ANNIE
                         Quiet down, children! Quiet down!

               The children modulate into silence.

                                     ANNIE
                         Miss Daniels wants to see how we 
                         conduct ourselves during a fire drill. 
                         I'd like you to...

                                     CHILDREN
                              (grumbling in Unison)
                         A fire drill? This is our play period, 
                         Miss Hayworth! Gee whiz!  Etc.

                                     ANNIE
                         I'd like you to show her how quiet 
                         and obedient you can be.

               The children again fall silent.

                                     ANNIE
                         We're going to go out of the school 
                         now. Those of you who live nearby 
                         can go directly home. I want the 
                         rest of you to go down the hill, all 
                         the way to the hotel. Do you 
                         understand?

                                     CHILDREN
                         All the way down the hill? Gee, Miss 
                         Hayworth, we never... Home? Why do 
                         we...?

                                     ANNIE
                              (shushing them)
                         I want you to go as quietly as you 
                         can, not a sound, until I tell you 
                         to run. And then I want you to run 
                         as fast as you can. Does everyone 
                         understand?
                              (pause - silence)
                         All right. John, would you lead the 
                         class, please?

               The children walk two-by-two to the corridor door. John opens 
               it, and they begin filing out. Melanie turns to look at the 
               play yard.

               CLOSE SHOT - A SINGLE CROW

               fluttering at the window, almost in exploration. He hangs 
               there for a moment, then wings back to the playground 
               equipment.

               CLOSE SHOT - MELANIE

                                     MELANIE
                              (whispering)
                         Hurry!

               EXT. PLAY YARD - FULL SHOT (6)

               straight on of all the crows.

               NEARER SHOT - PLAY YARD (8)

               but a different angle.

               CLOSER SHOT - PLAY YARD (10)

               but a different angle from the others

               CLOSE SHOT - (12)

               A low angle of five or six crows filling the screen.

               EXT. PLAY YARD

               The screen is filled with crows. About fifty or more. All of 
               a sudden we HEAR the distant PATTERING of children's feet as 
               they start running. Immediately the crows rise and the CAMERA 
               PANS UP with them into the sky.

               EXT. SCHOOL ROAD - LONG SHOT - (PLATE) (15)

               The FULL SHOT showing the children running toward the CAMERA - 
               Annie herding them at the rear. The crows - about two hundred - 
               rising over the schoolhouse roof and descending toward and 
               reaching the running children. Shot as a moving background 
               with six or seven children in front on a treadmill with the 
               mechanical birds coming into top of screen as though 
               continuing on from the plate. The birds swing around and 
               among the foreground children.

               EXT. SCHOOL ROAD (4) (S)

               A side view of running children with Melanie in front urging 
               them forward. Birds fly between them, two or three others 
               wheel around, one live one sweeps by in foreground.

               EXT. SCHOOL ROAD (3) (P)

               Three or four children running. Birds overhead - one or two 
               children spread out as others come in from sides and take 
               their places. Birds swerve in and out.

               EXT. SCHOOL ROAD (2) (S)

               Profile of running child. Bird catches up and bites.

               EXT. SCHOOL ROAD (3) (S)

               A nearer side on view without Melanie. Birds wheeling in and 
               out - others overhead.

               EXT. SCHOOL ROAD (1) (P)

               Bird on top of girl's head (showing feet and wings).

               EXT. SCHOOL ROAD (2) (S)

               A three-quarter back of two children running - lots of birds 
               overhead and others wheeling. Screen almost full of birds.

               EXT. SCHOOL ROAD (1) (P)

               One-half child's face - a bird's head and beak on left, 
               dashing round to the child.

               EXT. SCHOOL ROAD - CLOSE UP (L)

               of feet running.

               EXT. SCHOOL ROAD - HIGH MOVING SHOT (6) (L)

               showing the crows among the running children.

               EXT. SCHOOL ROAD (1) (P)

               Big head of girl - bird lands on her right shoulder - wing 
               over her face.

               EXT. SCHOOL ROAD (1) (P)

               One SCREAMING child as bird swoops from top left down to 
               lower right.

               EXT. SCHOOL ROAD (2) (S)

               Head and shoulders of boy who ducks behind pole -- bird goes 
               by as another attacks him from right-hand side.

               EXT. SCHOOL ROAD (1) (FP)

               Back view of boy's head running. He looks back.

               EXT. SCHOOL ROAD () (P)

               Big head of bird coming at CAMERA.

               EXT. SCHOOL ROAD (1) (FP)

               Back view of little girl running. She looks over her shoulder.

               EXT. SCHOOL ROAD () (P)

               Big head of bird coming into CAMERA.

               EXT. SCHOOL ROAD (3) (L)

               Straight back CLOSE SHOT of Annie dragging slow children. No 
               birds in back, but several wheeling around them.

               EXT. SCHOOL ROAD - HIGH MOVING SHOT (6) (L)

               showing the crows chasing the children down the street - 
               with the Bay in the distance.

               EXT. SCHOOL ROAD (3) (S)

               A bird dives to head of Michele and she falls OUT of picture.

               EXT. SCHOOL ROAD - CLOSE UP (1) (L)

               of Michele as she hits ground.

               EXT. SCHOOL ROAD - CLOSE UP () (L)

               Her glasses smash.

               EXT. SCHOOL ROAD (2) (S)

               Flash Cathy - she sees and runs back. Birds swirling around.

               EXT. SCHOOL ROAD (1) (S)

               Six birds descend on fallen Michele - legs running by.

               EXT. SCHOOL ROAD (3) (S)

               Cathy RUSHES IN. She disperses birds and bends to pick up 
               Michele.

               EXT. SCHOOL ROAD (2) (S)

               Melanie stops, looks back and sees Cathy and Michele, heads 
               of other children rushing by in foreground. Birds swirling.  
               Melanie dashes out left.

               EXT. SCHOOL ROAD (3) (S)

               Melanie reaches Cathy and Michele -- Michele is now on her 
               feet. Birds swirling -- Melanie looks about -- sees.

               EXT. SCHOOL ROAD (2) (L)

               Station wagon across the street. Birds swirling about and 
               children running by.

               EXT. SCHOOL ROAD (5) (L)

               Melanie drags Cathy and Michele to the station wagon. We see 
               the Bay in the distance and children running on the bottom 
               of the street.

               INT. STATION WAGON - CLOSE SHOT (8) (S)

               Shooting inside the wagon across the front seat. The three 
               scramble in, Cathy first, then Michele and Melanie last --

               the door SLAMS on crows swooping around. Cathy and Michele 
               are SCREAMING with fright.

               INT. STATION WAGON - P.O.V. (3) (FP)

               Through the windshield we see crows attacking. Bay and running 
               children in distance.

               INT. STATION WAGON (3) (P)

               The faces of the three - Birds are fluttering on the rear 
               window.

               INT. STATION WAGON - MELANIE (3) (P)

               wheel in foreground. She starts to slam hand on horn ring.

               INT. STATION WAGON (2) (S)

               Crows attacking side window.

               INT. STATION WAGON (2) (S)

               Hand on horn ring.

               INT. STATION WAGON (2) (P)

               Cathy and Michele's faces huddled together.

               INT. STATION WAGON (2) (P)

               Melanie's big head - she looks down.

               INT. STATION WAGON - CLOSE UP (1) (P)

               Knob of wiper -- her hand comes in and pulls it out.

               INT. STATION WAGON (3) (FP)

               Wipers starting. Crows retreat.

               INT. STATION WAGON (2) (P)

               The three faces staring out.

               INT. STATION WAGON - P.O.V. (3) (P)

               through windshield. The crows are starting to go away.

               INT. STATION WAGON (2) (P)

               Melanie looks out and sees:

               EXT. SCHOOL ROAD - P.O.V. (6) (FP)

               through windshield. Annie running back with stick. She beats 
               the last of the crows away.

               INT. STATION WAGON (6) (S)

               Melanie flops in exhaustion over the wheel as Annie comes 
               round to the side window and starts to open the door.

