PRODUCERS: Richard Zanuck PROD. #02102
J A W S 2
Final Draft Screenplay
Based on a Story
HOWARD SACKLER & DOROTHY TRISTAN
1 UNDERWATER - DAY 1
Dramatically lit by sunlight filtering down from the surface.
A dim shape, massive, threatening, swims towards us from the
distance. Then it divides -- what was one is two, and the
shape becomes reality; two divers in Scuba gear swimming
side by side. They are wearing minimal rubber, considering
the cool New England waters: "Farmer John" wetsuits with
cut-off legs, assorted sport-diving paraphernalia, including
an expensive camera with a flash attachment.
One motions "Down there," the other signals "OK, I see it,"
and they dive deeper, into darker waters, where the shafts
of sunlight pour into the depths, broken up by seaweed and
floating vegetation into cathedral-like columns of
2 SEA BOTTOM - DAY 2
The wreck of the working fisherman's boat "ORCA," formerly
under the command of the late Captain Quint, deceased these
Buried in the sand near it, still connected by rusting
strands of cable, the mangled remains of a shark cage,
glimmering with stainless steel highlights. A fitful flash
of yellow from under a mossy beard -- a battered barrel,
The divers, Bert and Ernie, appear. They're fascinated
by the find, and Bert, with the camera, snaps a few flash
shots. The rapid sequence of flashes signals the presence
of a motor drive camera.
2-A ANOTHER POINT OF VIEW 2-A
Distant flashes, obscured by vegetation in the foreground.
3 SEA BOTTOM, THE ORCA 3
Ernie is exploring the abandoned cabin; doors open and shut,
moved by invisible currents stirred by his passage.
An occasional "Flash!" lights up the bottom as Bert continues
snapping away souvenir shots of this local landmark.
3-A BERT'S POINT OF VIEW - CAMERA VIEWFINDER (PROCESS) 3-A
Ernie floats up out of a hatch, sees the camera, and strikes
a pose, clowning for the photographer's benefit. A big hand,
f.g., motions him up into clear water for a formal portrait.
He obliges. Now he floats in front of us, gently paddling
his flippers to maintain vertical stability. One flash.
Another. Then a large, dim movement in the b.g.
Something's out there, moving towards us.
Flash. It's bigger, bearing down like a train in a tunnel.
Flash! It's on us. Flash! Teeth? Blood? Flash! Blackness,
3-B OCEAN BOTTOM, INSERT 3-B
The camera floats gently down and settles in the sand. A
dark red mist eddies by. A last weak flash.
MATCH DISSOLVE TO
4 EXT. OCEAN - SUNDOWN 4
Flash! An expensive cabin cruiser, the "Diver Working" flag
fluttering limply in the breeze, is riding alone at anchor.
Flash! A distant lighthouse beacon winks at us. The boat
rocks in the ceaseless swell.
On the stern, "Elizabeth T. - Newport, R.I." A long way
5 EXT. AMITY BEACH - DAY 5
A blue-and-white police jeep is bouncing over the sand. A
figure in civilian clothes driving alone on some urgent
mission. It's Martin Brody, Chief of Police on Amity.
The jeep slows to a stop, and he takes a flight of stairs
leading to a concrete patio two at a time. A classical
trumpet solo is playing in the background. Brody charges
through a door, then abruptly slows and starts moving warily
through a hotel interior: The Holidome, a three-story
extravaganza of a motel, where some sort of formal ceremony
is already in progress. A banner announces: "Grand Opening
Ball -- Amity Scholarship Fund Benefit." Brody crosses under
a High School band, arranged dance-band style on a balcony;
the trumpet player, Polo, is finishing his solo, the assembled
crowd applauds politely. Brody is taking his place with
some dignitaries on the dais, as the presiding authority,
Amity Mayor Larry Vaughn, begins speaking.
Thank you, Paul Lohman, for that
eloquent solo. Now, for that point
in the ceremonies where we for-
mally dedicate this magnificent
resort-hotel complex, a worthwhile
addition to the recreational
paradise we call Amity.
6 ANGLE ON THE DAIS 6
Seated on folding chairs, wearing their good suits, several
of Amity's Selectmen, Real Estate Developer Len Peterson,
and Ellen Brody, very chic. Brody slips into the vacant
chair next to her. The following is conducted in urgent
whispers, sotto voce, while Vaughn drones on.
Where the hell were you?
I can see that. Don't you know
this is a big deal?
Couldn't help it. (droning
Hendricks over along)
there... Holiday Inn joins the
(he indicates Amity Shores development
his deputy) condominium complex In a
...still has the welcome expression of
keys to the jeep renewed interest in Amity
in his pocket, Island as the hub of the
and I couldn't Northeast Recreational
find the spares. Vacation Wonderland.
We're happy once again
ELLEN to be in the center of
Terrific. Act things, where the action
as if you've is.. We've had our share
been here all of hard times and long
along. winters and the past few
years have not been easy.
BRODY But today, the sun is
How'm I supposed rising on a new Amity,
to do that? a new island filled with
Look bored. Len Peterson's Amity Shores
Development is an exciting addi-
tion to our island. The Holiday
Inn we stand in is likewise a new
friend who we welcome as family.
Amity means 'friendship' and our
community extends its friendship
to all who seek her shores in
peace and harmony.
Brody settles into polite attentiveness, acknowledging a
wave from Hendricks, a politely bland young town cop in his
idea of civilian finery. Hendricks is fussing with the
banner on an attractive young lady in a bathing suit....
7 ANGLE ON VAUGHN 7
...And now, Tina Wilcox, this
year's Miss Amity, will cut the
ribbon that officially opens
this luxurious new hotel...
Tina (the girl in the bathing suit) escapes Hendricks'
attentions, and teeters on high heels towards the ribbon,
while Phil Fogarty, the local photographer, snaps away.
Tina was selected from more than
20 of this island's lovely young
ladies in the Miss Amity competi-
tion held every spring, and she'll
represent Amity Island in the
Miss Massachusetts Competition
in Worcester next month. When
she cuts this ribbon, she will
be opening our island to growth,
to development, to planned
expansion with full employment
for our thriving community.
8 ANGLE ON THE BAND 8
Paul Lohman ("Polo" to his friends) is exchanging whispers
with Lucy, a flute player.nearby.
I don't think she's such hot
When are we going out? You and
You going with Patrick?
Lucy nods, Polo shrugs, and turns to Jane, a girl nearby.
Listen, Jane -- you want to dance
as soon as we get out of these
She nods happily, they whisper together, while we:
9 ANGLE ON DAIS 9
Martin and Ellen have been joined by their youngest son,
Mom, Michael won't talk to me.
Shouldn't he be at home?
Mrs. Silvera couldn't come.
This money tree, you may have no-
ticed, is made entirely of twenty-
dollar bills, donated by Len
Peterson, the builder of Amity
Shores Condominiums, as a gesture
of goodwill towards the community.
$500 as a special gift to the Amity
township scholarship fund....
Applause from the crowd, Len takes a bow.
Go ahead, Tina.
10 ANGLE ON TINA 10
as she reaches out with the scissors. Something catches her
eye, and she winks at her boyfriend, Ed Marchand, smirking in
the crowd. He winks back, and makes "Cut it" motions with
11 ANGLE ON THE CEREMONY 11
Tina cuts the ribbon, and Tom Andrews, a local diver, pushes
a decorated float out into the pool; sparklers sputter, bal-
loons drop from the ceiling.
Thanks to Tom Andrews, of Amity
Aqua-Sports, for contributing the
special decorations. And now, the
Amity High School band. Refresh-
ments on the patio, everyone....
The band swings into "Downtown," and the crowd gets up to
dance, to eat, and to break into small groups to talk.
