Text / (United States) Yi Hunter
translation / Lin Ruiyi
1. (Fade in) close-up. EXTERIOR, SKY, DAY During
the opening credits, silhouettes of birds flying in groups from left to right are superimposed, while birdsong and the beating of their wings are heard. The chirping of the birds grew weaker and stronger until the subtitles were over.
(Fade Out)
2. (Fade In) Pan the panorama. EXT, SAN FRANCISCO, GRANT AVENUE, DAY
The camera is on a bustling street scene, with the trolley moving out of the frame from right to left in the foreground. Melanie Daniels stood on the corner. She crossed the road and stopped on the sidewalk, looking to the right outside the painting.
3. Take the panorama from Melanie's point of view. Birds circled over the city.
4. Panorama. EXT. Davidson's Pet Store
Melanie looks at the birds in the distance. The camera zooms in and she turns around and walks into the store. Meanwhile, Hitchcock emerges from the store with two white dogs on a leash, out of the frame from the left foreground. Hear the chirping sounds of various animals in the pet store.
5-6. Pan to shoot panorama. DAVIDSON PET STORE - DAY
CAMERA OVERLOOKED FROM 2nd Floor Lobby, Pan and Pull Melanie to the top of the stairs. She went up the stairs and went straight to Mrs. McGruder behind the counter.
Melanie: Hello, Mrs. McGruder.
Mrs. McGruder: Oh, hello, Miss Daniels.
Melanie: Have you ever seen so many seagulls before? (Close-up, she is standing at the counter facing Mrs. McGruder and begins to take off her gloves) What do you think is going on?
Mrs. McGruder: Oh, there must be a storm at sea. You know, that will drive the seagulls ashore.
7-11. The following is a series of double close-ups of cross-counters.
Mrs. McGruder: I was hoping you'd come a little later, you see, it's not here yet.
Melanie: Oh, but you said three o'clock.
Mrs. McGruder: Oh, I know...I know! I've been on the phone all morning. Yo Miss Daniels, you can't imagine it! They're so hard to find, we've got to get them in India while they're chicks... (cut to close-up of Melanie listening, offscreen).
Melanie: Well, this one isn't going to be a chick, is it?
12-19. Below is a series of close-ups of their cross-fights.
Mrs. McGruder: Oh, of course not. Oh no, of course not! This is just a fully grown myna bird... (off-screen) grown up bird.
Melanie: Does it speak?
Mrs. McGruder: Oh, it will, of course it will say... oh no, you're going to teach it to say... (off-screen) Oh my... (on-screen) I think, I should call . They said three o'clock. Maybe it's a traffic jam... (Voiceover) I have to make a phone call. Can you wait a moment?
Melanie: Well, maybe it's better to send it from you. I'll leave you an address.
Mrs. McGruder (removing a notebook from under the counter): Oh, yes, yes...but I'm sure they're on their way...
20. Close-up. Pass over Mrs. McGruder and shoot Melanie, who begins to take off her left glove.
Mrs. McGruder: Uh, don't you mind if I call?
Melanie: It's alright, let's fight, but...
as she took off her gloves, Mrs. McGruder came out of the foreground. The camera pans down as Melanie picks up a pencil and begins to write.
21. High-angle panning. Mickey Brenner appears in front of the store from a bird's-eye view from the lobby. He entered the store and glanced around. The camera pans down as he walks to the top of the stairs, then pans up as he ascends the stairs, reaches the lobby, and walks to the foreground for a close-up. He looked to the right outside the foreground painting.
22. Take a panorama from Mickey's point of view. Melanie is standing at the counter writing, looking to the left foreground.
Mickey (VO): I wonder if you can do me a favor?
Melanie: What?
23. Close-up. Mickey.
Mitch: I mean, I wonder if you could do me a favor?
24. Pan shot close-up. Melanie straightened up into the frame. The camera pulls her to the foreground.
Melanie: Okay, what are you going to buy, sir?
25. Close-up. As Melanie comes into the foreground, the camera goes over her shoulder, mainly towards Mickey.
Mickey: Love birds.
26-30. The following is a series of close-ups of two cross-plays.
Melanie: Lovebirds, sir?
Mitch: Yes. I know there are many different varieties, right?
Melanie: Oh, yes, there are many.
Mitch: Oh, it was for my sister, for her birthday, you see, and… er… she’s eleven, and I… I don’t want a pair of… too emotional birds.
Melanie: I totally get it, sir.
Mickey: Same... At the same time, I don't want to be too cold and unsympathetic.
Melanie: Of course not like that.
Mickey: Do you happen to have a pair of birds that are just... friendly?
Melanie: Oh, I think so... Now, let me see.
31. Medium close-up. Mickey turned to Melanie. She is pondering. The camera pans her past some bird cages and into the foreground. Mickey followed her to the left foreground, pointing to the front left outside the painting.
Mickey: Are those lovebirds?
32. Medium Panorama. Shot from Mickey's point of view. There are several reddish garudas in a large bird cage.
33. Close-up. Melanie.
Melanie: No, those are... er... red birds.
Mickey (off-screen): Oh? I thought it was a reddish garuda.
The camera pans as Melanie walks to the cage and stops, Mickey enters the frame from the left foreground, and the camera goes over his shoulder to focus on Melanie.
Melanie: Oh yes, that's what we call them...here! Lovebirds!
34-40. The following is a series of close-ups of two cross-plays.
Mickey: Those are canaries. Don't you think this makes you feel bad?
Melanie: What makes me feel...?
Mickey: To keep all these poor, little, innocent lives in cages like this?
Melanie: Ah, you know, we can't let them fly around the store.
Mickey: Well, no, I don't think so...is there an ornithological basis...for keeping them separate cages?
Melanie: Oh, of course. This protects the bird species.
Mitch: Yeah, I think that's important...especially during moulting season.
Melanie: It was a particularly dangerous time.
Mickey: Are they moulting now?
Melanie: Hmm, some are changing.
Mitch: How can you tell?
41. Close-up. The camera shoots them both from the side. Melanie paced along the cage, Mickey followed her, and when she stopped in front of a small cage, he went to the right, with the bird cage between them.
Melanie: Well, they look a little downcast.
Mickey: Yeah, I get it...well, how about those lovebirds?
Melanie: Don't you like seeing canary birds? We have some really nice canary birds this week.
She smiled sweetly.
MICKEY (laughing back, and holding out a hand): Well… well, can I take a look? Please.
42. Feature. Melanie put a pencil in her hair, reached into the cage, struggled for a moment, and finally got a canary bird, but missed it, and the bird flew off to the right.
Melanie: Oh! Oh!
43. Pan mid shot. He patted the ceiling, and the golden bird flew away from Melanie's outstretched hand outside the picture. medium panorama. Mickey also looked up as Melanie reached up to catch the bird. Mrs. McGruder entered the background and went straight to the counter.
Mrs. McGruder: Oh, what's the matter? Oh! Oh---!
44. Medium Shot. The canary is flying around the ceiling, and Mrs. McGruder's hand reaches into the frame to catch the canary along with Melanie's.
Mrs. McGruder (V.O.): … oh
45. Close-up. Mickey turned and looked up, then to the outer right of the foreground.
46. Close-up. Melanie and Mrs. McGruder reached for the bird, but missed.
Melanie: Oh!
47. Medium Shot. Canary flies off to the right as Melanie and Mrs McGruder's hands reach into the frame.
48. Close-up. Mickey looked at the two women and birds outside the painting, trying to help but couldn't.
Mrs. McGruder (voice-over): Oh! ……Oh!