                                                                   DISSOLVE

               INT. THE TIDES - FULL SHOT

               It is lunchtime and there is a busy bustle to the place as 
               DEKE CARTER officiates behind the bar and HELEN CARTER, his 
               wife, rushes back and forth between diners at the tables. A 
               DRUNK sits at the bar, old, grizzled, the weary wisdom of 
               booze in him. In one of the booths sits SEBASTIAN SHOLES in 
               his shirt sleeves, eating a hurried lunch quickly and 
               efficiently. A WOMAN and TWO CHILDREN are seated at another 
               table, about to order. A party of noisy SALESMAN is laughing 
               and clowning around throughout following at a table in the 
               rear. The phone from behind the bar has been placed on the 
               counter, and Melanie is speaking into it while Deke listens.  
               Over her head, the television set is blasting with its 
               perennial Western, the gun shots punctuating her conversation.

                                     MELANIE
                         Daddy, there were hundreds of them.  
                         No, I'm not hysterical, I'm trying 
                         to tell you this as calmly as I know 
                         how. All right, Daddy. Yes Daddy.
                              (she takes a deep 
                              breath)
                         Just now.  Not... fifteen minutes 
                         ago.

               The door to the Tides opens and MRS. BUNDY, sixtyish, wearing 
               walking shoes and a tweed suit, a very masculine-looking 
               woman with short clipped white hair, comes in, passes through 
               foreground, goes to bar, her attention slowly caught by what 
               Melanie is saying.

                                     MELANIE
                         At the school. No, I don't. Just a 
                         minute.
                              (to Deke)
                         What's the name of the school?

                                     DEKE
                         Just the Bodega Bay School.
                              (to Mrs. Bundy)
                         Help you, Mrs. Bundy?

                                     MRS. BUNDY
                         I need some change, Mr. Carter.

               As Deke opens cash register...

                                     MELANIE
                         The Bodega Bay School.
                              (to Deke)
                         Could you turn that down, please?

               Deke gives Mrs. Bundy her change, turns off television.

                                     MELANIE
                         I don't know how many children.
                         Thirty or forty. Yes.

               Mrs. Bundy goes to cigarette machine, pauses to listen to 
               Melanie.

                                     MELANIE
                         No, the birds didn't attack until 
                         the children were outside the school. 
                         Crows, I think. I don't know, Daddy. 
                         Is there a difference between crows 
                         and blackbirds?

                                     MRS. BUNDY
                              (turning from machine)
                         There is very definitely a difference, 
                         Miss.

                                     MELANIE
                         They're different, Daddy.
                              (to Mrs. Bundy)
                         Thank you.
                              (into phone)
                         I think these were crows. Yes, 
                         hundreds of them. Yes, they attacked 
                         the children, attacked them.
                              (exasperated)
                         Daddy, a little girl was sent to the 
                         hospital in Santa Rosa. Well, all 
                         right, but you act as if I'm... all 
                         right, all right.
                              (pause)
                         No, I can't come home now. I just 
                         can't, Daddy. How is it there? I 
                         mean... are there birds? In the sky?  
                         But no trouble. Well, I hope...
                              (pause)
                         I don't know when. I simply can't 
                         leave now. Tell Mother not to worry.  
                         All right, Daddy, good-by.

               She hangs up. Mrs. Bundy is at her elbow.

                                     MRS. BUNDY
                         They're both perching birds, of 
                         course, but of quite different 
                         species. The crow is brachyrhynchos. 
                         The blackbird is cyanocephalus.

                                     MELANIE
                         Thank you.
                              (to Deke)
                         Do you know Dan Fawcett's number?

                                     DEKE
                         In the book right here, Miss.

               As Melanie looks it up...

                                     DEKE
                              (to Mrs. Bundy)
                         I don't see what difference it makes, 
                         Mrs. Bundy, crows or blackbirds. If 
                         they attacked the school, that's 
                         pretty serious.

                                     MRS. BUNDY
                              (with a superior smile)
                         I hardly think either species would 
                         have the intelligence to launch a 
                         massed attack. Their brain pans aren't 
                         large enough for such...

                                     MELANIE
                              (dialing)
                         I just came from the school, madam.  
                         I don't know about their brain pans 
                         but...

                                     MRS. BUNDY
                         Birds are not aggressive creatures, 
                         Miss. They bring beauty to the world. 
                         It is mankind, rather, who...

                                     HELEN
                              (going to door leading 
                              to kitchen)
                         Three Southern fried chicken, Sam.  
                         Baked potato on all of them.

               LAUGHTER from salesman at table.

                                     MELANIE
                              (into phone)
                         Hello, may I speak to Mitch Brenner, 
                         please?
                              (pause)
                         Yes, I'll wait.

                                     MRS. BUNDY
                              (continuing to Deke)
                         ...insist on making it difficult for 
                         life to survive on this planet. If 
                         it weren't for birds...

                                     DEKE
                         Mrs. Bundy, you don't seem to 
                         understand. This young lady says 
                         there was an attack on the school.

                                     MRS. BUNDY
                         Impossible.

                                     MELANIE
                              (in background)
                         Mitch? I'm glad I caught you.  
                         Something terrible has happened.

               Her background conversation continues through following:

                                     DRUNK
                              (suddenly)
                         It's the end of the world!

                                     HELEN
                         What's this about the school?

                                     DEKE
                         Bunch of crows attacked the school, 
                         Helen.

                                     DRUNK
                         It's the end of the world.
                              (suddenly quoting)
                         "Thus saith the Lord God to the 
                         mountains, and to the hills, to the 
                         rivers and to the valleys; Behold, 
                         I, even I, will bring a sword upon 
                         you, and I will destroy your high 
                         places.

                                     HELEN
                         The Lord's not destroying anything, 
                         Jason.

                                     DRUNK
                         "In all your dwelling places, the 
                         cities shall be laid waste, and the 
                         high places shall be laid waste!"
                              (he nods)
                         Ezekiel, Chapter six.

                                     HELEN
                              (quoting)
                         "Woe unto them that rise up early in 
                         the morning that they may follow 
                         strong drink."

                                     DRUNK
                              (nodding)
                         Isaiah, Chapter 5. It's the end of 
                         the world.

                                     MELANIE
                         Yes, all right, I'll wait for you.  
                         Good-by.
                              (she hangs up)

                                     MRS. BUNDY
                              (laughing)
                         I hardly think a few birds are going 
                         to bring about the end of the world.

                                     MELANIE
                              (turning to her)
                         These weren't a few birds.

               CLOSE SHOT - THE WOMAN AND THE CHILDREN

               waiting for their lunch, listening to the conversation; 
               becoming very nervous.

               BACK TO SCENE

                                     DEKE
                         I didn't even know there were many 
                         crows in Bodega Bay this time of 
                         year.

                                     MRS. BUNDY
                         The crow is a permanent resident 
                         throughout its range. In fact, during 
                         our Christmas Count, we recorded...

               CLOSE SHOT - SHOLES

               eating.

                                     SHOLES
                              (suddenly, from his 
                              table)
                         How many gulls did you count, Mrs.  
                         Bundy?

               BACK TO SCENE

                                     MRS. BUNDY
                         Which gulls, Mr. Sholes? There are 
                         several varieties.

                                     SHOLES
                         The ones that've been raising the 
                         devil with my fishing boats.

                                     MRS. BUNDY
                         Probably herring gulls. They arrive 
                         in November, you know, and don't 
                         migrate North again until March or...

                                     MELANIE
                              (leaping upon this)
                         Have you had trouble with gulls?

                                     SHOLES
                         One of my boats did last week.

                                     DEKE
                              (making a connection)
                         This young lady got hit by a gull 
                         only Saturday.

                                     SAM'S VOICE
                              (from kitchen)
                         Pick up the chicken.

                                     HELEN
                         Now it's gulls. A minute ago, it was 
                         crows.
                              (she picks up tray, 
                              shrugs, goes to table)
                         Deke, I'm still waiting for those 
                         Bloody Marys!

                                     DEKE
                         Coming right up!

               CLOSE SHOT - WOMAN

               as Helen brings food. She is beginning to get really 
               frightened.

                                     WOMAN
                         Could you ask them to lower their 
                         voices, please? They're frightening 
                         the children.

                                     LITTLE GIRL
                         Timmy has a canary.

                                     HELEN
                         That's nice. Are you Timmy?

                                     LITTLE BOY
                         My cousin is Timmy.