11-A INT. HOLIDOME - LATER 11-A
Ellen is dragging Brody over to where Len Peterson and Larry
Vaughn, the mayor, are in conversation. They pass vignettes:
Tina and Ed, Tom Andrews and Jane, Marge, other interesting
Do I have to talk to those two?
My boss and your boss. Sure.
Hello, hello. It went well, I
Very impressive ceremony. Good
Thank you, thank you. You know
my son, don't you?
He beckons over their heads to Larry Vaughn, Jr., a young
man uncomfortable in his correct tie and blazer. They ex-
change perfunctory greetings.
The speech was right on the money.
Be a love and make sure the bar's
open, will you?
He puts his arm around her, a little too familiarly for Brody's
Fantastic lady. Don't know what
I'd do without her.
Y'know, Brody -- for the first time
in years it's worth putting money
into this town.
All of us thank you, okay?
Watch Sean for a minute?
And she hands Sean off to Brody, leaving him with an over-
active 10 year old, while she's gone.
Can I go swimming?
No. Find your brother, okay?
Sean nods and runs off, happy to have a mission.
12 ANGLE ON MICHAEL BRODY - NEAR THE BAND 12
He is talking to Brooke Peters, a mop-maned teen-ager with a
Timmy Weldon, a grade behind, lurks nearby. A plumpish,
curly-haired buddy, Andy Nicholas, is enjoying a cup of punch.
How old is your cousin?
Seventeen. She's a senior.
I'm not crazy about blind dates.
They're okay, if they got little
white canes and tin cups.
What the hell.
Did your mom put all this together?
Yeah, it's her job.
Is she responsible for the punch?
Good. It's terrible.
My cousin will be here tomorrow.
Sean finds them, and bursts into their group.
Michael, Michael, Dad said to find
Okay, you did that.
Come on, Mikey, come on....
He tugs at Mike's sleeve; Mike allows himself to be dragged
Okay, okay. Got to go.
Andy and Brooke are left standing together, Tim moves in.
Want to dance?
(she shakes her
On her shrug, as she turns to Andy:
13 INT./EXT. HOLIDOME PATIO/TERRACE - NIGHT 13
It's later; night has fallen, the band is playing its version
of "When I Fall in Love." Many teen-agers are dancing out on
the patio, some adults are dancing inside, the buffet is rav-
aged, Timmy is watching Brooke, who's dancing with Polo.
Douglas Fetterman ("Doug") joins him, after asking Marge for
a dance and striking out.
Get a dance yet?
Who'd you ask?
You're crazy. She's Ed's girl
Doesn't hurt to ask. Sometimes
the most beautiful girls are the
That's a crock of shit.
Bob Burnside, a tall pal of Larry Vaughn Jr.'s, turns up
by their side.
Same tired old faces. You see
Larry Vaughn Junior?
If you see him, tell him I got a
six-pack, a blanket, and the Brebner
He exits, on the prowl.
None at all.
I wonder what the Brebner twins
are doing tomorrow night.
14 ANGLE ON BRODY AND ELLEN 14
Can you take a little time out from
your busy schedule to dance with the
Because they're playing our song.
And sure enough, they are -- the band has turned to a Fifties
slow-dance standard: "I Wish You Love." Peterson approaches.
May I have this dance?
Sorry, I'm all booked up...
They slowly fox trot out onto the terrace. Both of them
nodding greetings to townspeople and kids -- everyone knows
Remember 1959, the Jersey shore?
And how. I thought you wouldn't
I did, I did.
The music and the summer moon are working their magic.
Listen -- what are you doing
He dips with her; they look up and notice Sean, sound asleep
on a bench.
Let's get the kid home.
Home it is.
He crosses to the sleepy Sean and hoists him with a grunt.
(to the kid)
You're getting a little big for
Sean murmurs sleepily and hugs his dad. Mike, dancing with
Marge, waves good-bye. The Brodys start to leave, passing
a bucket with a bottle of champagne still in it. They ex-
change a look, nod agreement, and Brody boosts the bottle,
sneaking it out of the building while Ellen giggles.
15 INT. BRODY BEDROOM - DAY 15
Brody and Ellen are snuggling under the covers while early-
morning light streams under the blinds. It's The Morning
After, and the clothes from the night before are scattered
all over the room. Brody rolls against Ellen, spoon-fashion,
They start to move a little, then turn face to face. Outside
their door, the sounds of little feet; Sean padding downstairs.
Their bodies move under the blankets. There's a crash
from the kitchen. They stop for a beat. As they resume,
little feet return.
The milk fell out of the
Put a towel down. And shh --
His feet paddle off. Brody and Ellen start to slide
together, passion resumes.
Bigger feet go downstairs; Michael's up. The Brodys kiss,
trying to ignore the sounds of spirited discussion between
brothers over who's responsible for spilled milk. Then
the sound of a car pulling into the driveway, and a horn
They try to kiss again, there's a door slam downstairs,
and talk between the boys and Mrs. Silvera. The Brodys
look at each other and break up laughing at the morning,
16 ANGLE ON THE BED 16
As Ellen and Brody, with the practice of 18 years of
marriage, swing back-to-back, and put their feet on the
floor, each on their side of the bed, still chuckling,
up for the day.
Need a ride?
As far as the office.
17 EXT. AMITY STREET DAY 17
The police jeep is driving through the picturesque streets,
Brody behind the wheel, Ellen and Sean passengers. It slows
near the foot of the street, dockside, where a real estate
office marked "Amity Shores Development, Leonard Peterson,
Pres." sits. Peterson's big Cadillac is parked illegally at
the curb. It has the Amity Shores logo on its side.
What's daddy doing?
Writing a ticket.
Brody is out of the car, his pad in his hand.
Hey! That's my boss!
Peterson, in shirt-sleeves and a tie, hustles out of the office
Wait a minute....
Too late, it's written.
Heck of a way to treat a taxpayer.
Don't you have any pull with the
Do I have to?
(taking the ticket)
Better get a sales kit together for
after lunch. I'm taking some prospects
Ellen kisses Brody, and starts in for her day's work.
See you later.
Can't we fix it up to get this
made into a green zone or something?
Len, pay the two dollars.
Peterson shrugs and goes inside his office. Brody's
attention is drawn by some noise by the dock.
18 EXT. DOCKSIDE, AMITY - DAY 18
Hendricks and an old codger, Red, are working on Amity's
newest bit of police equipment; a blue power launch for
patrolling local waters. The boat is Hendricks' personal
pride and joy.
Tie it off on your left. Your
As Red complies, Hendricks spots his boss.
(walking onto the
dock, Sean tagging
Aren't you off-duty?
Till noon. This is on my own
I'm not short. I'm eleven.
There's a hoot from a passing boat horn. Sean waves happily.
19 ANGLE ON THE BOAT 19
It has slowed to a halt in front of the police berth; it's
a scruffy working fisherman, back from the banks with a
full load. The Skipper hails Brody.
You got a gold-plater drifting in
the main channel. Big cruiser.
Off the Point. No running lights,
just a diver's flag.
(aside to Brody)
Want me to run out there?
On your own time?
Happy to do it.
Then check it out. I'll be in
Hendricks nods, and starts the engine importantly.
Cast off your bow line. And your
stern line. Spring line....
While Red grumbles Brody and Sean are walking up to the street.
Michael and some teen-agers are headed down to the dock.
20 ANGLE ON BRODY AND THE KIDS 20
It's Mike, Polo, Patrick, Lucy, Brooke, Ed and Tina.
No place special. Just hanging
Watch your kid brother, huh?
He gets into his jeep, leaving Sean with the teen-agers.
Bye, Mr. Brody.
The others ad lib appropriate greetings/good-byes, as Brody
drives off in his jeep.
21 EXT. DOCKSIDE - DAY 21
The Kids busy themselves with their boats while Sean hovers
around Mike, who's not happy at baby-sitting his kid brother.