49-51. Close Shot/Medium Shot. Merlin and Mrs. McGruder went up and caught the bird, and the bird fled left and right. The two women turned and looked out of the picture.
52. Medium Panorama. The camera is facing the ashtray on the counter, and the golden bird flew into the frame from the left and stood in the ashtray.
53. Close-up. Mickey sets out to help. The camera pans his hand to pick up the hat and buckle it on the ashtray. He held the hat with one hand and reached under the hat with the other for the canary.
Mickey (off-screen): Got it!
54. Medium close-up. Melanie and Mrs McGruder were both relieved to react to the off-screen.
Mrs. McGruder: Oh, that's great!
Melanie: Alright.
Mrs. McGruder: Awesome!
55. Pan the close-up. Shot of Mickey grabbing the bird's hand, the camera pans up and pans to frame Mickey as he walks to the cage with the bird and puts it in.
Mickey: Go back to your gilded cage! Melanie Daniels!
56. Close-up. Melanie's face turned pale, and she folded her arms across her chest.
Melanie: What are you talking about?
57. Pan shot close-up. Mickey picked up his hat and walked up to Mrs. McGruder and Melanie, who removed the pencil in her hair.
Mitch: I just drew a parallel line, Miss Daniels.
Melanie: But how did you know my name?
Mrs. McGruder walks out of the picture from the right, Mickey starts to walk to the left, he bows to Melanie, then bows to Mrs. McGruder, who is off-screen, and then walks over to Melanie.
Mickey: A little bird told me. Goodbye Miss Daniels...Mrs.
Melanie: Hi, wait a minute! ...I don't know you!
58. Close-up. Slap Mickey over Melanie's shoulder.
Mitch: Ah, but I know you.
Melanie: How did you meet?
Mitch: We met in court.
59-60. Feature. Melanie.
Melanie: We never met in court or anywhere.
Mickey (off-screen): Uh, it's true... I... (cuts to a close-up shot of Mickey over Melanie. Inside) To be clear, I've seen you in court.
61-62. Feature. Melanie.
Melanie: When.
Mickey (off-screen): Remember one of your pranks that ended up smashing... (Cuts to a close-up shot of Mickey over Melanie. Inside) Broken a glass window?
63-64. Feature. Melanie.
Melanie: I didn't smash that glass window!
Mickey (voice-over): Yes. (Cuts to a close-up shot of Mickey over Melanie. Inside) But your little prank broke it. The judge should put you in jail!
65. Feature. Melanie.
Melanie: What do you do... police?
MICKEY (voice-over): I just believe in the law, Miss Daniels. (Cut to a close-up shot of Mickey over Melanie. Inside) ... Besides, I'm not a big fan of pranksters.
66-67. Feature. Melanie.
Melanie: Oh, what's your lovebird story... (cuts to a close-up shot of Mickey over Melanie) If it wasn't a prank...
Mickey: Oh, I really want lovebirds.
68-70. Feature. Melanie.
Melanie: Ah, you knew I didn't work here! You deliberately...
MICKEY (VO): That's right! I recognized you as soon as I walked in... (Cut to a close-up shot of Mickey over Melanie. Inside the picture) Just I thought you might like to know what the tricked party would be like... (Cut to Melanie's Close-up. Off-screen) What do you think?
Melanie: I don't think you're welcome.
71-72. Close-up. The camera goes over Melanie to shoot Mickey.
Mickey: I am! Goodbye Miss Daniels...Mrs. (He bows to Melanie, then to Mrs. McGruder off-screen, then walks off screen)
Melanie (turns to stare at his back): I'm glad you didn't find your lovebird!
When she said the last word, the camera panned Mickey to the background (medium close-up) and past the birdcage in the foreground to the stairs, saying as he walked--
Mickey: Ah, I'll find something else! See you in court!
73. A close-up shot in the pan. The camera zooms in as Melanie turns to Mrs. McGruder, who is writing on the counter.
Melanie: Who is this person? (turns to look out of frame, zooming to close-up of her staring)
Mrs. McGruder: I had no idea!
74. High-angle panning. Melanie ran to the top of the stairs and hurried downstairs. She walks to the door of the store in the background.
75. Medium close-up. Store door. Melanie ran to the foreground and looked out, then looked down.
Close-up shot from Melanie's point of view: car license plate with "WJH003" on it. The car was about to drive away and was partially blocked by a pedestrian. He drew from the front left, panned to the panorama and stopped, seeing the traffic in the background of the car driving.
76. A close-up shot in the pan. DAVIDSON PET STORE - DURING THE DAY
Hearing the murmur of various animals in the pet store, Melanie is still staring at the car that has left the screen, reciting the number on the license plate, and walking to the counter in the background. The camera follows and zooms in. She picked up the pen and wrote.
77-79. Panorama shot upside down. Mrs. McGruder was by the railing in the hall.
Mrs. McGruder: They say the myna bird... (Cuts to Melanie's mid-close-up, she straightens up and looks up at Mrs. McGruder off-screen. Off-screen) This afternoon, if... (Cuts in Panorama, upside-down shot of Mrs. McGruder. Inside) if you'd like to come back.
80-82. Close-up. Melanie.
Melanie: No, you'd better send it. Can I use this phone?
Mrs. McGruder (voice-over): Why not, of course.
Melanie (turns to phone, dials): Uh, the Daily News? ...I'm Melanie Daniels. Would you please give me the interview department? Oh, wait a minute... (cut to panorama upside down. Mrs. McGruder is waiting. Off screen) Mrs. McGruder... (cut to close-up of Melanie's phone call) Hey, Charlie... Melanie . Please do me a favor... no, it's a small thing this time... forcing you? Yo, Charlie, honey, how can I force you? ...can you give me a call to the motor traffic department and find out whose license plate "WJH003" is? Yes, it's a California license plate, (she turns to the phone, then to the foreground)... no, I'll bend over to you in a minute. Is Dad in the office? ...No, I don't want to interrupt the meeting. Tell him I'll see him later...Thank you, Charlie...(She hangs up, looking up at Mrs McGruder, who is off-screen, smiling) Do you have lovebirds?
83. Shoot the panorama upside down. Mrs. McGruder was in the hall.
Mrs. McGruder: Ah, no, not in the store. (off-screen) But I can place an order for you.
84. Feature. Melanie laughed to herself.
Melanie: What's the fastest time?
Mrs. McGruder (voice-over): Uh… uh, when do you want it?
Melanie: Soon.
Mrs. McGruder (voice-over): Oh, I probably won't get here until tomorrow morning. Will that work?
Melanie: That's right!
(fade out)
85. (fade in) Pan the camera. MICKEY'S HOUSE - DAY The
camera is on the street looking up at the door and sees Melanie's feet coming into the foreground, holding a birdcage in which a pair of lovebirds are chirping. She walks through the foyer and into the elevator, panning again to the bird, then to the leg of a man on the left (heard the elevator door closing). The camera pans up from the man's body to his face, his eyes fixed on the bird outside the painting, and then to Melanie to the right of the painting. (Hears the whine of the elevator as it starts) The camera moves to the right, and he comes out of the picture, and Melanie is in close-up.
86. Pan the close-up. INTERNATIONAL SCREEN - CORNER - DAY
The sound of an elevator door opening is heard. The camera pans to the birdcage and Melanie's legs as she exits the elevator to the hallway. She stopped, and as she walked forward, the camera pulled back.