               BACK TO SCENE

                                     SAM'S VOICE
                              (leaving table, coming 
                              to bar)
                         A whole flock of gulls nearby capsized 
                         one of my boats.  Practically tore 
                         of the skipper's arm.

                                     HELEN
                              (coming back)
                         You're scaring the kids. Keep it 
                         low.

                                     DEKE
                         You're scaring me, too. Are you trying 
                         to say all these...
                              (he shakes his head)
                         That sounds impossible, Sebastian.

                                     SHOLES
                         I'm only telling you what happened 
                         to my boat.

                                     MRS. BUNDY
                         The gulls were after your fish, Mr.  
                         Sholes. Really, let's be logical 
                         about this.

                                     MELANIE
                         What were the crows after at the 
                         school?

                                     MRS. BUNDY
                         What do you think they were after, 
                         Miss...?

                                     MELANIE
                         Daniels. I think they were after the 
                         children.

                                     MRS. BUNDY
                         For what purpose?

                                     MELANIE
                         To...
                              (she hesitates)
                         To kill them.

               There is a long silence.

                                     MRS. BUNDY
                         Why?

               Another silence.

                                     MELANIE
                         I don't know why.

                                     MRS. BUNDY
                         I thought not. Birds have been on 
                         this planet since archaeopteryx, 
                         Miss Daniels; a hundred and twenty 
                         million years ago!

               A TRAVELING SALESMAN ENTERS, goes to bar, listens.

                                     MRS. BUNDY
                         Doesn't it seem odd that they'd wait 
                         all that time to start a... a war 
                         against humanity?

                                     MELANIE
                         No one called it a war!

                                     SALESMAN
                         Scotch, light on the water.

                                     MRS. BUNDY
                         You and Mr. Sholes seem to be implying 
                         as much.

                                     HELEN
                         Are you finished here, Sebastian?

                                     SHOLES
                         Let me have some apple pie, Helen.
                              (to Mrs. Bundy)
                         Who said anything about war? All I 
                         said was that some gulls...

                                     HELEN
                              (yelling to kitchen)
                         One apple pie! You want more coffee?

                                     SHOLES
                         No. ...came down on one of my boats.  
                         They could have been after the fish, 
                         just as you said.

                                     SALESMAN
                         Your captain should have shot at 
                         them.

                                     SHOLES
                         What?

                                     SALESMAN
                         Gulls are scavengers, anyway. Most 
                         birds are. If you ask me, we should 
                         wipe them all out. World would be 
                         better off without them.

                                     MRS. BUNDY
                              (outraged)
                         Birds?

                                     SALESMAN
                         Yeah, birds. All they do is make a 
                         mess of everything. Who needs them?

                                     MRS. BUNDY
                         We need them.

                                     SALESMAN
                         Not if they're starting a war.

                                     MRS. BUNDY
                         They are incapable of organized 
                         warfare!

                                     MELANIE
                         Have you ever seen a jay protecting 
                         a nest?

                                     MRS. BUNDY
                         I have seen jays doing everything it 
                         is conceivable for jays to do.  
                         Ornithology happens to be my 
                         avocation, Miss Daniels. You're 
                         talking about preservation of the 
                         species, a hen protecting her young.  
                         There's a vast difference between...

                                     MELANIE
                         Maybe they're all protecting the 
                         species. Maybe they're tired of being 
                         shot at and roasted in ovens and...

                                     MRS. BUNDY
                         Are you discussing gamebirds now?  
                         All birds are not gamebirds, you 
                         know.

                                     MELANIE
                         I don't know anything about birds 
                         except that they're attacking this 
                         town.

                                     SALESMAN
                         Then fight back. Get yourselves guns 
                         and wipe them off the face of the 
                         earth.

                                     MRS. BUNDY
                         That would hardly be possible.

                                     DEKE
                         Why not, Mrs. Bundy?

                                     MRS. BUNDY
                         Because there are 8,650 species of 
                         birds in the world today, Mr. Carter. 
                         It's estimated that five billion, 
                         seven hundred and fifty million birds 
                         live in the United States alone. The 
                         five continents of the world...

                                     SALESMAN
                              (muttering)
                         Kill them all. Get rid of them.  
                         Messy animals.

                                     MRS. BUNDY
                         ...probably contain more than a 
                         hundred billion birds!

                                     DRUNK
                         It's the end of the world!

                                     DEKE
                         Well, we seem to have more than our 
                         share of them right now, Mrs. Bundy.  
                         Maybe this young lady's right.  Maybe 
                         they've all gone crazy.

                                     HELEN
                         Here's your pie, Sebastian. You want 
                         it at the table?

                                     SHOLES
                         No. Here's fine.
                              (he begins eating)

                                     HELEN
                         Where are the Bloody Marys, Deke?

                                     DEKE
                         Coming.

                                     HELEN
                              (angrily)
                         Are we running a business here -- or 
                         a bird sanctuary?

                                     SHOLES
                              (beginning to change 
                              his mind)
                         Actually, those gulls must have been 
                         after the fish.

                                     MRS. BUNDY
                         Of course.

                                     SHOLES
                         Makes a lot more sense than... well, 
                         an attack.

                                     MRS. BUNDY
                         Of course it does. If we believe 
                         that birds are attacking, why... why 
                         next we'll believe that grasshoppers 
                         and cockroaches are capable of...

                                     DRUNK
                         Cockroaches!  Urghh!

               CLOSE SHOT - WOMAN

               getting more and more anxious.

                                     WOMAN
                         Hurry, children. Finish your lunch.

                                     BOY
                         Are the birds gonna eat us, Mommy?

                                     SHOLES
                         Maybe we're all getting a little 
                         carried away by this. Admittedly, a 
                         few birds acted strangely. That's no 
                         reason to believe...

                                     MELANIE
                         This isn't a few birds! I keep telling 
                         you that! These are gulls and swifts 
                         and crows and...

                                     MRS. BUNDY
                         And what? Vultures? Hawks? Eagles?

                                     MELANIE
                         Maybe! Is it impossible?

                                     MRS. BUNDY
                         Yes. I have never known birds of 
                         different species to flock together.  
                         The very concept is unimaginable.
                              (laughing)
                         Why if that happened, we wouldn't 
                         have a chance. How could we possible 
                         hope to fight them?

                                     SHOLES
                         We couldn't. You're right, Mrs.  
                         Bundy.

                                     WOMAN
                              (calling from table)
                         Excuse me, may I have a check, please?

                                     HELEN
                              (concerned)
                         Is everything all right, ma'am?

                                     WOMAN
                         Yes, I... I'm anxious to get on the 
                         road.

                                     SAM
                              (coming from kitchen)
                         What's the matter? Something wrong 
                         out here?

                                     DEKE
                         Nothing's wrong.

                                     SAM
                         All this shouting.

                                     MRS. BUNDY
                         We're fighting a war, Sam.

                                     SAM
                         A war? Against who? Did the 
                         Russians...?

                                     SHOLES
                         Against birds.

                                     WOMAN
                              (suddenly)
                         I'm glad you all think this is so 
                         amusing. You've frightened my children 
                         half out of their wits.

                                     BOY
                         I'm not scared, Mommy.

                                     WOMAN
                         Keep quiet. If that young lady saw 
                         an attack on the school, why won't 
                         you believe her?

                                     SAM
                         What attack? Who attacked the school?

                                     WOMAN
                         Birds did. Crows! And you're all 
                         sitting around here debating! What 
                         do you want them to do next? Crash 
                         through that window?

                                     LITTLE GIRL
                              (frightened by her 
                              mother)
                         Mommy!

                                     WOMAN
                         Quiet! Why don't you all get home?  
                         Lock your doors and windows!
                              (her hysteria rising)
                         Put on your coats, children!
                              (to Deke)
                         What's the fastest road to San 
                         Francisco?

                                     DEKE
                         The freeway, ma'am.

                                     WOMAN
                         Where do I get it?

                                     SALESMAN
                         I'm going out that way, lady. You 
                         can follow me.

                                     WOMAN
                         Then let's go. Now!

                                     SALESMAN
                         I haven't finished my drink.

                                     WOMAN
                              (on edge of panic, 
                              shouting at her 
                              children)
                         Put on your coats! Do you want to 
                         get trapped here?

                                     BOY
                         I can't find my scarf.

