The Birds directed by Alfred Hitchcock Name______

Writing a New Ending.

This film has no definitive ending the audience is left wondering at the end what will happen. Your assignment is to write an ending to the film. Your story should pick up where the film ends.

 What will happen to Mitch and Melanie?

 Will they survive?

 What about others around the country where there are other bird attacks?

 Are there any survivors?

 Has nature finally finished off mankind?

Prewriting—Begin by brainstorming either by listing or using a spider map and think of all the possible endings you can think of. Remember to focus first on Mitch and Melanie and Bodega Bay, but then expand your thinking to include whole country and even the whole human population.

Remember what Mrs. Bundy said about birds in the film. “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 probably contain more than a hundred billion birds!” Later she states: “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?”

Writing—Next focus in on one of your ideas to write about. Your ending should bring the film to some conclusion for the viewer. You may also choose to write your ending in a script format using dialogue and camera directions. Here’s an example from the actual script The Birds:

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.