POLO (Simultaneously) SEAN
Anyone want to sail Can I go too?
to the Lighthouse?
Machs nix to me. No.
Anyone got a spare Please?
mooring line? Mine's
I've got one.... I said, 'No.'
Tina's in her boat, "Tina's Joy," a neat sloop. Mike is
going over his "Green Machine," a sleek catamaran.
You're not going out right away,
Waiting for Andy.
I want you to meet my cousin.
I will, I will.
I want to go out with you.
You need a crew, don't you?
Before Sean can protest further, Mike spots his crew: Andy
Nicholas, a round-faced, frizzy-haired pal, wearing a bathing
suit, and carrying some scuba gear from an early-morning
diving class. Marge and Denise, two other divers, are with
him, with their gear. They ad-lib "good-byes."
I don't need you. Andy's here.
You always go with Andy.
How was dive class?
Same as always -- glub-glub,
There sure is some weird shit on
the bottom of the ocean.
Shells and lobsters and stuff?
Mostly old garbage. Today we found
a '48 Hudson.
Do I have to play with the little
Yeah. Go on, beat it.
Sean mopes away while Andy and Mike get their boat ready
21-A FOLLOW SEAN OFF THE DOCK 21-A
Up on the street, where a pretty girl with a sexy face and
a provocative post-pubescent walk is asking him directions.
He points down at the dock. The Girl, Jackie Peters, waves
at her cousin, Brooke.
One of the boats has a portable radio going. It's playing
some medium-hot salsa. Jackie does a couple of dance steps
on her way down the dock.
21-B CLOSE ON ANDY AND MIKE 21-B
Who's that? Quick -- I'm in love.
I hope that's the cousin.
Over here. I want you to meet
Lucky. Lucky, lucky, lucky.
As the four teen-agers come together in a tight quartet, the
music rocks up and we:
22 EXT. HARBOR - DAY 22
Later in the day, sailboats with bright colored sails and
ornately painted hulls tack back and forth. Lots of chatter
between boats, horseplay, splashing, and general good times.
It's cruising, on water.
23 EXT. HARBOR, ABOARD MIKE'S BOAT - DAY 23
with Mike, Andy, Jackie and Brooke.
How fast does this go?
With the right wind, 15-20 knots.
He sheets in, heeling the boat over in the stiff breeze.
Jackie screams in excitement; for a city girl, this is more
fun than a roller coaster.
24 ANGLE ON A RED CATAMARAN, "SIZZLER" 24
overtaking Mike's boat. It's piloted by Larry Vaughn, Jr.,
the Mayor's Son; with him is his good friend, Bob Burnside.
It's immediately a race between the red boat -- "Sizzler,"
and Mike's "Green Machine." The Kids ad-lib -- "Faster,"
"Lookout," "Gybe, gybe."
We're carrying weight.
We'll take your supercargo.
Is that me?
I've never been supercargo.
Donny and Denise's boat cuts in, stealing the Sizzler's air.
Hey, get out of our air!
Want a passenger?
24-A ANGLE ON THE SIZZLER AND FELIX 24-A
Denise hops nimbly from one boat to the other as Danny sails
tight as a tick to the red cat.
Way to go!
25 QUICK CUTS: FUN AT SEA 25
The sailboats cutting up, cruising the harbor, the local
teen-agers partying with each other:
-- Patrick and Lucy's Sol Cat, flying its hull.
-- Susie's Laser heeled 'way over' in a stiff breeze.
-- Polo and a pretty girl in his sloop, "Sea Witch."
-- Timmy Weldon and Doug Fetterman playing catch-up
in their respective boats, the Doughdish and the
-- Marge in her Lightening, sailing close to Ed and
Tina in Tina's Joy.
26 UNDERWATER NEAR THE ORCA - DAY 26
Silent, green-blue depths. A diver, Crosby, working the bottom.,
running a search pattern. Another diver, Tom Andrews, running
close. They signal to each other, and make another pass.
Follow Tom Andrews as he skims the bottom, near the wreck of
the Orca, half-buried in the silt. A diver's line runs up and
out of the frame, to:
27 EXT. OCEAN - DAY 27
Bobbing on the surface are three boats: the Amity Police
launch, the deserted Elizabeth T., from Newport, flying
a diver's flag, and the ScubaVue, a local diveboat operated
by Tom Andrews and his partner, Crosby; it has "Amity Aqua
Sports" lettered on it somewhere. Hendricks and Red are on
the deck of the police boat, peering at the cruiser.
Rich or poor, it's nice to have
Figure they split?
Happens every season -- someone
takes off. Once we had a schooner
for a month while the owners went
A sudden eruption in the water nearby startles them -- it's
Andrews, surfacing, holding up the underwater flash camera.
This is all there is.
Crosby pops up next to him, shows empty hands.
If that's it, that's it.
The divers head for their boat, Hendricks fires up his
engine, and we:
28 INT. BRODY'S OFFICE - DAY 28
Brody is trying to reason with an indignant fat man.
I can't watch the news, I can't
watch a ball game, I can't watch
movies -- all I hear is that
rotten kid with his rotten radio
... "Breaker, Breaker...."
I'll do what I can, but you're talk-
ing about a federal jurisdiction....
So call the FBI!
Black, two sugars.
Thanks. What else is out there?
One petty theft, one domestic dis-
turbance, and an exhibitionist.
I'll take the exhibitionist, you
handle the others.
Chief Brody? I want you to do
something about my first husband.
Brody is caught in the open.
Martin, you have got to demand that
Grace Kinney keep her shades down.
What about enforcing the "No Park-
ing" ordinance on Beach Road?
In a minute, in a minute -- talk
to Mrs. Prendergast, please....
WOMAN 2ND MAN
(continuing) (eager to
Albert keeps coming be heard)
around when I'm with Every time there's an
gentlemen friends and out-of-state car in my
he throws mud on their driveway, I lose another
cars.... mailbox. Those little
iron sailboats cost thirty-
two dollars each!
Talk to me about Mrs. Kinney.
Her bedroom window faces my oldest
boy's bedroom, and she's teasing
him, dancing around in a towel,
Hendricks has entered, carrying the camera brought up from
the bottom by the divers.
Hendricks. I want to go over
your reports and your Form 908.
They go into Brody's inner office; the uproar continues be-
hind the door, but it's calm in here.
I never heard of a 908.
I just made it up. It means, "Get
me out of there."
What the hell's that?
Diver's camera. Tom Andrews
brought it up from under that
Abandoned? It's a little early in
the season for that.
Rich people. Home port is Newport,
If I had a $100,000 boat, I sure as
hell wouldn't leave it anchored
alone in the channel.
If you had a $100,000 boat there'd
be an investigation.
Hendricks puts the camera in an informal "Lost & Found" box
sitting in the office. Brody makes the mistake of opening
the door, revealing the White-Haired Man.
Grace Kinney is driving my boy to
Hendricks, get a description of
Chief Brody? I want to talk to
you about my daughter...she's 15,
but mature for her age....
WOMAN 2ND MAN
Chief, I've been telling Look -- the township is
Mrs. Prendergast that it's responsible for protecting
no good just talking about life and property, and my
Albert, she's got to do property is unprotected....
As Brody turns to deal with the mess, we:
thru OMITTED thru
33 UNDERWATER 33
Looking up at the surface, where a hull floats in silhouette
against the daylight. There's a commotion, and a water ski
drops into view. Then another one. Pale legs churn the water.
34 EXT. OCEAN - DAY 34
Off Amity Beach, a bilious green lap-straked boat is bobbing
in the water, the engine idling. Two girls are fooling around;
the one in the water is Terry, the one driving the boat is
Did you ever see a dolphin?
Sure. They like to play. We may
see some today.
She fumbles with her skis.