                                     WOMAN
                         Look in your sleeve!

               The door opens. Mitch and Al Malone come in.

                                     MITCH
                         Melanie?

               At the far table, the salesman begin singing, rowdily.

                                     MITCH
                              (going to her)
                         I got here as fast as I could.  
                         Where's Cathy?

                                     MELANIE
                         At Annie's house. She's all right.

                                     SAM
                         Al, why aren't you over there where 
                         the attack was?

                                     MALONE
                         Because I just got back from Dan 
                         Fawcett's place, that's why.

                                     MITCH
                         He was killed last night. By birds.

                                     MALONE
                         Now hold it, Mitch. You don't know 
                         that for a fact.

                                     MRS. BUNDY
                         What are the facts, Mr. Malone?

                                     MALONE
                         Santa Rosa police think it was a 
                         felony murder. They think a burglar 
                         broke in and killed him.

                                     WOMAN
                         Were the Santa Rosa police at your 
                         school today?
                              (impatiently, to 
                              salesman)
                         Are you coming?

                                     SALESMAN
                         Take it easy, lady.
                              (through window)
                         There isn't a bird anywhere in sight.

                                     DRUNK
                              (quoting)
                         "Look at the birds of the air: they 
                         do not sow or read, yet your heavenly 
                         father feeds them."

                                     WOMAN
                         I'll never feed another bird as long 
                         as I live!

                                     SALESMAN
                         Something like this happened in Santa 
                         Cruz last year. The town was covered 
                         with seagulls.

                                     WOMAN
                         Can't you please finish your drink?

                                     MRS. BUNDY
                         That's right, sir, I recall it. A 
                         large flock of seagulls got lost in 
                         a fog and headed in for the town, 
                         where all the lights were.

                                     SALESMAN
                         They made some mess, too, smashing 
                         into houses and everything.
                              (shaking his head)
                         They always make a mess. We're better 
                         off without them.

                                     MRS. BUNDY
                         The point is that no one seemed to 
                         get upset about it. They were gone 
                         the next morning, just as if nothing 
                         at all had happened. Poor things.

                                     WOMAN
                         I'm leaving! Are you coming?

                                     SALESMAN
                         All right, all right!
                              (he downs his drink)
                         Hope you figure this out, folks.

                                     DRUNK
                         It's the end of the world.

               The Tides is silent for a moment.

                                     SHOLES
                         Well, I'd better get back to the 
                         cannery. What do I owe you, Deke?

                                     DEKE
                         Let's see. Scallops and coffee...

                                     MITCH
                         Hold it just a minute, Sebastian.

               Sholes turns to him.

               CLOSE SHOT - MITCH

               his face very serious.

                                     MITCH
                         Sebastian, I'm not an alarmist.

                                     SHOLES
                         No one ever said you were, Mitch.

                                     MITCH
                              (flatly)
                         I think we're in trouble. I don't 
                         know how or why this started, but I 
                         know it's here and I know we'd be 
                         crazy to ignore it.

                                     MRS. BUNDY
                              (sarcastically)
                         Ignore what? The bird war?

                                     MITCH
                              (exploding)
                         Yes, the bird war, the bird attack, 
                         the bird plague, you can call it 
                         what you want to, they're out there 
                         massing someplace and they'll be 
                         back, you can count on that!

                                     MRS. BUNDY
                         Ridiculous!

                                     MITCH
                         Mrs. Bundy, why don't you go home 
                         and polish your binoculars?

                                     SAM
                         Go on, Mitch.

                                     MITCH
                         If we don't do something now, if we 
                         don't get Bodega Bay on the move...

                                     SHOLES
                         Look, Mitch, even if this is true, 
                         even if all the birds...

                                     MITCH
                         Do you believe it's true, Sebastian?

                                     SHOLES
                              (after a long pause)
                         No. I don't, Mitch. Because I can't 
                         see any reason for it.

                                     MITCH
                         It's happening. Isn't that a good 
                         enough reason?

                                     SHOLES
                              (thoughtfully)
                         I like Bodega Bay as well as any 
                         man. If I thought...
                              (he shakes his head)

                                     MITCH
                         Then help me, Sebastian. You're an 
                         important man in this town. If you'll 
                         help, the rest will.

                                     SHOLES
                         Help how? What do you want to do?

                                     MITCH
                         I'm not sure, but...

                                     SHOLES
                         If you don't even know what you want 
                         to do...

                                     MELANIE
                         Listen to him, please.

                                     SAM
                              (taking position beside 
                              Melanie)
                         You listen to him, Sebastian!

                                     MITCH
                         I only know we've got to drive them 
                         away from town -- before they drive 
                         us away.

                                     SHOLES
                         How?

                                     MITCH
                         Mrs. Bundy, you said something about 
                         Santa Cruz. About seagulls getting 
                         lost in the fog, and heading in for 
                         the lights.

                                     DEKE
                         We don't have any fog this time of 
                         year, Mitch.

                                     MITCH
                         We'll make our own fog.

                                     SHOLES
                         How do you plan to do that?

                                     MITCH
                         With smoke.

                                     MALONE
                         There's an ordinance against burning 
                         anything in this town, unless it's...

                                     MITCH
                         We'll use smoke pots. Like the Army 
                         uses.

                                     DEKE
                         What good'll that do? Smoke's as bad 
                         as birds.

                                     MRS. BUNDY
                         Birds are not bad!

                                     SHOLES
                         How can we go on living here if we 
                         blanket the town with smoke?

                                     MITCH
                         Can we go on living here otherwise?

               Pause. They are silent.

                                     SAM
                              (slowly)
                         It's worth a try, Sebastian.

               There is more silence as they all consider. And then suddenly:

                                     MELANIE
                         Look!

               They turn toward the window.

               TIDES CAR PARK - FULL SHOT

               Viewed from the side window inside the Tides we see three or 
               four gulls diving down toward the highway over the roof of 
               the Tides Office. Two more swoop into the foreground of the 
               window and out to the left.

                                     DEKE
                              (alarmed)
                         Gulls!

                                     MITCH
                         They're back!

                                     SHOLES
                         They're only the usual... What are 
                         you...

               TIDES TOWN - LONG SHOT

               The first gull reaches the gas station but misses the 
               attendant who is in the act of filling the car. The owner is 
               seen disappearing into the men's room.

               INT. TIDES

               A quick flash of the group of faces at the window of the 
               Tides Restaurant.

               TIDES TOWN - MED. SHOT

               A nearer view of the gas station. A second gull hits the man 
               on the back -- he falls -- hits his head on the pump and 
               then collapses over the gasoline hose pipe, pulling it out 
               and causing it to spill. The third and fourth gulls sweep 
               by.  The gas begins to flow away.

               MED. SHOT - MELANIE AND MITCH

               inside the Tides. Mitch dashes toward the door -- Melanie 
               after him. Through the glass windows into the street we see 
               people dashing off to the right, in the direction of the gas 
               station. At the door, Mitch turns.

                                     MITCH
                              (to Melanie)
                         Stay back in here.

               Deke Carter comes running from behind the bar to join Mitch.  
               They both EXIT. Melanie dashes back to her original place at 
               the window. The CAMERA RETREATING with her, we come to the 
               window and over Melanie's shoulder we see the men arrive to 
               rescue the attacked gas station attendant.

               Three or four gulls are still attacking and they flutter 
               away as the men appear to beat them off. Suddenly Melanie in 
               the foreground turns in full profile to her right and looks 
               down.

               TIDES CAR PARK - MED. SHOT

               on the sloping pavement before her a stream of gasoline is 
               flowing to the right into the car park.

               CLOSE SHOT - GASOLINE

               flowing down to the car park.

               CLOSE SHOT - MELANIE

               through the window. She suddenly looks toward the gas station.

               MED. SHOT - THE CAMERA PANS

               along the flowing gas back to the station.

               CLOSEUP - MELANIE

               She turns back to the car park.

               FROM MELANIE'S VIEWPOINT

               We see the flow of gasoline trickling toward the car parked 
               below her. At this particular moment, a car has pulled up, 
               has come to a stop and a man emerges. He is in the act of 
               lighting his dead cigar, but his attention is drawn to the 
               happenings around the gas station. With this half-drawn 
               attention, he strikes the match and holds it to the cigar.