87. Pan shot close-up. Hear the elevator door closing. The man stepped out of the elevator and pulled the camera back to see him walking forward, looking at Melanie outside the painting.
88-89. Shifting close-up shots. The camera pulls Melanie forward. Cut to the pull shot of the man walking and casting a wary look at Melanie who is outside the picture.
90. Medium close-up. The camera pans with Melanie to the door, pans down as she places the birdcage on the ground at the door, crouches down and takes out the envelope from her bag.
91. Insert close-ups. Melanie's hand leaves the frame and we see that she has placed an envelope on the birdcage that reads: "To Mr. Mitch Brenner".
92. Medium Panorama. The man stands in the foreground on the right, watching Melanie stand up and start walking towards the background.
Man: Miss...is this for Mr. Mitch Brenner?
Melanie (stops, looking to the foreground): Yes.
93-101. Here is a series of close-up shots of the two of them in cross-play.
Man (looking at Melanie off-screen): He's not home.
Melanie (off-screen): Oh, that's okay.
Man: Well, he won't be back until Monday... (cuts to Melanie to look at the man off-screen. Off-screen) I mean, if those birds were for him.
Melanie (turns to foreground. She moves to foreground, hands in mink coat pockets): Monday?
Man (off-screen): Yes. I thought, you can't leave them in the aisle, can you?
Melanie: Um...where did he go?
Man (standing in front of his own house): Baodiga Bay. He goes every weekend.
Melanie: Paul Dier Bay? Where?
Man: Walk along the coast, about sixty miles from here.
Melanie (confused) Sixty miles... oh!
Man (voice-over): It takes one and a half hours to walk from the highway, and two hours to take the seaside road.
Melanie: Oh.
Man (looking at Melanie off-screen): I'd rather take care of them, (off-screen)...but I have to go out too, (on-screen) I'm very sorry. (He looks at the birdcage outside the painting and turns to face the door)
102. Close-up. Melanie looked down at the bird outside the painting, thoughtfully. There was a sound of the door unlocking outside the picture.
103. Close-up. MELANIE'S CAR - DAY The
camera is on the lovebirds in the birdcage, next to Melanie's foot on the gas pedal. The car made a screeching noise.
104. Close-up. Melanie drove to the foreground, the tires screeching from the brakes.
105. Panorama from Melanie's point of view. From the windshield, the car is seen turning a corner towards the winding road in the rear view.
106. Close-up. Love birds in a cage. When the car made a turn, they headed left and right at Melanie's feet and listened.
107. Overlooking the distant view. BEAUDIGA BAY - DAY
Melanie's car drives on the highway to the right side of the back view bay before pulling out of frame.
108. Vision. The camera is facing the avenue, and I see Melanie stepping up the accelerator, driving from the left background to the foreground, out of the picture.
109-111. Close-up. MELANIE'S CAR, DURING THE DAY
. Overlooking Melanie, stepping up the accelerator and speeding towards the bay in the background. Hear the sound of the machine added to block (close-up)
112. Long-range. EXTERNAL, BAUDIGA BAY, DURING THE DAY
Melanie drives her sports car straight to the background, seeing the residents of the town and the surrounding vehicles shuttle. She parked the car in front of the post office.
113. Panorama. EXT - POST OFFICE - DAY
Melanie brakes and emerges from the carriage (heard footsteps), trimming her hair as she ascends the steps in front of the post office in the rear scene.
114. Medium Panorama. Pan the camera. POST OFFICE - DAY
The door opens and the doorbell dings. Melanie entered the doors of the store and post office that were full of goods. The camera pans with her past the customer and straight to the post office clerk behind the railing.
115-116. Close-up. Melanie in the left foreground and the post office clerk behind the counter rail (right foreground) sorting letters.
Melanie: Good morning.
Clerk: Good morning.
Melanie: Can you help?
Clerk: I do my best... (off-screen door and bell. Cut to close-up of Melanie smiling as she looks at off-screen clerk. Off-screen) to serve.
Melanie: I'm looking for a guy named Mitch Brenner.
Clerk (off-screen): Yes.
Melanie: Do you know him?
Clerk (off-screen): I know.
Melanie: Where does he live?
Clerk (V.O.): Right here, Bodega Bay.
Melanie: Oh yes, I know...but where?
117. Close-up. The camera passes over Melanie to shoot the clerk, who is looking to the left outside the painting.
Clerk: Just across the bay.
Melanie: Where?
The clerk put down the letter and started walking to the right.
118. Close-up. The camera passes the clerk as he walks out of the left foreground, over the railing to shoot Melanie turning and following him to the door in the background.
119. Medium close-up. EXT - POST OFFICE - DAY
The clerk opens the door and tells Melanie to go out first, then to the front porch, close the door, and point to the front left outside the painting.
Clerk: See where I'm pointing now?
Melanie: I see.
120. Take a long shot from Melanie's point of view. A road leading to the lakefront, across the bay you can see the other side.
Clerk (off-screen): Did you see the two naked trees over there?
Melanie (voice-over): You mean across the bay? saw.
Clerk (off-screen): And that white house?
Melanie (V.O.): I see.
Clerk (V.O.): That's where the Brenners live.
121. Closeup. Melanie turned to the foreground.
Melanie: The Brenners? Is that Mr. and Mrs. Brenner?
Clerk (off-screen): Uh... no, just Lydia and two kids.
Melanie: Two kids?
122-132. The following is a series of close-ups of cross-fights between the duo.
Clerk (looking left): Yeah...Mickey and the little girl.
Melanie (knowingly): Well, I see! How do I get there?
Clerk (outside the picture): Well, you follow the main road (inside the picture, looking to the right outside the picture) .
Melanie: The front door... can I go to the back door?
Clerk (off-screen): No...that's the only way.
Melanie: You see, I want to surprise them.
Clerk: Oh?
Melanie (voice-over): I don't want them to see me there.
Clerk: Oh.
Melanie: You see, this is an unexpected thing.
Clerk: Well, then you can get a boat yourself. (off-screen) Straight across the bay to the pier.
Melanie: Where can I get the boat?
Clerk: Go down to the Teddys Hotel. Um, have you ever driven a boat with a motor in the stern before... (Voiceover)?
Melanie: Oh, of course.
Clerk: Want me to book a boat for you?
133. Medium close-up. Melanie and the clerk.
Melanie: Okay, thank you!
Clerk (starts walking towards the door, then stops): What's your last name?
Melanie: Daniels.
Clerk: All right.
He opened the door of the store and walked in. Melanie looked out to the front left of the painting and heard the door and the bell.
134. Take a long shot from Melanie's point of view. Waterfront, bay and Brenner's house beyond.
135. Close-up. Melanie beamed towards the store in the background.
136. Medium close-up. POST OFFICE - DAY
Melanie walks into the balustrade to the left of the rear scene. Hear the sound of an off-screen call.
137. Medium close-up. The clerk is waiting with a microphone.
138. Medium Shot. Pan Melanie to the foreground (footsteps), then to the clerk who was on the phone behind the counter. She was leaning against the counter.
Melanie: Don't know if you can tell me...
Clerk (to microphone): Hi, uh...please wait a minute, please.
139-141. The following is a series of close-ups of the cross-play between the two of them.
Melanie (looking at the clerk on the left off the foreground): So... that little girl's name?
Clerk (covers the phone with his hand): The Brenner girl?
Melanie (voice-over): Yes.