Whoops, almost lost one. Can't
play with the dolphins without skis....
Hang on, hang on...Okay, go.
Diane goes to the controls, and puts the engine into gear,
starting forward. Terry waves "okay," Diane opens up the
throttle, the boat surges forward, pulling Terry upright.
A wake boils out from under her skis.
35 ANGLE ON THE BEACH 35
Ed and Tina are camped on a blanket, necking in the shelter of
the dunes. There's a portable radio, a cooler with some beer,
and some sandwiches -- a perfect afternoon alone. Above the
dune, behind them lies the ocean, where the girls' ski boat
can be seen, raising a big wake. Tina disengages, and sits
up, brushing sand out of her hair.
Take a break for a minute, okay?
Tina stands, and looks out to the sea, where the boat is
towing Terry on the water.
Eddie, can we do that?
Can we go skiing? We can use my
Uncle's boat. Eddie?
With you, everything's next week.
I want to go skiing soon. Tomorrow?
Ed grunts non-comittally. Tina takes a beer from the cooler,
and goes up on the dune to watch Terry and Diane. She waves
to them, and to someone down the beach.
36 EXT. BEACH HOUSE - DAY 36
An old lady, Grace Witherspoon, is rocking on her porch, also
enjoying the view of young people enjoying themselves. She
acknowledges Tina's distant wave, and turns her attention
back to the skiers.
37 ANGLE ON THE SKIERS 37
having a wonderful time. Terry is good, criss-crossing the
wake, showing off.
38 CLOSE ON TERRY 38
rushing through the water, waving, stunting.
She waves at Diane, who leans over the controls, to coax
more speed out of the old engine.
39 UNDERWATER 39
following the skis effortlessly, closing in on the
39-A ON THE SURFACE 39-A
Terry whipping along; a fin raises near her. She glances
at it, waves, thinking it's a porpoise.
Porpoise! Look! A dolphin!
The fin slides low in the water, heading towards her. She
puts the rope around her waist, leaving both hands free.
39-B UNDERWATER 39-B
closing in on the wake, crossing it.
39-C TERRY - ON THE SURFACE 39-C
The fin cuts across her path. Too late to maneuver, Terry
hits the looming gray back of the Shark. The skis bump,
leave the water, Terry takes a spectacular spill. The rope
around her waist tows her helpless through the water, gagging
her, preventing her from shouting. She flounders as Diane
slows the boat to see what's happened.
39-D ANGLE ON THE BOAT 39-D
turning back to see if her friend hit a submerged log or
Terry! You okay?
Okay, okay, coming....
She still doesn't realize the gravity of the situation --
she hasn't seen the fin.
39-E ANGLE ON TERRY 39-E
hysterical, pulling herself hand-over-hand up the rope,
trying to get to the boat.
39-F UNDERWATER 39-F
Closing in on the thrashing figure.
39-G TERRY 39-G
screaming, as the Shark rises from the deep and takes her.
Suddenly she's gone, a swirl of pink froth marking the
water where she went under.
40 IN THE BOAT - DIANE 40
Looking around for her friend, suddenly panicky. She pulls
the rope hard, and tumbles backward as it comes up with
nothing on it -- just a cleanly bitten end.
Then the Shark appears, blood on its mouth, lunging up and
butting the stern, jarring the engine loose. Fuel spills
from a ruptured line.
Help! God, help!
She throws things at the Shark, which slides back under
40-A DISTANT ANGLE ON THE BOAT - FROM THE BEACH 40-A
Diane can be seen flailing in the boat, very distant screams
floating across the water; at this range they sound like
the normal shrieks of teen-age girls having fun....
40-B ANGLE ON THE BOAT - CLOSE 40-B
as the Shark hits from a fresh angle, this time taking a
chunk out of the boat, biting down with powerful jaws. Diane
hurls seat-cushions, oars, anything she can lay hands on.
She fumbles desperately in a compartment, produces a flare-
pistol. She cocks it and fires point-blank at the shark.
40-C CLOSE ON THE SHARK 40-C
The flare hits, wet fuel glistening on the water and skin
of the Shark explodes in a sheet of flame.
40-D DIANE 40-D
A last flash before the gasoline explodes.
A sheet of fire, she's in the middle, screaming, aflame,
the Shark forgotten. She falls into the water as the
ruined boat overturns and there's an oily explosion.
41 EXT. BEACH - DAY - ED AND TINA 41
Ed and Tina look up as they hear the distant "crump" of
the boat blowing up.
42 EXT. PORCH - DAY 42
Mrs. Witherspoon looks up, startled by the sudden tragedy.
She gets up to go to the phone, indoors, and we:
43 EXT. OCEAN - DAY - AMITY POLICE BOAT 43
The launch is anchored at the site of the explosion, offshore.
Red is fishing up bits of flotsam with a boathook. Hendricks
is on the radio, talking to the shore.
I can't find anyone out here.
They must've gone to the bottom,
or drifted with the current.
44 BRODY ON SHORE 44
He's on the porch of tile Witherspoon house, using his portable
walkie-talkie. Mrs. Witherspoon is waiting in the b.g.
Nearby, we can see a sign: "BURIED CABLE: Call New England
Light and Power Before Digging." The cable itself surfaces
in a chain-link fenced enclosure, and climbs a power pole for
distribution to the island. Ed and Tina are also there,
having given statements.
There should be bodies. Witnesses
say two people; one in the boat,
I told you -- nothing here.
For how long? Current's moving
everything around, and it's getting
Stay on it. I don't care how
long it takes.
Brody turns to Ed and Tina, and takes out his notebook.
We heard this noise, like a 'boomp'
out there, and when we looked,
there was just this cloud of
That was the explosion. One minute
they were having a wonderful time,
the next, bang!
I don't know what could've done
Brody stares out at the quiet sea -- what's lurking under
that calm surface?
Can we go now?
Brody's still looking past them, towards the ocean.
Chief Brody -- can we go? Please?
Oh, yeah. Sure.
As he gazes at the ocean, we hear the sound of a distant
44-A EXT. AMITY - DAY 44-A
An ambulance, siren wailing and red light flashing, drives
on its melancholy way through the picturesque town.
45 ABROAD THE POLICE BOAT - NIGHT 45
Hendricks has the winch in operation, the cable in his hand,
with big grappling hooks attached. The boat is lit by its
powerful worklights. Hendricks heaves them out, watches as
the current takes them, then puts the winch in gear,
How much longer?
Until we find something.
I don't care about the overtime,
I'm hungry. And cold. And most
of all, bored.
46 INSERT - THE WINCH CABLE 46
It goes taut with a sudden strain.
47 ANGLE ON HENDRICKS 47
He sees it, too.
I think we got something.
Red moves to the winch, watching warily as it slows to a
near stall with the weight.
About damn time.
What the hell is it?
There's a strain on the cable -- it's pulling the stern of
the boat down as it struggles with the weight.
Here it comes....
48 ANGLE ON THE WATER 48
lit by the harsh worklights on the deck of the launch. The
cable from the winch is taut, pulling something up from the
black depths. What? The coupling appears, then the hook,
and an oily cable.
Oh shit. Drop it.
What is it?
He hits the release on the winch, and the cable whines as
it spins out and settles back on the bottom. Red jiggles
the line, trying to free it up.
It comes here from Cable Junction.
Untangle it and let's go -- We
don't need a blackout on the
Now you're talking. Let's get
out of here before we do find
49 OMITTED 49
50 INT. BRODY KITCHEN - DAY 50
The next morning, the Brody family is downstairs, each
getting his own special breakfast. Mike gets cereal for
himself and Sean, Ellen is cracking some soft-boiled eggs,
Brody is drinking coffee and smoking.
You have to smoke so early
in the morning?
It's good with coffee.
So's a donut.
I want Fruit Loops!