               CLOSEUP - MELANIE

               She quickly slides the window open and yells down to the 
               man.

               FROM MELANIE'S VIEWPOINT

               The man looks about him, holding the match I his fingers. As 
               he catches sight of Melanie, the match burns his finger and 
               he drops it.

               CLOSEUP - MELANIE

               Her horror-stricken face.

               FULL SHOT - THE PARKING AREA

               Three fast explosions in a row as the man's car, Mitch's 
               car, and the one next to it go up in flames.

               CLOSE SHOT - THE HORRIFIED FACE OF MELANIE

               TURNING TO SEE

               FULL SHOT - THE GAS STATION

               The line of flame running swiftly from the burning cars, 
               following the gasoline on the ground, directly to the pump, 
               which blows up as the men are jumping away with the injured 
               attendant.

               EXT. TIDES TOWN AND CAR PARK - MATTE SHOT

               A very high shot shows the beginning of the people of the 
               town rushing around the car park and the streets across the 
               highway, endeavoring to put out the two fires. We see 
               automobiles coming to a stop on Highway One, and the oil 
               smoke beginning to rise from the burning gas station and the 
               parked cars. Some men have managed to start a fire hose and 
               have trained it on the burning cars. Suddenly but slowly the 
               foreground in the sky just below the CAMERA begins to fill 
               with wheeling gulls. The whole picture below becomes 
               obliterated by the foreground birds who now begin to swoop 
               down on the town.

               EXT. TIDES TOWN

               A raking shot outside the Tides Restaurant showing the phone 
               booth and motel off in the background. People are rushing 
               out from the restaurant and look up in the sky. Gulls begin 
               to descend into the scene, driving the people back into the 
               restaurant. Melanie is seen in the distance calling for Mitch:

                                     MELANIE
                         Mitch...! Mitch!

               We see her look up to the sky.

               LONG SHOT - THE SKY

               The sky is full of seagulls.

               CLOSE SHOT - MELANIE

               Looking about her frantically. She turns her face up again 
               to see the descending gulls. She is driven to take refuge in 
               the phone booth.

               CLOSEUP - INSIDE THE PHONE BOOTH - MELANIE

               slams the door shut. Gulls are now beating at the glass all 
               around her.

               EXT. TIDES TOWN

               From Melanie's viewpoint inside the booth we see the people 
               who have been rushing to put out the fire now faced with 
               clouds of birds coming on them.

               CLOSEUP - MELANIE

               looking out in terrified alarm but still searching with her 
               eyes for Mitch.

               MED. SHOT - PEOPLE RUSHING FROM THE TIDES

               CLOSEUP - MELANIE

               in the phone booth. She turns and looks swiftly in the 
               direction of the car park.

               EXT. TIDES CAR PARK

               Some men have secured a hose and are obviously getting water 
               from the bay. They are turning the stream onto the burning 
               cars. At this time, the birds are filling the area around 
               them. They suddenly turn the hose up into the birds.

               CLOSEUP - MELANIE

               Her eyes turn up quickly.

               LONG SHOT - FROM HER VIEWPOINT

               We see the stream of water swing to and from among the birds.  
               Melanie turns back from this at the sound of a roaring car.

               EXT. TIDES TOWN - FROM HER VIEWPOINT

               We see a car zig zag down from the town in a drunken manner 
               coming toward her in the phone booth.  We can see birds flying 
               in and out of the windows of the car.  We can see the arm 
               and hand of the driver trying to beat them away. In the 
               background of this scene we see the fire truck arrive.

               CLOSEUP - THE HORRIFIED FACE OF MELANIE

               as the car comes toward her in the booth.

               EXT. TIDES TOWN

               At the last minute, the car swerves away from the booth.

               CLOSER SHOT

               A side view of the car after practically scraping the side 
               of the booth. We see that it's full of birds attacking the 
               driver. As it goes by, it near tilts over to inadvertently 
               give us a view of its interior.

               FLASH CLOSEUP - MELANIE

               watching the car.

               EXT. TIDES CAR PARK

               The car goes on and smashes into the other burning cars. It 
               explodes.

               CLOSEUP - MELANIE

               Suddenly she hears the firing of a gun. She turns.

               TIDES TOWN - LONG SHOT

               She sees a man with a gun shooting up at birds but to no 
               avail. One or two descend upon him. He throws the gun down 
               and rushes back into the Tides Office. Melanie, with a slight 
               turn, now sees:

               THE TIDES TOWN

               The fire volunteers with birds descending around them drop 
               their hose.

               CLOSER SHOT

               shows the hose snaking wildly and jumping. At one moment the 
               water turns and comes in a powerful stream hitting the windows 
               of the phone booth.

               CLOSEUP - MELANIE

               recoils from this water attack. Through the streaming window 
               she sees the fire volunteers rushing away for cover. To the 
               left we see a horse with its head covered with gulls; its 
               palomino-colored body covered with crows. It is bucking and 
               leaping and kicking its van to pieces.

               At this moment the scene is obliterated by the appearance of 
               a man groping his way closely past the phone booth windows.  
               His face is poring with blood: his head and shoulders are 
               covered with attacking birds. He disappears from sight.  
               Melanie, now almost in a faint, opens her eyes to see Tides 
               Town. Through the booth window she sees Mitch and Deke Carter, 
               the owner of the Tides, coming down toward the CAMERA and 
               waving the birds away from them with flailing arms.

               CLOSE SHOT - MELANIE

               opens the booth doors and starts out with a cry of 
               recognition, but she has barely stepped out when more gulls 
               crash around the booth causing her to go back.

               CLOSEUP - MELANIE IN PROFILE

               looking out again toward Mitch.

               EXT. TIDES TOWN

               Through window she sees Deke Carter run off in one direction 
               while Mitch suddenly sees a child at the window of the burning 
               building adjacent to the flaming and smoking gas station. 
               Mitch dashes across and goes up the short staircase into the 
               smoking building.

               CLOSEUP - MELANIE

               looking across in horror.

               LONG SHOT - THE BURNING BUILDING

               For a moment there is no sign of anyone about, then suddenly 
               Mitch appears with the small child at the window. He calls 
               down. One man dashes from the direction of the Tides Office, 
               another from the Tides Restaurant. They both wait below the 
               window as Mitch drops the child.

               FLASH - MELANIE

               watching this breathlessly.

               CLOSER SHOT

               The moment the child has dropped, Mitch suddenly looks up.  
               He slams the window as two or three birds crash into the 
               windows. They disappear into the building.

               CLOSEUP - MELANIE

               holding her breath.

               LONG SHOT - THE BURNING BUILDING

               No sign of Mitch.

               CLOSEUP - MELANIE

               getting more desperate.

               CLOSEUP - BUILDING

               No sign of Mitch. Suddenly a chair flies through the window 
               and Mitch climbs OUT and drops to the ground.

               CLOSE SHOT - MELANIE

               opening the door of the booth, yells out to him.

               LONG SHOT - MITCH

               sees her and starts running toward the booth.

               HIGH SHOT - MITCH

               beating his way through the birds. He reaches the booth.

               LOW SHOT

               close to the Tides Restaurant entrance. We see Mitch drag 
               Melanie from the phone booth and run with her toward the 
               CAMERA through the birds into the restaurant.

               INT. THE TIDES

               There must be at least twenty people all looking toward the 
               windows. It is as though they are hiding from a storm. The 
               CAMERA is high enough to see Melanie and Mitch COME IN, very 
               hurriedly close the door. We see the gulls wheeling outside.  
               There is a kind of stunned silence among the people. We can 
               hear the sound of the screaming gulls outside. Suddenly a 
               woman's voice SCREAMS out:

                                     WOMAN
                         Why are they doing it?! Why are they 
                         doing it...?!

               Some of the heads of the group turn.

               CLOSE SHOT

               It is the woman who had the two children screaming at Mrs.  
               Bundy who is seated in a booth table staring numb and 
               helpless. Mrs. Bundy turns and looks at her and mutters some 
               words.

                                     MRS. BUNDY
                              ([Mrs. Bundy offers a 
                              weak explanation of 
                              why the birds could 
                              have gone berserk 
                              like this. This 
                              information should 
                              be obtained from Dr. 
                              Stager.])