Clerk (turns face to left): Uh...I think it's Alice...Harry...What's the name of that little Brenner girl?
Melanie looks to the right outside the painting.
HARRY (VO): It's Lois.
142. Medium Panorama. Photograph the stacks of goods in the store without seeing people.
Clerk (off-screen): Her name is Alice, right?
HARRY (VO): No, it's Lois.
143-155. Here is another close-up of a series of cross-fights between the clerks and Melanie.
Clerk (turns to Melanie off-screen): Alice!
Melanie (looking left in the foreground) Are you sure?
Clerk: Oh...well, I'm not sure, if you're going to be exact.
Melanie: Oh look, I want her exact name.
Clerk (puts down microphone): Oh, oh... uh, just a second... In this case, I'll tell you what to do. You keep walking, through town, until you see a small inn on the left... (off-screen) Then you turn right. do you understand?
Melanie: Got it.
Clerk: Near the top of the mountain, you will see a school. A little further up, there is a little house with a red letter box. That's where the schoolteacher Anne Hayworth lives... (off-screen) You ask her about the Brenner girl.
Melanie: OK, thank you!
Clerk (off-screen): Actually, you don't need to spend such a big deal. ... (inside the picture) I dare say, her name is Alice!
Melanie: Can I get the boat in twenty minutes... (clerk nods. off screen)? ...how much does it cost to call?
Clerk: Oh, no need to pay!
Melanie (smiling): Thank you. (She draws from the right)
The clerk smiles at her back (heard footsteps outside the picture) and watches her walk out of the picture. He picked up the receiver.
156-157. Panning. EXT. BODIGA BAY, DAY
Hear the sound of the car engine. Pan Melanie is driving down the road, parked in front of the school on the left in the foreground, the camera is on her. She starts the car again and drives towards the teacher's house in the background, panning.
158. Panorama. EXT - ANNE'S HOUSE - DAY
There are voices outside the painting but can't make out what is being said. Melanie drives into the painting from the left, she stops the car, gets out, runs around the front of the car to the house in the background, and climbs the steps. Heard the door closing and footsteps.
159. Medium Panorama. Melanie went to the door, rang the bell, and waited. The doorbell and footsteps rang out. She turned to look to the right.
Annie (off-screen): Who is it?
Melanie: It's me.
Annie (off-screen): Who am I?
The camera follows Melanie across the front porch to the railing, leaning against the railing to look at the background.
160. Panning in the close-up. Anne Hayworth, gloved and flower-planting tool in hand, walked through the garden gate to the foreground, wiped her face with her hands, and climbed the steps.
Melanie (off-screen) Is that Miss Hayworth?
Annie: Yes.
Melanie (voice-over): I'm Melanie Daniels. (Camera pans up, left, following Annie up the steps to Melanie, they cross the front porch to the left. In picture)...I'm sorry to bother you, but...
Annie: What's the matter?
Melanie: The guy at the post office called me, and he said you could tell me the name of the little Brenner girl.
Annie stopped, took off her gloves, and put them out of the picture. Melanie walked up to her.
Annie: Is that Cathy?
Melanie: The one who lives in the white house across the bay?
Annie (removing a pack of cigarettes from sweater pocket) Yes, that's Cathy Brenner.
Melanie: They seem to be sure her name is Alice or Lois.
Annie: No wonder the letters in this town never go to the wrong place! ……Oh, sorry. Do you smoke? (She hands Melanie the cigarette, who takes one)
Melanie: Thank you.
Annie (takes out a lighter and lights a cigarette for Melanie) You… uh… do you have anything to ask Cathy for?
161. Close-up. Annie lit her cigarette. Melanie puffs, and the two of them face each other. Anne walked to the left foreground.
Melanie: Well, not exactly.
Annie: Oh...are you Mickey's friend?
The camera zooms in and Annie comes out of the picture for Melanie's reaction shot (close-up).
Melanie: No...not really a friend.
162. Close-up. Annie turned to Melanie, cigarette in hand.
Annie: You know, I wanted to smoke for the first twenty minutes. I just feel a little sorry to stop. This practice of "doing some farm work" can sometimes become a coercive force.
Melanie: Oh, this garden is very beautiful.
Annie: Oh, thanks. Oh, and it's something to do in your spare time. Enough spare time in Bodega Bay...are you planning to stay long? (She looks away)
Melanie: No, just a few hours.
Annie (looking back at her): Oh, then you'll go after seeing Cathy.
Melanie: Well, probably so. Oh, I'm so sorry...I didn't mean to be so mysterious.
Annie: Actually, it's none of my business.
Melanie: Well, I'd better go...
163. Panorama. The two women faced the front porch as Melanie began to descend the steps, Anne watching her.
Melanie: Thank you very much.
Annie: You're welcome.
Melanie came to the foreground, Anne followed, and Melanie stomped out her cigarette.
Annie: Did you drive along the coast from San Francisco?
Melanie: Yes. (She walks out of the frame)
Annie (leaning on the letterbox and looking at her back): It's a good way.
Melanie: The scenery along the way is very beautiful.
Annie: Did you meet Mickey there?
164. Medium close-up. Melanie turns to the right and stops to look at Annie off-screen.
Melanie: Yes.
165. The camera shot back and shot Annie.
Annie: I guess that's where everyone met Mickey.
166. Feature. Melanie got into the car, slammed the door, and looked at Annie outside the picture.
Melanie: It sounds like you're a little mysterious at the moment, Miss Hayworth.
167. Medium close-up. Annie walked forward slowly, into a close-up, and looked down at the bird outside the painting with a smile.
Annie: Ha! Yeah? I did not mean it. I'm actually an open book, I'm afraid I'm...or rather a closed book.
168. Overlooking close-up. Shooting the lovebirds in the cages on the floor of the car, the chirping of the birds can be heard.
169-174. The following is a close-up of the cross between the two.
Annie (looking down at the bird outside the painting): Ah! it's beautiful!
Annie (voice-over): What kind of bird is this?
Melanie: Lovebirds.
Annie (looking at Melanie off-screen) I get it... I wish you luck, Miss Daniels.
Melanie (starting the car): Thank you... (hears the sound of starting the car) Can I go this way?
Annie (nodding): Go to the right and you'll be on the main road.
Melanie: Thank you. (She puts the gear on and drives away)
175. Close-up. Annie watched Melanie, who was off-screen, drive away, with a helpless and sad look on her face.
176. (Into) Pan the camera. EXT, MELANIE'S CAR, DAY
Aerial shot inserted into the lens --- the envelope. Melanie reaches into the frame and writes "To Cathy" on the envelope. As she puts the cap on, the camera pulls back and pans to a medium close-up, where Melanie is seen putting the pen and envelope back in her bag. She walked from the front of the car to the door, got into the driver's seat and drove, panning. Hear her closing the door and the sound of the car's machine.
177. Panorama. BEAUDIGA BAY - DAY
Seagulls cry outside the painting. Melanie's car drives downhill from the background to the foreground. Lens is fixed.
178. Vision. Melanie drives down the hill, out of the foreground to the right. Lens is fixed.
179. Vision. Overhead pan for Melanie as she parks the car behind the Teddys Hotel. Get off the car with the bird cage, walk to the pier, pan the camera, frame the fishermen in the background.
180. Medium Shot. Melanie enters the frame, standing in front of the fishermen. Lens is fixed.
Melanie: Is there a boat that Miss Daniels has reserved?
Fisherman: Uh... uh, yes, miss, it's the one below.
Melanie walked to the right.