You eat Cheerios. I want Fruit
What're you guys doing today?
I don't know about him -- I'm
going down to the dock, maybe go
What else is there to do?
You could work out at the beach,
make a few bucks for school.
Do I have to?
You'll have to make up your own
mind about that.
Where's my day book?
In the den.
Ellen passes them on the way to the den to look for it.
He doesn't have to work all the
time, it's his vacation.
Mrs. Silvera enters from the service porch.
Good morning -- everyone up early
There's a lot going on.
He follows Ellen into the den.
51 INT. DEN - DAY 51
Ellen is rummaging around the papers on the end table, looking
for her book.
Why don't you take a half day and
clean this junk up?
Because, I'm in the middle of a
boating accident, I got only
four regular cops and one secretary,
and a Chief Deputy who is constantly
fiddling with the police boat He's
Boat nut. What is it about this
place that makes everyone a freak
It's an island.
(she pecks him
on the cheek)
Got to run.
She heads out the door for the office. Mike approaches.
52 ANGLE ON MIKE AND BRODY 52
What about tennis? Riding?
fixing up old cars? Bartending?
Bartending? I'm 17.
Okay, not bartending. Why on
the water every day?
Look, humor the old man --
just be careful.
I'll be careful. I'll see y'later.
53 INT. KITCHEN 53
Mike passes through on his way out, nodding to Mrs. Silvera
who acknowledges his passage. Brody is close on his heels.
Don't go out if it's rough or any-
thing, huh? We've had a lot of
The back door slams behind him.
Can I go with you today?
You stay with Mrs. Silvera, Tootsie.
Sean nods, resigning himself to the inevitable.
You can come with me to the market.
I'll be at the office.
Mrs. Silvera nods, and pours Sean a glass of milk. Brody
sighs, and heads out the door. Sean calls after him.
Bye, Daddy. I'm going to be careful,
54 OMITTED 54
55 EXT. OCEAN - DAY 55
Sitting snug and ship-shape on Mike's Green Machine are Mike,
Andy, Brooke, and Jackie. They are heeled over in a brisk wind,
making good headway; sailing nearby in the b.g. are Patrick and
Lucy and Donny and Denise, in their boats.
(from her boat)
Where're we going?
Oh, out a ways. Maybe the lighthouse.
No big thing, we'll see who's out
there, maybe picnic.
We got some stuff at the store. Ed
and Tina are going to be there.
Oh, sure, they would be.
What's the lighthouse?
It's an island, near here, with a
lighthouse. We sometimes hang out
there, you know....
Great. I got some wine.
She opens her big floppy bag, revealing the top half of a
jug of Mountain Red. Brooke slides over to her.
56 ANGLE ON BROOKE AND JACKIE 56
The lighthouse is a make-out spot.
Now I really want to see it.
You going to fool around with Mike?
Well, I'm not doing anything with him.
She indicates Andy, who pretends great indifference.
Well, maybe I will, then.
Andy does about a triple take before he regains his cool.
Mike concentrates on his sailing, Jackie grins an impish,
vixen grin, Brooke shrugs.
thru OMITTED thru
63 EXT. LIGHTHOUSE - DAY 63
A spectacular view from the top of the old lighthouse, show-
ing ocean, sandy beach, some of the Kids' catamarans pulled
up on the sand, other pleasure boats cruising in the b.g.
Ed and Tina are running down the stairs, laughing.
Come on back up here!
Give me back my hat!
64 ANGLE ON THE SAND 64
where Andy, Mike, Jackie, and Brooke are camped around a
blanket listening to a portable radio. Ed and Tina run by.
Why'd they decide to move?
Too hot in the lighthouse?
Too hot tor those two? I can't
Is there something I don't know
I told you, remember?
Oh, yeah. So why aren't they
doing it now?
There's a little round of giggling.
Maybe by now they are.
They're moving pretty fast.
65 ANGLE ON ED & TINA 65
running towards a dune and over it.
66 ANGLE ON MASSIVE SHAPE 66
in f.g., covered with birds. Ed and Tina appear over the crest
of a dune, and the frame explodes in a flurry of seagulls,
suddenly disturbed. The whir and drumbeat of wings, and the
shrieking of the gulls is a jarring shock.
67 CLOSEUP - TINA 67
68 HER POINT OF VIEW 68
The huge hulk of a beached, decomposing dead whale, a few
birds still pecking at scraps of blubber and entrails. Big
festering red holes mark its sides.
69 LONG SHOT - SAND AND WHALE 69
From the top of the lighthouse, we can see a group of
interested spectators, clustered around the whale like ants
at a picnic. A few more boats are beached and riding at
anchor just off the shore, including the Amity police boat.
Three Ants are walking towards the crowd, one of them
70 ANGLE ON BRODY, HENDRICKS AND A WOMAN 70
She's Lureen Elkins, a marine biologist from the Oceanographic
Institute, and she's skeptical. Brody is the ant whose
antennae were waving in the long shot.
As soon as I heard about it, I
called you. This thing is big!
His arms indicate big.
After we've looked, we'll talk.
This is it.
He moves forward to clear the crowd. Some kids are poking
the massive hulk with sticks. A tourist couple is snapping
away with a Polaroid SX-70. The whole mess stinks, too.
Move back, please...back off...
open it up a little....
The crowd edges back, giving way to Brody and Elkins.
See? What'd I tell you?
71 ANGLE ON THE WHALE 71
Brody is holding a handkerchief to his nose as he approaches
the dead thing, indicating a huge open wound on the side.
Look at that:
First things first.
She produces a tape measure and gives one end to Brody.
From the tip of the snout, please.
Elkins is measuring the length of the creature. She calls
off numbers to Hendricks, who is officiously writing it all
down, repeating numbers as he hears them.
Length, 22 feet, 8 inches.
Come on, let's check the bite
Bite radius. You know, the size of
The whale's mouth?
The Shark's mouth.
Brody pitches his voice low, so that the crowd won't listen.
The shark that did this. It was a
shark, wasn't it?
We don't know that, do we?
But that's what we're here to find
You don't tell me my job, and I
won't tell you about yours, okay?
I can't hear you if you're going
Can we go now?
He turns to join the kids as they slip through the crowd to
return to their blanket, ad-libbing good-byes.
You stay here a minute.
You heard me.
We'll be over by the lighthouse.
I'll be right there. Wait up.
They hang around, waiting for him. Elkins has reclaimed
Could be a shark. But maybe not.
Look, I know a little bit about
I know that this was probably a
Great White Shark. Car-cadon...
He fumbles for the correct Latin.
Okay, so that's it.
Is there one in these waters?
What makes you think there might
Because this big fish has been
bitten by some other big fish....
This is a mammal, not a fish.
Jesus, don't quibble with me. I
want to know if a Great White
Shark did this.
That's it? Probably? Look,
sharks are attracted by blood,
and thrashing around....
(this is a new one)
Sound. Like sonar, or radar.
They home in on irregular sounds,
unusual sounds, any rhythmic low-
So there's one around here.
Not necessarily. These wounds
could've been inflicted 30 miles
out to sea, or more. None of them
are immediately fatal. Currents
could've carried the body 10 miles
We got a helluva tide this month.
Could you just keep that crowd
You stay right here. You're going
in with me.
72 ANGLE ON BRODY AND MIKE 72
As Elkins examines the whale, calling her observations to
MIKE (simultaneous) ELKINS
We came out in my boat. Lower jaw displaced and lacer-
ated by predator attempt to
BRODY seize the tongue. Additional
Andy can sail it in. large tissue loss in the dorsal
and sub-dorsal areas, as well
MIKE as the caudal. Oriamal bite
I got a date! radius 37 inches, allowing for
salt-water erosion and subse-
BRODY quent small predator and
She' ll understand. scavenger tissue attacks....