               CLOSE SHOT - MELANIE AND MITCH

               looking across at this slight scene. They turn back and over 
               their shoulders the gulls seem to be in much less quantity.

                                     MITCH
                              (looking up)
                         I think they're going.

               Melanie follows his look. At this moment there is a loud 
               CRASH OF GLASS. They turn their heads suddenly.

               MED. SHOT - FROM MITCH'S AND MELANIE'S VIEWPOINT

               And past the heads of the other people who have also turned, 
               we see one of the back windows of the Tides Restaurant has 
               gone and gulls are coming in. Two or three of the men who 
               are on the edge of the crowd turn and go back toward the 
               window, beating them out. They succeed in doing this.

               CLOSE SHOT - MELANIE AND MITCH

               They turn from the gulls in the restaurant to look to the 
               street.

                                     MITCH
                         I think it's safe to get out now.

                                     MELANIE
                         Don't let's take any chances.

                                     MITCH
                         We've got to get Cathy.

               They open the door and make their way out into the street, 
               running and looking about them desperately.

               EXT. BODIGA STREET

               There are one or two gulls flying around. Others are perched 
               on roofs as we see Mitch and Melanie dashing along the 
               sidewalk.

               EXT. BODIGA STREET

               There are still one or two gulls or crows in evidence as 
               they move along past the last street and come into the more 
               countrified part of the town.

               LONG SHOT - THE SCHOOL YARD

               We see them turn and dash up the road toward the school which 
               we see in the distance. There are some birds perched on the 
               school roof.

               SIDE-ON DOLLY SHOT - MELANIE AND MITCH

               going up the school road. He stops for a moment and looks 
               up, Melanie following his look.

               SKY SHOT - FULL

               of wheeling gulls.

               SIDE-ON CLOSE SHOT - THE TWO

               They move on and go past Melanie's waiting car outside the 
               school. Suddenly Melanie brings him to a halt.

               LONG SHOT - ANNIE'S HOUSE - FROM THEIR VIEWPOINT

               There are a few blackbirds on it.

                                     MELANIE'S VOICE
                         Look... the crows again.

               CLOSE SHOT - THE TWO

               Mitch starts off. Melanie restrains him.

                                     MELANIE
                         Careful, Mitch. The crows may be 
                         back in the play yard.

               CLOSE SHOT - THE TWO

               They advance cautiously. When they are level with the play 
               yard, we see what they see.

               MED. SHOT

               THE CAMERA DOLLIES along the play yard. It is again full of 
               crows.

               CLOSE SHOT

               They walk stealthily past.

               CLOSE SHOT

               CAMERA PANNING ALONG the waiting crows.

               CLOSE SHOT

               Shooting over the shoulders of Melanie and Mitch, they 
               approach Annie's house. Melanie glances apprehensively over 
               her shoulder toward the crows.

               EXT. ANNIE'S HOUSE

               Melanie and Mitch arrive. They come to a sudden stop.

               LONG SHOT - ANNIE'S HOUSE

               A woman is crumpled lifelessly on the front steps before the 
               door.

               MED. SHOT - MITCH

               He reaches the body. He rolls it over.

               QUICK CLOSE SHOT - ANNIE

               dead.

               QUICK CLOSE SHOT - MITCH

               The shock registering on his face.

               CLOSE SHOT - MELANIE

               realizing that Annie is dead, and wondering for a moment 
               what Mitch's reaction will be.

               MED. SHOT - MITCH - MELANIE'S P.O.V.

               He kneels silently by the body. Gently, he touches Annie's 
               face, and then gently and illogically takes off his jacket 
               and covers her, as if he is tucking a blanket around her to 
               keep her warm. He turns away then.

               MED. SHOT - THE WINDOW

               with its ROOM TO LET sign. Cathy is standing near the sign, 
               with her eyes peering at something outside.

               CLOSE SHOT - MITCH

               turning to follow Cathy's gaze.

               CLOSE SHOT - MIXED BIRDS

               Malevolent, sitting on the fence, the killers.

               FULL SHOT - THE ROAD

               As in fury, Mitch picks up stones and begins hurling them at 
               the birds. Melanie dashes forward.

                                     MELANIE
                              (as the birds flutter 
                              into the air)
                         Mitch! Don't!

               She runs to him, grabs his arm, struggles with him as he 
               maniacally continues hurling stones at the birds, who are 
               now hovering flight.

                                     MELANIE
                         Please! Get Cathy!  Let's get out of 
                         here!

               Her words reach him. Breathing heavily, he goes INTO the 
               house and COMES OUT carrying Cathy, who is dazed and in a 
               state of shock. The CAMERA PANS him over to Melanie who holds 
               Cathy to her.

               CLOSER THREE SHOT

               as Melanie looks anxiously toward the house.

                                     MELANIE
                         Mitch, you can't leave her out there.

               He GOES OUT OF PICTURE. Melanie watches him. Over her shoulder 
               is the white face of Cathy. We HEAR a DRAGGING SOUND and 
               then a door is CLOSED.

               MED. SHOT - MELANIE'S P.O.V.

               We see Mitch EMERGING from the house. The body is no longer 
               in the pathway. He comes toward the CAMERA.

               MED. SHOT

               He joins Melanie and Cathy. The CAMERA MOVES AHEAD of the 
               three of them as they silently make their way past the crows 
               once more, Melanie holding Cathy close to her. They look out 
               cautiously to the right.

               MED. SHOT

               CAMERA DOLLYING PAST the crows again.

               BACK TO THE DOLLY SHOT OF THE THREE

               They move forward stealthily, CAMERA AHEAD of them.

               MED. SHOT

               Another DOLLY SHOT past the crows.

               CLOSE SHOT - THE THREE

               The CAMERA is now behind them. They move away from us and go 
               toward the waiting car.

               MED. SHOT

               They arrive at the car.

                                     MELANIE
                         You drive, Mitch.

               She goes round the far side and gets into the car. Mitch 
               slips in behind the driver's seat. The car turns into the 
               CAMERA and goes down the school road.

               FULL SHOT - THE CAR - INTERIOR

               Mitch, Cathy and Melanie facing the CAMERA, tensely. Melanie 
               looks over her shoulder.

                                     MELANIE
                              (holding her breath)
                         I don't think they're coming.

               Cathy does not turn: she is staring ahead of her, her eyes 
               wide, her lip trembling. They drive in silence, and then 
               suddenly, Cathy begins speaking, almost as if to herself, as 
               the CAMERA COMES IN TIGHT on her face in shock.

                                     CATHY
                         On our way back from taking Michele 
                         home... we... we heard the explosion 
                         and went outside to... see what... 
                         what it was.
                              (pause)
                         All at once the... the birds were 
                         everywhere. All at once.  She... she 
                         pushed me inside and... they covered 
                         her.
                              (pause)
                         Annie.
                              (pause)
                         She pushed me inside.

               TWO SHOT - CATHY AND MELANIE

               as she takes the child in her arms to comfort her.

                                                                   DISSOLVE

               CLOSE SHOT - A LONE GULL flying low over the water, the CAMERA 
               TRACKING it. The bay is silent. The gull spreads its wings 
               to brake, and then sits on the water. The CAMERA continues 
               low over the water, going through thousands of gulls sitting 
               there patiently, as if it is threading itself through a crowd, 
               not a sound, over the gulls, and then lifting to show the 
               Brenner house in the distance.

               FULL SHOT - THE BRENNER HOUSE

               Behind the panes of glass, we can see the boards Mitch nailed 
               across the windows. He is on the roof now, testing the two 
               attic dormer windows. He turns to look out over the bay.

               LONG SHOT - THE BAY

               covered with sitting gulls. In the distance, the town is 
               still smoldering. But the sky is clear of birds.

               MED. SHOT - MITCH

               picking up his hammer, sliding over the shingles to where 
               the ladder leans against the side of the house.

               FULL SHOT - THE HOUSE

               as Mitch comes down the ladder and Melanie turns the corner, 
               carrying a load of driftwood and old lumber.

               TWO SHOT - MELANIE AND MITCH

               as she drops the wood outside the door and he joins her. She 
               is looking out over the bay when he comes to her. This is 
               not the Melanie we saw at the beginning of the picture. Her 
               hair is disarrayed, and her face and clothing are streaked 
               with soot. But beyond a surface physical appearance, there 
               is a weary wisdom in her eyes, and a strength to her as she 
               stands looking toward the distant smoldering town.