181. Close-up. The fisherman stared at her as Melanie handed the cage to the fisherman and walked down the steps out of the frame. Lens is fixed.
182. Medium Shot. Pan the fisherman to help her down the ladder and frame the fisherman.
183. Close-up. The fisherman stood up straight, shook his head, and also began to descend the ladder outside the painting. Lens is fixed.
184. Medium Shot. Melanie sat in the boat, and the fisherman got off the ladder and onto the boat, started the machine (heard a thud), and went up the ladder again. Melanie pulled the boat out of the foreground.
185. Close-up. The fisherman standing on the ladder looked at Melanie's back outside the painting. Lens is fixed.
186-187. Vision. Overlooking Melanie as she steers the boat to the rear. Shot of Melanie from the side as she drives the boat from left to right. Lens is fixed.
188. Overlooking Melanie's boat heading straight to the background. See the village in the background. Lens is fixed.
189. Medium Panorama. Melanie steered the boat, looking hard to the right beyond the foreground. Lens is fixed.
190. Take a long shot from Melanie's point of view. BRENNER'S HOUSE, DAY. Lens is fixed.
Mickey, Lydia, and Cathy walked to the pickup truck parked in the driveway.
191. Medium Shot. EXT - THE BAY - DAY
Melanie is on the boat, looking at the people outside the painting. She turned to turn off the machine. Lens is fixed.
192. Take a long shot from Melanie's point of view. EXT - BRENNER'S HOUSE - DAY
The Brenna family walks up to the pickup and starts to get in. Lens is fixed.
193. Medium Shot. BEYOND - DAY
Melanie observes the people outside the painting. The sound of a car's motor can be heard outside the painting. Lens is fixed.
194. Take a long shot from Melanie's point of view. EXT.
Brenner 's pickup truck slowly drives, Mickey goes downhill with it. Lens is fixed.
195. Close-up. EXTERNAL - Gulf
Melanie looks at Mickey, off-screen on the right, then paddles into the foreground. Lens is fixed.
196. Vision (Melanie's Viewpoint). BRENNER'S HOUSE - DAY
The sound of the rushing oars is faintly audible off-paint. Mickey opened the barn door and walked in. Lens is fixed.
197. Medium Panorama. BEYOND - DAY
Melanie paddles to the foreground and looks to the right. Lens is fixed.
198. Panorama (Melanie's point of view), Brenner's house
Brunner's pier. Melanie's boat pulls into the dock from outside the painting. Lens is fixed.
199. High-angle aerial panorama. Melanie rowed the boat to the pier, grabbed it and tied the boat, lifted the bird cage and boarded the pier. The camera pans to capture her walking up the steps in the foreground, looking out to the left.
200. Panorama (Melanie's point of view). Where Brenner was, the barn door was wide open.
201. Close-up in mobile shooting. The camera pulls back to frame Melanie. She walked towards the foreground with a fresh face, her eyes fixed on the left side of the painting.
202. Panorama (Melanie's point of view). The camera pans to the left, zooming in on the barn.
203. Moving the medium shot. The camera pulls back to see Melanie laughing and walking forward.
204. Panorama from Melanie's point of view. The camera pans to the left and zooms in on the barn.
205. Close-up in mobile shooting. Melanie went to the door, tried it, pushed it open, and walked in.
206. INTERIOR. Brenner's house, the
camera is on the door during the day, and Melanie is seen walking into the house (long shot), pulling her to the foreground, entering the living room, and she stops and glances around. The camera pans as she walks into the room, puts the bird cage on the low stool, looks around, then opens her bag and reaches in for something.
207. Insert close-ups. Melanie's hand took two envelopes from her bag, put the one that said "For Cathy" in front of the birdcage, tore off the one that said "For Mr. Put scraps of paper into the bag, then put the bag outside the painting.
208. Pan panorama. Melanie walked to the dining room window and looked out.
209. Panning the vista (Melanie's point of view). The curtains in the foreground are drawn aside, and the barn door is open.
210. Vision. The camera pans down to Melanie hurriedly walking towards the door in the background, peering around the door, then walking out.
211. Exteriors. The Brenner House,
panning medium close-up during the day. Melanie goes out the door, across the front porch, and down the steps, constantly looking to the left of the picture as she goes to the backstage. Action has sound.
212. Panorama (Melanie's point of view), Barn
213. Panorama from a high angle. The camera pans up as Melanie walks to the dock in the background, turning her head to the left of the foreground frame.
214. Pan shot from Melanie's point of view. There was no one in the barn.
215. A close-up shot in a pan. The camera zooms in on Melanie as she walks to the pier, still looking back at the barn in the foreground.
216. Pan shot from Melanie's point of view. Brenner's home and barn.
217. Pan panorama. Melanie looks out of the foreground to the left, and the camera zooms in and pans down as she walks down the steps and onto the boat. After she boarded the boat, she picked up the oar and used it to push the boat to the background. She sat down and unmoored, propped up the boat, and rowed to the background (heard the rush of oars). She turned her head again to look to the left outside the foreground painting.
218. Vision. Brenner's house, Mickey walks from the barn to the foreground. Lens is fixed.
219. Medium close-up. Melanie put down the oars, turned and lay on the stern, smiling mischievously at the Brenners' house outside the picture. Lens is fixed.
220. Take a long shot from Melanie's point of view. Mickey went to the door, wiped his shoes on the footmat, and started walking in. Lens is fixed.
221. Medium close-up. Melanie is watching. Lens is fixed.
222. Take a long shot from Melanie's point of view. Brenner's silent house.
223. Closeup. Melanie looks out at the house outside the painting. Lens is fixed.
224. The Vision (Melanie's Viewpoint). Mickey walked out of the house, ran to the right to the driveway, stopped, and looked to the right outside the painting with the awning in hand. Lens is fixed.
225. Closeup. Melanie is watching. Lens is fixed.
226. Vision (Melanie's point of view). Mickey turned back to the house, stopped, and watched with the awning in his hand. Lens is fixed.
227. Feature. Melanie was alert and leaned to dodge. Lens is fixed.
228. Vision (Melanie's point of view). Mickey put his hands down, ran to the house, and walked in. Lens is fixed.
229. Medium close-up. Melanie sat up quickly and tried to start the engine. I heard the muffled sound of the engine not firing. Lens is fixed.
230. The Vision (Melanie's Viewpoint). Mickey came out of the house with the binoculars and walked to the foreground. Seagulls fly out and in on the screen. Lens is fixed.
231. Closeup. Mickey held the binoculars up in front of him and looked to the right beyond the foreground painting. Lens is fixed.
232. A close-up view through the double pane of a telescope. Melanie managed to get the engine on board. Lens is fixed.
233. Close-up. Mickey put down the binoculars and quickly drew from the right side with a smile on his face. At this time, there was the sound of the engine catching fire outside the picture and the screeching sound of seagulls. Lens is fixed.
234. Medium close-up. BRENNER'S HOUSE AND THE BAY - DAY
Melanie steers the boat to the left, smiling. Lens is fixed.
235. Take a long shot from Melanie's point of view. Mickey raced to his car. Lens is fixed.
236. Medium close-up. Melanie's boat continued to the left. Lens is fixed.
237. Take a long shot from Melanie's point of view. Mickey drives the car out of the frame (panning) from the right side of the house.