The Kids have moved a little closer to hear what's going on
between father and son.
I don't want to discuss it.
Elkins crosses to Brody.
It's either a Great White, or
another killer whale.
Can't you tell?
Not when it's like this. This
animal has been ashore for 10,
12 hours, and drifting for a day,
at least. Every little nibbler in
the sea's taken a bite.
Look -- can Great White Sharks
communicate? Send out signals,
or something? You know, take
revenge, sense an enemy....
Don't be ridiculous -- Sharks don't
take things personally.
Brody turns on him. This at least, is something he can do
No more sailing. You come back
with me, and that's it.
Because I say so.
I'll tie up at the town dock, don't
See you later, Mikey....
ED AND TINA
Later, bye... (Ad lib).
73 OMITTED 73
74 INT. AMITY TOWN HALL - DAY 74
Vaughn and Brody enter, walking through the spare, empty town
meeting hall, towards the conference table. They are alone.
I'm showing summer rentals. We
got a helluva season going.
We have got to talk, and we have
got to talk alone.
Larry, I don't know how to say this,
but I think we got a shark problem.
A real one.
Vaughn stares at him, then unlocks the door to his private
office -- "Mayor" -- and leads Brody in.
75 INT. VAUGHN'S OFFICE - DAY 75
Small, expensively furnished in antiques, with a few symbols
of Amity boosterism cluttering one wall: a photo of the beach,
featuring a shark tower; an architect's rendering of the new
Holiday Inn, some charts and graphs showing upward progress,
a few stills of businessmen's luncheons, plaques, awards, etc.
Are you serious?
Of course. Look -- I've got some
missing persons, fatalities,
evidence of a large predator....
No one has seen a shark -- no fin,
no bites, nothing. Be realistic.
I got a feeling. I have to act on
it -- you can understand that,
Of course I can, but can't it wait?
These things cost money, and this
town doesn't have much money.
We have to do something.
We have done something -- hell, we
damn near went broke putting up a
shark watch tower on the beach --
it's the only one in 2000 miles,
I know, I know....
And I stood by while you told the
people from Ramada and Marriott
that if they put up a hotel they'd
need $800,000 worth of steel net
around their beaches! In New England?
We all lost on that one.
It's still a good idea.
Martin, when we build up our tax
base a little, you can have every-
thing you want; right now, the
Please, Larry -- there's good reason.
Those water skiers....
A tragedy. But that was a boating
accident; no bites, no sharks,
nothing but a boating accident.
Two of them are still missing!
There's always deaths in these
waters that never turn up. Are
they all shark victims?
Maybe they are!
Brody's overstated his case, and he realizes it.
Bullshit? I'll give you bullshit
-- there's a dead whale out there
with bites all over it!
What am I, an ass? When you called
me, I called Elkins, and her bosses.
Nothing she saw is proof of anything.
Someone has to do something.
(back in control)
Don't push it this time. If you
do, it won't turn out the way you
want, I guarantee you that.
The two men study each other for a long moment. Then,
I've got to get back to work.
He holds the door for Brody, who walks out as Vaughn lags be-
hind, locking up his sanctum.
76 EXT. AMITY BEACH ROAD - DAY (DUSK) 76
Brody is alone in the jeep, headed for the safety of home and
family. He drives past the town's billboard: it's covered
with an architect's rendering of the Amity Holiday Inn . The
sign reads: "WHEN IN AMITY, ENJOY THE HOLIDAY INN."
Plastered across it is an added streamer: "NOW OPEN." Barely
visible underneath are older notices: "UNDER CONSTRUCTION,"
and "OPENING IN JUNE."
As Brody passes the sign, he impulsively swings off the main
road and heads down towards the beach.
77 EXT. BEACH - DUSK 77
Brody is on restless patrol, checking the water's edge as he
continues on home. As he drives along, he sees: a clambake;
some teen-agers in a group, necking and dancing; and a few
solitary surfcasters and fishermen.
The beach is deserted, the sun is setting, and Brody and his
jeep have the sand to themselves. It's then that he sees
78 BRODY'S POINT OF VIEW 78
A big bow section of a ruined, burnt boat is bobbing in the
surf just off the beach ahead. It's a piece of the water-
skiers' boat; Brody heads towards it.
79 ANGLE ON THE SURF 79
As Brody slows his jeep just short of the water, and gets out
to look at the flotsam. His shoes get wet. He backs up onto
dry sand, then tries to edge closer to examine this object.
It bobs up and down in the surf; Brody makes "Get in here"
motions. The junk resists.
Come on, give a guy a break.
No response. He takes off his shoes and socks, and rolls up
his trouser legs. A silly sight. He wades into the water
Come on. Here boy. Come to
It eludes him, and he flounders after it. A big wave breaks
across his crotch.
He's almost there, it's just beyond his reach, he's got it,
he's lost it, he has it again, it's slippery....
Come here. Come on, Sweetheart.
You bastard. A little closer...
Then, he's got it ---
80 CLOSE ON BRODY IN THE WATER 80
As he grabs the ruined wood, and pulls it towards him. Sud-
denly, the mass of wreckage breaks apart, and something
lunges out of the mess and into Brody.
81 SHOCK CUT CLOSEUP - "THE THING" 81
Brody is suddenly pinned under a soggy charred horror; the
gory remains of Diane, burnt beyond recognition,: flesh peeled
away, discolored, charred, ruined by days in salt water. He
screams, and scrabbles in the wet sand, trying to get out
of the dreadful clutches of the half-human thing he's dredged
from the water.
82 ANGLE ON BRODY 82
Extricating himself, puking, retching, splashing water on his
face, washing his hands frantically, just behind him, The
Thing lying on the sand, a gruesome joke played by the sea.
83 INT. BRODY'S OFFICE - NIGHT - EXTREME CLOSEUP - CYANIDE BOTTLE 83
Macro close on a pharmaceutical bottle of Sodium Cyanide,
from which a syringe is withdrawing a healthy dose. Follow
the syringe and reveal Brody, working at his desk in the
deserted office. He is injecting the deadly chemical into
some jacketed .38 hollow-point ammunition; a dozen cartridges
are lined up in neat array, he is filling the last of them,
sealing the points with wax from a burning red candle. The
radio scanner is monitoring the local police band: routine
reports faintly in the b.g. -- a slow night in pre-season Amity.
84 ANGLE ON BRODY 84
As a sound at the door makes him look up. He hides the odd
gear as Hendricks enters, starched and crisp in his uniform.
I missed you at the funeral home.
Santos said you were here.
You didn't miss much. Christ, what
The woman passenger on the boat
that blew up.
There's an awkward pause. Brody sees the box with the divers'
stuff sitting where it was left earlier.
What about that camera?
That one -- from the wreck. You
brought it up, did you look inside
Hendricks' guilty look confirms he didn't.
Well, what the hell -- might be
something worth seeing. Take it
somewhere and see if there's film
If there is, develop it!
You got it.
The Deputy rummages in the locker, happy to be on the trail.
I know just where to go.
Not the drugstore!
Of course not, They're closed.
Phil Fogarty's place. He'll do it
The drugstore's closed? What the
hell time is it?
Nine-thirty, ten maybe.
Shit -- I'm late for dinner...
Close up, okay?
And he runs for the door, the speed-loaders with the Cyanide
bullets safely in his pocket.
(at the door)
Oh yeah -- I'm expecting a long
distance call, very important.
Give them my home phone.
Brody pats his pockets to make sure the speed-loaders are
safe inside, then exits. As Hendricks watches him go,
85 OMITTED 85
86 EXT. BRODY HOUSE - NIGHT 86
Brody's jeep pulls up, and he gets out, beat. He is slouching
towards the door when he hears the phone ring inside. He
perks up, and starts to move faster.
87 INT. BRODY HOUSE - NIGHT 87
Ellen is on the phone in the den as Brody enters the house.