                                     MELANIE
                         The town looks clear.

                                     MITCH
                         The bay doesn't.

                                     MELANIE
                         How long have they been gathering 
                         there?

                                     MITCH
                         The past fifteen minutes.
                              (pause)
                         It seems to be a pattern, doesn't 
                         it? They strike and disappear, and 
                         then they start massing again.

               Melanie nods. They are both silent, watching the bay.

                                     MELANIE
                         I keep thinking of Annie.
                              (she squeezes her 
                              eyes shut)

                                     MITCH
                              (after a long pause)
                         It... it doesn't look very different, 
                         does it? A little smoke over the 
                         town, but otherwise...

                                     MELANIE
                              (looking)
                         Even the birds sitting out there.  
                         It does look very much the same, 
                         Mitch. This could be last week.

                                     MITCH
                         It may not be last week again for a 
                         long long time.

               They are both silent.

                                     MELANIE
                         Look. They're still coming.

               Mitch nods. Silence.

                                     MITCH
                         Do you want to try your father again?
                              (Melanie shakes her 
                              head.  Puzzled, Mitch 
                              looks at her)

                                     MELANIE
                         I tried a little while ago. The 
                         phone's dead.

                                     MITCH
                         Have we still got power?

                                     MELANIE
                         Yes.
                              (leaning against him)
                         I'm tired, Mitch. I'm so very very 
                         tired.

                                     LYDIA (O.S.)
                         Mitch! I'm getting something on the 
                         radio!

               INT. THE LIVING ROOM - FULL SHOT

               Lydia is hovering near the radio. Cathy is sitting on a 
               footstool. The windows are boarded, and the lights in the 
               room are on. A tremendous amount of static is coming from 
               the radio as Mitch and Melanie join them

                                     LYDIA
                         I can't get any of the local stations.  
                         I think this is San Francisco.

                                     ANNOUNCER
                         ...would include formulation of a 
                         central financing committee to handle 
                         credit and to allocate responsibility 
                         for the various facets of the project. 
                         A vote on the motion is expected 
                         early tomorrow morning.

               TWO SHOT - MELANIE AND MITCH

               listening.

                                     ANNOUNCER
                         Continuing with the local news, police 
                         are still investigating the series 
                         of valuable jade burglaries in the 
                         Chinatown area. The round-up of known 
                         criminals has not as yet produced a 
                         suspect, but Commissioner Nelson 
                         said today he was certain the 
                         burglaries were quote linked and the 
                         work of the team of professionals 
                         unquote.
                              (pause)
                         In Bodega Bay early this morning, a 
                         large flock of crows attacked a group 
                         of children who were leaving the 
                         school during a fire drill. One little 
                         girl was seriously injured and taken 
                         to the hospital in Santa Rosa, but 
                         the majority of children reached 
                         safety in the town.
                              (pause)
                         On the national scene today, the 
                         opening of the new session of Congress 
                         was marked by a State of the Union 
                         address that...

                                     MITCH
                         Is that all?

                                     ANNOUNCER (O.S.)
                         ...drew a standing ovation for the 
                         President. The Chief Executive, in 
                         discussing our relation to Europe 
                         and the rest of the world community 
                         said: "These various elements of our 
                         foreign policy lead as I have said 
                         to a single goal --

                                     MITCH
                              (sighing)
                         We're going to need more wood for 
                         the fire. We can't let it go out.

                                     ANNOUNCER
                              (continuing as drone 
                              in background)
                         The goal of a peaceful world of free 
                         and independent states.  This is our 
                         guide for the present and our vision 
                         for the future -- a free community 
                         of nations, independent but 
                         interdependent, uniting north and 
                         south, east and west, in one great 
                         family of man, outgrowing and 
                         transcending the hates and fears 
                         that rend our age.  We will not reach 
                         that goal today or tomorrow.  We may 
                         not reach it in our lifetime.  But 
                         the quest is the great adventure of 
                         our century.  We sometimes chafe at 
                         the burdens of our obligations, the 
                         complexity of our decisions, the 
                         agony of our choices, but there is 
                         no comfort or security for us in 
                         evasion, no solution in abdication, 
                         no relief in irresponsibility.
                              (pause)
                         In assuming the tasks of the 
                         Presidency, I said that few 
                         generations, in all history, had 
                         been granted the role of being the 
                         great defender of freedom in its 
                         hour of maximum danger.  This is our 
                         good fortune, and I welcome it now 
                         as I did when I first took office.
                              (pause)
                         For it is the fate of this generation -- 
                         Of you in the Congress and of me as 
                         President -- to live with a struggle 
                         we did not start, in a world we did -
                         not make. But the pressures of life 
                         are not always distributed by choice. 
                         And while no nation has ever faced 
                         such a challenge, no nation has ever 
                         been ready to seize the burden and 
                         the glory of...

                                     LYDIA
                              (pause)
                         Did you you get the windows in the 
                         attic, Mitch?

                                     MITCH
                          I got them all, Mother.

                                     LYDIA
                         When do you think they'll come?

                                     MITCH
                         I don't know.

                                     LYDIA
                         If there are... larger birds, Mitch... 
                         they'll get into the house.

                                     MITCH
                         That's a chance we have to take.

                                     LYDIA
                         Maybe we ought to leave.

                                     MITCH
                         Not now.  Not while they're massing 
                         out there.

                                     LYDIA
                         When? 

                                     MITCH
                         I don't know when.  We'll see what...

                                     LYDIA
                         Where will we go?

                                     MITCH
                         I don't know yet.  I think we'll be 
                         safe here.
                              (Pause)
                         Let's bring that wood in.

                                     LYDIA
                         What happens when we run out of wood?

               Music begins to play.  The music is sweet, with violins and 
               long piano arpeggios, almost too much to bear against the 
               tension being played in front of it.

                                     MITCH
                         I don't know. We'll break up the 
                         furni...

                                     LYDIA
                              (shouting)
                         You don't know, you don't know!  
                         When will you know? When we're all 
                         dead? Like Annie?

                                     CATHY
                              (shrieking it, her 
                              face white)
                         Mother!

                                     LYDIA
                              (at Mitch)
                         If your father were here...

                                     MITCH
                              (sharply)
                         Mother! I'm trying my best!
                              (shaking his head)
                         I'm... trying... my...

                                     LYDIA
                              (trembling, nodding)
                         I'm sorry, Mitch.

               CLOSE SHOT - MITCH

               the strain showing on his face. He nods briefly.

                                     MITCH
                         Let's get the wood. Why don't you 
                         make us all some coffee, Mother?

               FULL SHOT - HOUSE

               as Melanie and Mitch come out and head for the pile of wood.  
               There is a NOISE in the sky. Startled, glancing upward, they 
               begin to run back toward the house and then stop and slowly 
               scan the sky.

               FULL SHOT - ENORMOUS FLOCK OF BIRDS

               flying in tight formation.

               TWO SHOT - MELANIE AND MITCH

                                     MELANIE
                         Where are they heading?

                                     MITCH
                         Inland.

                                     MELANIE
                         Santa Rosa?

                                     MITCH
                         Maybe.

               CLOSE SHOT - MELANIE

               watching the birds. A look of utter sadness crosses her face. 
               It is clear that she is thinking the birds will reach Santa 
               Rosa, and eventually San Francisco as well.

                                     MITCH (O.S.)
                              (gently)
                         Come on. Let's get this wood in.

               Melanie nods. But the look of sadness stays on her face, and 
               her eyes remain on the sky.

                                                                   DISSOLVE

               FULL SHOT - THE LIVING ROOM

               Lydia is pouring coffee into cups. In the dining room, we 
               can HEAR the CHATTER of the lovebirds. As Lydia pours the 
               sound distracts her. Cathy is sorting candles at the couch.  
               There is evidence of preparation everywhere: flashlights, 
               kerosene lamps, a butane burner. Mitch is at the fireplace 
               putting more wood on the fire. Melanie comes into the room 
               and dumps another load.

                                     MELANIE
                         That's the last of it.

                                     LYDIA
                         Did you close the door?