238. Close-up. Melanie is on the boat staring at Mickey on the left outside the picture. Lens is fixed.
239. Extreme long shot from Melanie's point of view. Mickey drove into the background. Lens is fixed.
240. Close-up. Melanie reacts while looking at Mickey off-screen. Lens is fixed.
241. Take a long shot from Melanie's point of view. Mickey drives his car from the right side of the frame to the right rear. Lens is fixed.
242. Close-up. Melanie looked at Mickey off-screen. Lens is fixed.
243. Take a long shot from Melanie's point of view. Mickey's car drove from left to right along the avenue. Lens is fixed.
244. Closeup. Melanie looked at Mickey on the right outside the painting. Lens is fixed.
245. Take a long shot from Melanie's point of view. Mickey is driving the car from the right. Lens is fixed.
246. Closeup. Melanie smiled smugly at Mickey outside the picture. Lens is fixed.
247. Mobile panorama. EXT. BOUDIGA BAY - DAY The
camera rolls towards the pier and Melanie enters the frame.
248. Closeup. Melanie's face was full of spring breeze. Lens is fixed.
249. Panorama from Melanie's point of view. As the camera pans to the pier, Mickey is drawn from the background, running to the edge of the pier, standing and waiting.
250. Closeup. Melanie was all smiles, but when she looked up, her face changed. Lens is fixed.
251. Shoot the sky upwards. Seagulls soar around the screen, and make a chirping sound. Lens is fixed.
252. Close-up. Seagulls fly over from the left background, peck Melanie's head, and fly out of the frame from the right. She covered the pecked part with her hand. Lens is fixed.
253. Panorama. Seagulls fly in the air from the front right to the left rear view. Lens is fixed.
254. Vision. Mickey, who was waiting for Melanie on the dock, suddenly became alert when he saw the situation outside the picture. Lens is fixed.
255. Close-up. Melanie hugged her head and lowered her hands to look at her gloves. Lens is fixed.
256. Insert close-ups. Blood on Melanie's gloved index finger. Lens is fixed.
257. Panorama. The camera pans down to Mickey jumping from the dock to the fishing boat in the foreground.
258. Panorama in overhead shot. Mickey reached out and grabbed the lip of Melanie's speedboat and dragged it to the foreground.
Mitch: Are you all right?
Melanie (holds her pecked head and leans back on the stern): It's okay, I don't think it's in the way...how do you think they would do that?
MICKEY (helps her ashore); I've never seen anything so bad! I don't know, it seems like it's attacking you suddenly on purpose... (The camera pans as he helps her to the pier ladder. She steps up) Oh, you're bleeding. Let's cook... okay? Such a good girl... come on. (She covers her pecked head, Mickey supports her, close-up. The camera pans to see them walking past a man)
Fisherman: What's the matter, Mickey?
Mickey: A seagull pecked her.
Fishermen: Seagulls? !
The camera zooms in and pans as they walk past the man and toward the door of a nearby store.
259. Medium close-up. Mickey and Melanie enter the painting from the left. He walks to the door and sees a note on the door that reads: "Out for lunch."
Mickey: Oh! Let's try it at the restaurant, shall we? (He helped her turn and walked towards the foreground, and the camera pulled back)
260. Move to shoot close-ups. Melanie covered her head, Mickey expressed concern, and they talked as they walked.
Mitch: Might need a tetanus shot.
Melanie: I was vaccinated when I went abroad last month.
261. Panorama. Mickey walked uphill with Melanie, toward the door of the Teddys Hotel.
262. Medium close-up. THE TEDDY'S HOTEL - DAY
The doors of the hotel are opened and a humming sound is heard. Melanie and Mickey walked in. Mickey looked out to the front left of the painting.
263. Panorama (Mickey's Viewpoint). The camera pans to people eating and drinking at bars and tables.
264-265. Medium and close-up. Mickey looks for a seat. The camera pans to a panorama as he helps Melanie across the bar to the table. Some customers looked at them curiously. The owner, Dekie Carter, approaches them from the bar in the background.
266. Medium close-up. Mitch sat Melanie down at a table in the foreground and looked at her head.
Deky (walking towards them) What's going on?
Mitch: Hello, Deky. The lady broke it herself.
Deji: Do you want me to go to the doctor?
Mitch: Oh, I don't think it's that serious. Let's see.
Helen enters the painting from the right, looking at Melanie, who takes off her gloves, puts them in her bag, and takes out her handkerchief and compact. At this point, Deji turned to Helen.
Deky: Helen, get some... er... cotton and sterile gauze. (Helen steps out of the frame, Melanie wipes her blood with a handkerchief, Mickey looks at the top of her head) ... uh, did you break it yourself outside? Miss.
Mitch: Oh, don't worry, Ducky...she did it on the boat.
Deky: Ah, one time, I ran into a guy who tripped in a parking lot. Before I could blink, he charged me.
Mitch: I don't think Miss Daniels is going to sue anyone.
Helen (walks over with hydrogen peroxide and cotton, and hands it to Deji): Here it is.
DECKY (hands cotton and potion to Mickey): Well, you're a lawyer.
Mitch: Thank you.
Melanie (confused): What is that?
Mickey: It's just hydrogen peroxide, I'm going to wash the wound. (He puts down the cotton and opens the hydrogen peroxide bottle. Deky gestures to the off-screen customer, then walks to the background.)
267-268. Close-up. Melanie looked up at Mickey, who was off-screen, as Deky walked out of the frame.
Melanie: So, you're a lawyer?
The camera zooms in to reveal Mickey as he smears Melanie's head with cotton.
Mitch: Yes. I've always defended the people, Miss Daniels, but if I'm going to prosecute...
Melanie: You're opening your business here?
Mitch: Uh uh...in San Francisco. What are you doing... (Cuts to close-up, Mickey's hands are applying potion to her head, off screen) What are you doing here?
Melanie: What kind of law?
Mitch (voice-over): Criminal Law.
Melanie: That's why you want to see everyone in jail?
MICKEY (VO): Oh, not everyone, Miss Daniels.
Melanie: Just lawbreakers and pranksters.
MICKEY (V.O.): Right.
Regrets Lanny (wrinkles in pain): Oh!
Mickey (off-screen): Ah, sorry!
269-283. Below is a series of close-ups of the cross-play between the two of them.
MICKEY (applies the potion to Melanie's head off-screen): What are you doing here?
Melanie: Didn't you see the lovebirds? (Mickey reaches in from outside and wipes her head)
Mickey: Oh, oh. You mean you... you're the one who came all the way here on purpose to give me these birds?
Melanie: It's for your sister. You said she was having a birthday. Besides, I'm ready to come here anyway.
Mickey: Oh, what are you doing here?
Melanie: Come see a friend of mine. (Frowning in pain) Be careful!
Mitch: Oh, sorry. uh... who is your friend?
Melanie: Anne Hayworth... (Mickey's doubtful. Off-screen) A teacher at the school.
Mickey: Anne Hayworth. Oh...the world is so small.
Melanie: Um... yeah.
Mitch: How did you meet Annie?
Melanie: We went to school together—university.
Mitch: Oh, yes? Imagine! How long are you going to stay here?
Melanie: Over the weekend.
Mitch: Well, I think the blood has almost stopped. Uh...why don't you hold it. (The camera zooms to a medium close-up, framing Melanie. She holds the cotton on her head; he pulls a chair and sits down at the table) ... So, you're here to see Annie, eh?
Melanie: Yes.
Mitch: I think you came to see me.
284-292. Another series of close-ups of cross-play between the two.
Melanie (pressing the cotton on her head): Ah, so many people, why should I just come to see you?