The Kids are on the floor in front of the TV, playing an
electronic video game that pings and beeps softly under the
(into the phone)
Thank you. I'll tell him.
Sort of -- Mathew Hooper is aboard
the research vessel Aurora, presently
in the Antarctic Ocean, and won't be
in radio range until half-past next
He starts upstairs, casually concealing the towel-wrapped
package of gun and ammunition.
Is Hooper coming to dinner?
Not till next year.
He goes upstairs, Ellen waits a few beats, then follows him.
88 INT. BRODY HOUSE - UPSTAIRS - NIGHT 88
Brody comes up the stairs and goes into the bedroom, where
he carefully puts the gun in the bed table. Ellen finds him.
Oh, hi -- How was dinner?
Oh, perfect -- a 75 per cent family
affair. Where were you?
They both know what that means -- the morgue. Brody goes
into the bathroom and starts scrubbing his hands compulsively.
89 INT. BRODY HOUSE - BATHROOM AND HALLWAY - NIGHT 89
Ellen follows Brody, watches as he washes under too-hot
Careful. What's wrong?
That's what I said. Is there any
of that hand cleaner stuff?
Use the little brush there. Why
were you at Santos'?
Found one of the missing victims
from that boat deal.
Oh. Want to talk about it?
Mike comes up the stairs, and is starting into his room when
Brody spots him; Sean is just behind him.
You want to come here a minute?
Mike shrugs and crosses to his father; Sean whizzes past on
into his room.
What is it?
He expects something: this is a formal audience with the
Head of The House.
I got something for you to do
I kind of had plans....
Forget it. You're beached.
Grounded. No more boats.
Hey, come on....
No backtalk! I spoke to Upton, at
the beach, and he's got a job for
you there. You can work until
He wanted a job, he's got one. I
want to see that boat out of the
water by tomorrow night.
We see Sean's door opening as he peeps into the hall to see
what the fuss is about.
89-A ANGLE ON SEAN'S DOOR 89-A
It opens a few inches, he looks out at the grownups and his
brother, decides he wants no part of this, and quietly
closes the door.
Tomorrow night. Out of the water.
89-B ANGLE ON THE HALLWAY 89-B
Mike silently storms into his room, not-so-silently slamming
the door as he exits. From inside the room, loud rock music
muffled behind the door -- an expression of teen-age rebel-
Not so loud!
The music lowers its volume. Brody turns to go into the
bedroom, to take his shoes off, to go to bed....
I know what you're going to say.
(on the bed)
In the city, it happened all the
time -- some Kid o.d.'s on a rooftop,
top, a drunk gets cut in pieces
under the Brooklyn local, old
people die alone in shitty
apartments and three weeks later
someone calls the cops because of
the smell and the flies. Call the
cops. What are we, immune?
It was bad, wasn't it.
The goddamn smell is always the
(he shudders at
Are you going to be able to sleep?
Yeah. I think so.
Mike! Keep it down, for chrissake!
Ellen gets up, and quietly closes the door. The upstairs
hallway is empty, the doors closed. The Brody household
compartmented and closed for the night.
90 EXT. AMITY BEACH - DAY 90
The familiar striped cabanas flank the white sands; there's
a crowd of midweek seasonal tourists and locals oblivious to
the tall steel tower that dominates the beach.
A classy van outfitted for passengers pulls into the parking
area, followed by Vaughn's Cadillac; the parking attendant
waves them into a preferential area, where they disembark:
Vaughn, Peterson, Ellen, and some more prospects, including a
woman named Bryant and her daughter, Renee.
This is the town beach; the devel-
opment naturally has its own
private access, but I wanted you
to see the concession area. Look
at that sand -- like sugar!
He scoops up a handful of the fine powder. Ellen directs the
attention of the photographers.
During the summer, the sun sets
Over the water. Beautiful.
I'll say hello for you.
Ellen nods, preoccupied. Vaughn strolls away, headed in the
direction of the cabanas. Mary Nichols, a local Selectwoman,
emerges from behind the counter of one of the concessions.
Hello -- selling some more of the
A piece here, a piece there, it
all adds up.
Your husband's been here all morn-
ing. What's he doing?
Michael Brody, dressed in township workman's coveralls, is
repainting some flaking woodwork. Sean is happily mixing
paint. Vaughn joins them.
Your dad got you working?
He continues his chore, without enthusiasm.
You know where your dad is?
He points at the tower.
Oh, for Christ's sake.
He crosses briskly to where Peterson is finishing.
And if you have any questions
about recreational possibilities,
Ellen Brody here will be happy to
Len, can I see you a minute?
Peterson excuses himself and joins the Mayor.
I think we got a couple of live ones.
Brody's riding his tower.
91 BRODY IN THE TOWER 91
sweeping the water with binoculars, restless eyes trying to
scan everything, a grim watchman high over the heads of the
92 ON THE WATER 92
Larry Vaughn, Jr. comes skimming in close to the surf. Bob
is handling the sheets, Larry is giving young Jackie sailing
lessons -- at the moment he's showing her how the tiller
works. He's on her like glue.
This is fun! Can we go faster?
Bob does, Larry trims the main, and the hull lifts.
She snuggles in Larry's arms. He waves to someone.
That's my dad!
Jackie waves without seeing.
93 ON THE BEACH 93
Vaughn waves back, preoccupied. Near him, Mike Brody looks
up, his face grim, jealous, and now a little nuts. He
splashes paint onto the wood with angry abandon.
Wave to my son.
How the hell do we get him down.
Maybe nobody will notice. Let's
get them back in the bus.
Mrs. Bryant approaches them, tugging her daughter.
Renee wants to know what that man
is doing way up there?
He's, ah, watching. A lookout.
It's a shark tower. I saw one in
Florida. He's looking for sharks.
It's an observation platform.
That's our Chief of Police. He's
just checking it.
Normally, it's used for, ah, bird-
watching. Nature observation.
Weather measurements, that sort
Ellen, we're running late!
Okay. Folks, if we could get back
on, we'll show you the country club,
and stop for lunch....
At the mention of lunch, the prospects, all hungry, begin
flocking back into the van. Peterson herds them along.
The country club has an 18-hole
course, putting greens, and twelve
94 BRODY iN THE TOWER 94
still scanning. His body suddenly tenses. There's something
out there. He mashes his binoculars to his eyes, trying to
get a better look.
95 HIS POINT OF VIEW (PROCESS) 95
Through the binoculars, something big and black, moving
under the buoys and into the swimming area.
96 BRODY AGAIN 96
He can't believe it. But looking past him, we can see it with
the unaided eye: a seething dark mass, moving through the
water towards the unprotected bathers.
Out of the water! Everyone out
of the water!
No one can hear him. A few little faces look up, unable to
catch what he's saying. He starts climbing down the ladder
Get out of the water! Tell every-
one to get out: Now: Out of the
97 ANGLE ON PETERSON, VAUGHN, AND NICHOLS 97
Oh, my God....
What the hell is he doing?
97-A ELLEN, MIKE, AND SEAN 97-A
looking up, startled at Brody's sudden panic.
98 THE WATER 98
The dark mass almost on top of the swimmers, who are starting
to look around. Most of them are oblivious to what's happen-
ing on shore.
99 FOLLOW BRODY 99
as his feet hit the sand and he starts running for the water,
fumbling for his gun and the speed-loader with the cyanide
bullets. He is bumping into people, knocking little kids
over, stepping on blankets and umbrellas, a madman.
Out of the water! Now! Everyone!
99-A VAUGHN 99-A
running too, half-stumbling, half-believing, remembering....
99-B ELLEN 99-B
moving after her husband, while Mike steadies Sean, holding
the impulsive kid back.
