The Birds Page #2

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.

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