Mitch: I don't know. But you must have gone to great lengths to find out who I am, (off-screen)...where do I live.
Melanie: Oh, that doesn't cost much at all. I just called my father's newspaper. Besides, I'm coming anyway. I've (off-screen)... told you.
Mickey: You really like me, eh?
Melanie: I hate you! You are rude. You're arrogant, you're cocky, and... I actually wrote you a letter saying that... (Mickey grins and leans on his elbow. Off screen) But I tore it up.
Mitch: What did the letter say?
Melanie: It's none of your business. Nor would I say that I like your seagulls very much. (off-screen)...I came all the way here to send...
Mickey: But you meant to come, remember?
Melanie felt that there was movement outside the painting, and turned to look.
293. Medium close-up. The camera is on Mickey in the foreground as Lydia approaches Mickey from the background.
Lydia: Mickey? ... (he turns to her).
294. Medium close-up. Lydia goes between Mickey and Melanie and they react. Mickey stood up.
Lydia: I think I saw your car. What are you doing in town?
Mickey: I have to thank a delivery...
295. Close-up. The camera passes over Lydia to shoot Mickey, who turns to the foreground to see Melanie off-screen.
Lydia: A what?
Mitch: Mom, let me introduce you to Melanie Daniels...Miss Daniels, this is my mother.
296. Close-up. Melanie looked up at Lydia, who was off-screen.
Melanie: Hello.
297-298. Below are two close-ups.
Lydia (reacting): Hello, Miss Daniels. (turns to Mickey off-screen) Thanks for what?
Mickey (voice-over): Delivery. Miss Daniels brought us some birds from San Francisco.
Lydia (turning to Melanie off-screen): Oh.
MICKEY (voice-over): It's for Cathy. For Cathy's birthday. where is she?
Lydia (turns to Mickey off-screen, then to Melanie): At Brinkmeyer's.
MICKEY (VO): Actually, Miss Daniels is here for the weekend, so I've… er… (inside) invited her to dinner tonight…
299. Close-up. Melanie was really surprised.
300-306. The following is another series of close-ups.
Lydia's reaction shot.
Mickey: ...Ah, you worked so hard to send those birds.
Lydia's reaction shot.
Melanie (voice-over): Oh, I can't stay!
Lydia (turning to Mickey off-screen): You mean bird?
MICKEY (VO): Yes, lovebirds.
Lydia (turning to Melanie off-screen) Oh, I see.
Melanie is a little embarrassed; Mickey smiles; another reaction shot of Melanie, she's unsure of business.
Mickey (off-screen): So we can't help but thank you a little... (Cut to a close-up of Mickey and Lydia. In-screen) Let you go. Besides, you haven't seen Cathy yet, and you're staying for the weekend anyway...
307. Feature. Melanie.
Melanie: Oh, yes, but...
Mickey (off-screen): Ah, you're staying, aren't you?
Melanie: Of course yes, but...
Mickey (off-screen): Well, it's all set up...
308-310. Close-up. Mickey and Lydia.
Mickey: What time is dinner, Mom?
Lydia: Seven o'clock,...as usual.
Mitch: I'll pick you up. (Cut to Melanie's close-up. Off-screen) ... where would you be?
Melanie: With Annie, of course.
close-up. Mickey and Lydia.
Mitch: Oh, of course, how stupid I am. Is it a quarter to seven?
311-312. Feature. Melanie.
Melanie: Anne might have other arrangements. I have to look at the situation. (Cut to Mickey and Lydia's corner close-up. Offscreen) ... Besides, I'll find the place myself.
Mitch: Are you sure? You don't want to rent a boat or something?
313-316. The following is a series of close-ups.
Melanie: I'm sure!
MICKEY (VO): Seven o'clock then?
Melanie: Maybe.
Lydia's reaction shot.
Mickey (voice-over): We're waiting for you. How is your head?
Melanie (outside): Oh, much better... (inside) Thank you. A seagull pecked me, (cutting to a close-up of Lydia, she nods. Offscreen) Mrs. Brenner, that's all.
317. (Into) Vision. ANNE HAYWORTH'S HOME - DAY
Melanie climbs the steps with a paper bag to Anne's door. Hear footsteps.
318. Medium Shot. Melanie touched Annie's bell, pressed it, and made a ringing sound. While waiting, she brushed her hair against the glass on the door. Annie opened the door and leaned out.
Annie: Oh! Hi. Did you find her right?
Melanie: Yes, found it. I'm thinking about...that poster there... (they all look to the front left)
319. Medium close-up. There was a poster on the glass window: "Rental Room".
320. Close-up. The camera passes over Annie on the left to shoot Melanie.
Melanie: Do you think I can rent your room for the night?
Annie: Oh, I was planning on renting for a long time...
Melanie: Oh, I'd appreciate it. I tried several in town and they were all full.
321. Close-up. Go past Melanie and shoot Annie.
Annie: Oh, okay. Is your luggage in the car?
Melanie held up the paper bag in her hand.
322. Insert close-up - paper bag in Melanie's hand.
323. Close-up. Past Melanie to shoot Annie, she looked at the paper.
Annie: ...Ha...Oh, it's pretty practical, so to speak.
324. Close-up. Go past Annie and shoot Melanie.
Melanie: Oh, I just picked up a few overnight items from the department store. You see, I'm not going to stay long.
325. Closeup. Annie.
Annie: Yes, I know. Did something unexpected happen?
326. Closeup. Melanie.
Melanie: Yes... can I use your phone? I have to call home.
327. Close-up. Annie motioned to the room, and Melanie walked in through the door.
Annie: I just brewed some coffee on the stove... (Seagulls chirping off the picture) Are they going to migrate forever?
Melanie followed Annie's gaze and looked out of the picture.
328. Take a long shot from Melanie's point of view. Flocks of birds fly in groups from left to right in the sky.
329. Close-up. Melanie and Annie are puzzled.
330. (Into) Vision. EXT - BRENNER 'S HOUSE -
NIGHT Melanie drives down the avenue to the parking lot and pulls up. Hear the motor of the car and the sound of turning the motor off.
331. A close-up shot in an overhead shot. Melanie groomed herself in the compact mirror. Then get out of the car and slam the door shut. The camera pan follows her to the steps, and up again to the front door to ring the bell. Hear the bell.
332. Vision. The camera is on the oncoming road, Cathy and Mickey walking from right to left, they are giggling.
333. Panning the medium shot. Melanie was standing at one end of the front porch, looking to the right outside the painting.
334. Overlooking the distant view (Melanie's point of view). Cathy, Lydia and Mickey walk to the foreground on their way to the house.
335. Medium close-up. Melanie waved her arms.
Melanie: Hi!
336-337. Panning in close-up. Overlooking Cathy, Lydia and Mickey towards the foreground.
Cathy (leaving others, running to the foreground): Hi...is that Miss Daniels?
Melanie (voice-over): Yes.
The camera pans to Cathy standing at the foot of the steps, then climbs up, hugging Melanie tightly.
Cathy: Oh! They are so beautiful! Exactly what I want! It's a male one... (Cut to a close-up shot in an overhead shot, Lydia looks up at Melanie and Cathy outside of the picture, pans down to see her walking forward. Outside the picture)...a female? ? I can't tell which is which.
Melanie (voice-over): Oh, I think so.
Mickey (voice-over): Hello. Annie has no other plans, eh?
Melanie (off-screen): No.
Pull back the lens and pan up. Lydia and Mickey went up the steps to Cathy.