                                     MELANIE
                         And locked it.

                                     CATHY
                         Mitch, can I bring the lovebirds in 
                         here?

                                     LYDIA
                              (snapping it)
                         No!

                                     CATHY
                         Mom, they're in a cage!

                                     LYDIA
                         They're birds!

               CLOSE SHOT - MITCH

               studying his mother, realizing how close she is to breaking.

                                     MITCH
                              (softly)
                         Let them stay in the other room.

               CLOSE SHOT - LYDIA

               her hand trembling as she pours the coffee.

               FULL SHOT - THE ROOM

               as they all sit and accept their coffee. The room is silent 
               except for the CRACKLE of the fire. Mitch rises to put more 
               wood on the fire. In the dining room, the lovebirds still 
               are CHATTERING wildly. Their chirping is the only sound in 
               the house.

                                     CATHY
                         Mitch? Why are they doing this?  The 
                         birds.

                                     MITCH
                              (putting wood on fire)
                         I don't know, honey.

                                     CATHY
                         Why are they trying to kill people?

                                     MITCH
                         I wish I could say. But if I could 
                         answer that, I could also tell you 
                         why people are trying to kill people.

               The room is silent again except for the TWEETING of the 
               lovebirds offscreen. And then, suddenly, the lovebirds fall 
               silent.

               CLOSE SHOT - CATHY

               turning to look toward the other room, her face going white, 
               her eyes widening.

               CLOSE SHOT - MELANIE

               waiting.

               CLOSE SHOT - LYDIA

               waiting.

               CLOSE SHOT - MITCH

               waiting.

               FULL SHOT - THE ROOM

               dead silent now. Each of them is sitting on the edges of 
               their chairs, waiting. There is the SUDDEN SOUND of 
               splintering glass.

                                     LYDIA
                         Mitch...

                                     MITCH
                         Shhh. Shhh.

               Silence. Into the silence, another pane of glass, SHATTERING, 
               the THUD of a bird against the boards. Silence.  More panes 
               of glass SHATTERING. The SOUND of birds striking the boards 
               and the outside of the house begins building, almost like 
               muffled drumbeats. THUD, THUD, with an irregularity of rhythm. 
               Interspersed, like the counterpoint in an alien orchestration, 
               is the FLUTTER of wings. And then, like another section 
               entering, we begin to hear the SCRATCHING and CLAWING at the 
               roof.

               CLOSE SHOT - LYDIA

               looking up toward the roof, the SOUND getting louder. She 
               squeezes her eyes shut.

               TWO SHOT - CATHY AND MELANIE

               as the child cuddles up into her arms. Over the other sounds, 
               there comes a NEW SOUND, the unmistakable rat-tat-tat-tattat

               of a woodpecker. It stops. It begins again. Rat-tat-tat tattat-
               tat. Tat-

                                     CATHY
                              (in terror)
                         I'm... I'm sick, Melanie. I want.. I 
                         want to throw...

               Her face pale, she rises suddenly and starts for the bathroom.

                                     MELANIE
                         I'll go with you.

               They leave the room. Mitch and Lydia sit in silence. We HEAR 
               Cathy retching offscreen, almost drowned out by the shuffling 
               of wings and the rasping of claws, the incessant thudding of 
               birds striking the house.

               FULL SHOT - THE ROOM

               Mitch rises and puts more wood on the fire. The SOUND of the 
               birds is still everywhere around the house. He looks at his 
               watch. He rises, walks into the kitchen to check the back 
               door. It seems all right. The CAMERA FOLLOWS him into the 
               dining room. He stops at the cage with the lovebirds.

               CLOSE SHOT - THE LOVEBIRDS

               watching him. Is there menace or innocence in their eyes?  
               He cannot tell.

               CLOSE SHOT - MITCH

               looking at the lovebirds in puzzlement. There is suddenly a 
               NEW SOUND offscreen, the splintering of wood, the tearing 
               sound of bigger beaks. Alarmed, he turns.

               MED. SHOT - MITCH

               coming into the entry hall.

               CLOSE SHOT - THE FRONT DOOR

               The wood is beginning to splinter as the bigger birds outside 
               assail the door.

               FULL SHOT - MITCH

               turning quickly, the CAMERA FOLLOWING him into the dining 
               room. He pulls the cloth off the table, begins moving it 
               toward the door. In the entry, he lifts the table on end and 
               piles it against the door. He goes into the kitchen again, 
               CAMERA FOLLOWING. He upends the enamel-topped table, drags 
               it to the back door. He is piling chairs against the table 
               when Melanie COMES IN. She looks at what he is doing with 
               alarm. Mitch looks in the direction of where his mother is 
               and then back to Melanie, with an expression almost of 
               desperation. Both turn back to the barricaded door. The 
               CLAWING and the PECKING fills the void. The noise is a din 
               now, insidious and increasingly more frightening.

                                     MELANIE
                         When will they stop?

                                     MITCH
                         I thought they'd have stopped by 
                         now.

                                     MELANIE
                         What time is it?

                                     MITCH
                         Almost two a.m.

                                     MELANIE
                         You must be exhausted.

                                     MITCH
                         How about you?

               She shakes her head. They both move into the dining room, 
               the CAMERA FOLLOWING THEM. The lovebirds are sitting in their 
               cage, close together, silent. Mitch picks up a chair, ready 
               to carry it to the front door. He hesitates, puts down the 
               chair, goes to the cage.

               CLOSE SHOT - MITCH

               looking at the birds, wondering.

               CLOSE SHOT - THE BIRDS

               looking back at him. Again, it is impossible to read their 
               expressions. Malice or benevolence?

               MED. SHOT - MITCH

               He raises his hand, brings it toward the bars of the cage.

               CLOSE SHOT - THE BIRDS

               watching, unmoving.

               CLOSE SHOT - MITCH'S FINGER

               as he thrusts it through the bars. The birds sit unmoving.  
               One of them tweets.

               TWO SHOT - MELANIE AND MITCH

                                     MITCH
                         I wonder if Cathy fed them.

               He turns away from her, goes to the cupboard, opens the door, 
               takes out a small box of bird feed.

               CLOSE SHOT - THE CAGE

               as his hand approaches the door. The birds are watching him.  
               His hand hesitates. Then his thumb and forefinger lift the 
               small catch on the cage door. His fingers open the door.  
               Cautiously, in TIGHT CLOSEUP, his hand goes into the cage.  
               The birds sit and watch. One of them tweets. He removes the 
               small feeding tray, puts the bird seed into it, replaces it 
               in the cage. The birds hesitate another moment. Then, 
               tweeting, they begin to eat.

               FULL SHOT - THE DINING ROOM

               as Mitch closes the door to the cage. Melanie is slumped 
               against the wall. He goes to her and takes her in his arms.  
               Wearily, she raises her head. The SOUND of the shuffling, 
               pecking, clawing birds is everywhere around them.

                                     MITCH
                              (holding her)
                         You should have left when you wanted 
                         to.

               She shakes her head.

                                     MITCH
                         You'd have been safe in San Francisco.

                                     MELANIE
                         I don't want to be safe. I want to 
                         be with you.

               There is something pathetically comic about her voice, like 
               a small child's, confused but defiant. Holding her close, 
               Mitch laughs, and she laughs with him. Exhausted, they stand 
               in each other's arms, laughing in that weary, silly, dead of 
               night sort of way. And suddenly... The lights go out.

                                     MITCH
                              (in the darkness)
                         The power.

                                     MELANIE
                         Mitch...

                                     MITCH
                         Wait here. Don't move.

               The screen is totally black for perhaps five seconds. In the 
               blackness, we HEAR the birds clawing and ripping, and the 
               SOUND is enormously MAGNIFIED. A flashlight suddenly goes 
               on.

               TWO SHOT - MELANIE AND MITCH

               as he comes to her with the flash. We see them only dimly as 
               he directs the beam upwards.

                                     MITCH
                         We'd better light some of those lamps.

                                     MELANIE
                         No... wait.
                              (pause)
                         Hold me.

               In the near darkness, we see them embrace and kiss. It is 
               almost black in the room except for the strange effect of 
               the flashlight as he holds it behind her.

                                     MITCH
                         I think they're easing off.

                                                                   DISSOLVE

               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