Mickey: Very good. We are very glad you can come, are you hungry?
338. A close-up shot in a pan. The camera pulls back to capture the couple walking to the foreground with Melanie. Lydia walked ahead, her face cold.
Melanie: Time to be hungry too.
Mickey: Dinner is just ready. Let's go see the chicks come back. Something seems to be wrong with them.
Lydia (turning to Mickey): There's nothing wrong with the chicks, Mickey. I'll call Fred Brinkmeyer right now. (She walks out of the frame and enters the house)
Mickey: What's the use of that? ... (quietly) Those chicks don't eat.
Melanie: Oh. (They step into the house)
339. Panorama. BRENNER'S HOUSE - NIGHT
The men walk into the house from the background.
Lydia: He sold us the feed, didn't he? (She walks straight to the table in the foreground, picks up the phone and dials)
MICKEY (undresses Melanie): Mom...buyers beware!
Lydia: Whose side are you on?
Mitch: Just using the law, honey.
Lydia: Never mind the law! (Hears a dial)
Cathy stands up and walks out of the foreground. Mickey draws from the background with Melanie's coat.
Lydia (turning to the background): Don't wait too long, Miss Daniels... oh, is that Fred? ...I'm Lydia Brenner. I didn't disturb you for dinner, did I...
Mickey (voice-over): Want a bar?
Melanie: Thanks, I'd like to have a drink.
MICKEY (VO): Is a martini okay?
Melanie: Great.
Melanie paced to the background, looked around, then to the foreground, stopped and looked up at the portrait on the outside wall.
Lydia: ...Fred, the feed you sold me wasn't good...chicken feed...well, it's just not good. The chicks don't eat...they're always hungry...I open a bag for them when I get home and they don't even touch...well, now, you know, the chicks are just like me, they don't eat It means that the feed is not right, that's all,...no, they are not picky chicks...who? ...what does it have to do with him? ...
Mickey took two glasses of wine into the painting from the background, walked up to Melanie, and handed her a glass. She pointed to the portrait outside the painting.
Melanie: Is that your father?
Mitch: Ugh. Please take a seat.
The two of them walked to the background. The camera pans slowly, but keeps Lydia in the foreground. Mickey and they clink glasses in the background, Melanie sits on the sofa, Mickey leans on the mantelpiece, listening to his mother call.
Lydia: ...Fred, I don't care how many bags of feed you sell him. My chick... oh, I got it... Dan Fawcett? ...this afternoon? Well, that just proves what I said... (Mickey goes to the background, sits in a chair, pans the camera. He continues to listen carefully to his mother's phone call) The feed you sold us was... oh! ...well, maybe I'd better go see him...you don't think something's going to happen, do you? ……Do not! will never! ...No, Fred, they didn't look sick at all. They just don't eat... uh... uh... well, I thought I'd go see him... maybe... oh? ……OK, thanks.
Cathy comes in from the background and brings the soup to the table, when Lydia clicks on the phone. The camera zooms in on her as she walks up to Mickey and Melanie, with Cathy listening in the background.
Lydia: He said Fawcett called him a while ago and his chicks aren't eating either.
Cathy: Like you said, Mom. Mr. Brinkmeyer's vocabulary is not good. (She draws from the background)
Lydia: No, Cathy, he said Mr. Fawcett bought a different brand. You don't think they're sick, do you, Mickey? (She turns apprehensively to the foreground. Cathy enters from the background, bringing some more soup.)
340. (Into) Middle panorama. The melodious piano sounded. Cathy stands in the left foreground, listening to Melanie play the piano. Mickey and Lydia tidy up at the dining table in the background. Mickey draws from the background.
Cathy: I still don't understand how you know I want lovebirds.
Melanie: Your brother told me.
341. Medium Panorama. Lydia is at the table.
Lydia: So, did you meet Mickey's Rowe in San Francisco?
342. Medium close-up. Melanie in the foreground, Cathy in the background. Melanie looked at the foreground, took the cigarette from the ashtray on the piano, took a puff, and put it back.
Lydia (off-screen): ...is it?
Melanie: No, not exactly.
Cathy: Mickey knew a lot of people in San Francisco. Of course, most of them are hooligans.
343. Medium Panorama. Lydia gave a restraining wink.
Lydia: Cathy!
344. Medium close-up. Melanie and Cathy.
Cathy: Yo, Mom, he's the first to admit that he spends half a day in the courtroom holding cells.
345. Medium Shot. Lydia came to the foreground with a tray of dirty cups.
Lydia: In a democratic country, Cathy, everyone has the right to a fair trial...
346. Medium close-up. Melanie and Cathy are listening.
Lydia (voice-over): ... your brother's business...
Cathy: Ah, Mom, please! I know those democratic tricks! Those people are still hooligans!
347-348. Medium Shot. Lydia glanced at her and walked out of the frame, but Mickey walked over to the table in the background. Cathy is on the left in the foreground and Melanie is at the piano on the right in the background.
Cathy: He now has a client who shot his wife six times in the head. Six shots! Can you imagine it? I mean, it's too much to fire two shots, what do you think?
349. Medium close-up. Melanie in the foreground, Cathy in the background. Melanie looks to the left outside the painting.
Melanie: Why did he shoot her?
350. Medium Panorama. Mickey is folding the tablecloth.
Mitch: He's watching the ball game on TV.
351. Medium close-up. Melanie and Cathy.
Melanie: What?
352. Medium Panorama. Mickey took the tablecloth and started walking to the left.
Mitch: His wife switched that channel!
353-354. Medium Shot. Cathy and Melanie.
Cathy: Are you coming to my tea party tomorrow?
Melanie: I'm not going. I have to go back to... (Cuts to close-up, shoots Cathy. Off screen) San Francisco.
Cathy: Don't you like us?
355-366. The following is a series of close-ups of Melanie and Cathy's cross-play.
Melanie: Oh dear, of course I like it.
Cathy (voice-over): Do you like Bodega Bay?
Melanie: I don't know yet.
Cathy: Mickey likes it very much. You know, he comes every weekend, (off-screen) even though he has his own den in town. He said San Francisco was like an ant's nest under a bridge pier.
Melanie: Oh, I think this city can be a little noisy at times.
Cathy: Ah, if you do decide to come, don't say I told you. This should be an unexpected tea party. (off-screen) You see, they've got the whole complicated thing in order. (inside) I was supposed to be at Michelle's in the afternoon, and Michelle's mother pretended to have a headache... (outside) She asked me if I would care if she sent me home. (inside the picture) Then, when I got home, all the little kids popped out. (Melanie smiles at Cathy off-screen, and the camera cuts back to Cathy)...Ah, will you come? (off-screen) ... please come, please?
Melanie: I don't think I'll go. (Cut to Cathy expressing disappointment)
367. Medium shot. BRENNER'S KITCHEN -
NIGHT Lydia (washing dishes): She's a lovely girl, isn't she, Mickey?
Mickey (off-screen): Huh? Yes.
Lydia: She's really pretty.
MICKEY (V.O.): Ugh.
Lydia (looking to the left of the picture): How long have you known her?
368. Medium Shot. Mickey stood up straight and looked to the right outside the painting.
Mitch: Ah, I told you, honey. We only met yesterday.
369-371. The following connects the three crossback mid shots between Mickey and Lydia.
Lydia: In a bird shop!
Mickey (voice-over): At a bird shop.
Lydia: She's selling birds?
Mitch: Oh: No, no, I…I
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