99-C ANGLE ON BRODY AGAIN 99-C
The gun is out now, he's trying draw a bead on the shape
in the water; chest heaving, he tries to steady his shaky
grip. People see the gun and scream, throwing themselves
flat on the sand, running, some of them going into the water.
No! Don't go in! Stay out!
He fires. Again. Bullets ricochet off the water, howling
towards the horizon. Real panic now. Four more shots.
Reloading, ejected rounds falling bright into the sand, Brody
on his knees, fumbling with bullets.
99-D ANGLE ON A LIFEGUARD 99-D
standing on his platform, shocked, watching the Chief of
Police fumbling with his gun.
It's bluefish! It's a school of
bluefish! Chief! It's bluefish!
100 ANGLE ON THE WATER 100
It is bluefish -- a tight mass of them, churning up the water
in a dark, dense group. The swimmers look around, confused
by the shots and excitement.
What's going on?
Fish! Anyone got a net?
Someone get me a rod and reel!
Laughter defuses the tension in the water; bathers move
around, some getting closer to see the fish, others leaving
the water to join friends and families on the sand.
101 ANGLE ON THE BEACH 101
where Brody is now standing, panting, coming down as a crowd
collects at a safe distance around him: Ellen emerges from
a group that includes Vaughn, Peterson, and Nichols.
Sorry. I'm sorry. False alarm....
Curious crowd murmurs as they watch this lunacy. Brody
realizes he's fired his weapon, that spent shells litter
the sand at his feet.
Okay, it's all over, go on, it's
over. No trouble....
Ellen joins him.
It's okay. It's over....
Brody drops to his knees, fumbling for the cyanide bullets
in his gun, trying to put things in order, scrabbling in
the sand for the empty shells.
The crowd is curious and embarrassed. Some turn away, others
drift back to their blankets, talking about what's just hap-
pened, others stare rudely. Brody is coming apart.
It's all right, everything's all
Sean emerges from the crowd, and helps his daddy pick up the
bullets, Ellen moves to disperse the rudely curious.
Let's go, everyone...Mrs. Bryant,
101-A CLOSE ON BRODY AND SEAN 101-A
He sees Sean, his eyes fill with tears, and he grabs the kid
in a fierce hug.
102 INT. TOWN HALL - DAY 102
A hurriedly called meeting of the town's Selectmen is in
session: Vaughn, Peterson, and three others: Kaiser, an
old man still in his grocery clerk's apron; Sansom; and
Nichols, the woman on the beach.
Brody's a good man.
Nobody says he isn't.
You should've been out there. You
should've seen him waving that gun,
like a maniac. There were shots
He thought he had a good reason.
But that's not rational behavior!
That's what I'm saying!
How many people were there?
Hundred! Literally hundreds.
What are they going to say about us?
Larry, I'm a businessman, trying
to make a buck like anybody else.
So it can't be done like that. The
man's a menace, plain and simple.
Look, what am I supposed to do?
It's done, it's over. We have to
deal with the consequences.
That's what we're here to do.
All right. Let's go into my
office, where we can have a little
103 ANGLE FROM INSIDE VAUGHN'S OFFICE 103
as the selectmen troop into the cramped quarters. Vaughn
deliberately closes the door as they find seats around
I believe we have a quorum, and
informally, I suggest we call this
meeting an executive session and
dispense with minutes....
103-A INT. BRODY'S OFFICE - DAY 103-A
Brody, alone, is sitting at his desk, morosely studying a
little gold statuette of a pistol marksman. What's done
is done, and Brody is trying to figure out how to live with
it. The phone rings, is answered in the other room. The
buzzer sounds. Brody picks up his end.
Polly, no calls, please...
Hello...Phil? Fogarty?. . .What
pictures.. I'll be right down....
He slams down the phone and gets up to go, suddenly possessed
with a purpose.
104 INT. DARKROOM - DAY 104
Amid the equipment, clutter and proofs, some shots of the
holidome opening, drying on wires. Phil Fogarty, the indig-
nant fat man and town photographer, is locking the door
behind an impatient Brody.
I don't know what you did, but that
kid stopped. I haven't heard one
peep, not one 'breaker breaker'
for days. Believe me, it's a
You said something about a camera.
Sure, sure -- Jeff Hendricks
brought in this camera, see, from
underwater, and I didn't know how
to get it open, but my brother-in-
law, in Montauk, he works at a hi-
fi store, and they sell cameras,
Did you get any pictures?
Well, yeah, I did, that's the
funny thing. You can't tell much
from the negatives, I was going
to blow 'em up. Here's a test
He holds out an 8 x 10 proof, Brody snatches it from him.
104-A INSERT - PHOTOGRAPH 104-A
Brody stares down at it. Sure enough, the ghostly outlines
of the Orca, underwater, a diver on the deck making a
gesture at the camera.
Oh, Jesus. That boat....
105 ANGLE ON BRODY AND PHIL 105
Not bad -- that's a real fast
lens, probably 1.4. Look at the
What else you got?
Let's see -- you got a minute?
Come on, Phil, don't jerk me around.
Okay, okay -- stand over there....
He gestures, Brody steps to one side of a table with some
big enamel pans for washing and developing prints. Phil
switches to a red light, and takes some printing paper,
putting it under the enlarger.
105-A QUICK CUTS: 105-A
-- Enlarger light going on.
-- Timer ticking, the hand turning.
-- Quick negative images: water, boat, diver, hand, boat
again, tantalizing fragments of the opening sequence
projected on the enlarger's flat base.
-- Hypo and Developer sloshing in a pan under Phil's hands.
-- Brody staring down.
106 INSERT (PROCESS) 106
Quietly gaining contrast in a pan of developer, a print of
what at first looks like seaweed, then is unmistakably the
grinning jaws of the Great White.
106 SUBLIMINAL FLASH CUT - SHARK 106
A quick nightmare vision of Brody, alone in a sinking Orca,
trapped in a battered cabin interior; a Great White crashes
through the glass, its head huge as it lunges.
106-A INSERT PHOTOGRAPH IN DEVELOPER (PROCESS) 106-A
The close-up detail of this otherwise blurred and unreadable
photo is unmistakably a detail from a very close view of the
snapping jaws of a Great White; if you hadn't seen it as a
memory, it would make no sense at all. For Brody, the meaning
is all too clear; for anyone who's never seen the monster
face-to-face, it's nothing.
That one there. That one....
Phil's hands, holding plastic tongs, gently slosh the print
in the bath. The shark's features are indistinguishable from
the surrounding detail.
107 EXT. TOWN HALL - NIGHT 107
Brody walks into view, and starts up the steps into the town
hall, already lit from within. He's carrying a large envelope.
and OMITTED and
110 INT. TOWN HALL - NIGHT 110
The Selectmen (Kaiser, Sansom, Nichols), Len Peterson, and
Vaughn are seated informally around the big table.
Speak of the devil.
Brody enters, carrying the envelope with the photo.
Thank God you guys were all together.
I got something for you. Proof!
Martin, this is kind of an official
Perfect. Look at this ---
He fumbles with the envelope.
Chief -- the Board of Selectmen
has a question only you can answer.
Is Jeff Hendricks qualified to fill
in as an interim Chief of Police
in your absence?
The question's out of left field. Why are they asking?
So Jeff could handle things? He
knows the routine, he has the
It came up during the meeting.
Look -- I just got this from Phil
Fogarty. It was in the camera
belonging to the missing divers.
It proves I was right, all along.
He throws the picture down in front of them. They bend over
to study it, pass it around, look at it.
KAISER (simultaneous) NICHOLS
Seaweed? It's underwater, isn't it?
That's why it's so dark.
I don't know -- what is it?
It's a shark! A Great White!
Jesus, it's right there!
He snatches up the photo.
111 INSERT PHOTO 111
Just as before, an ambiguous pattern of light and dark; not
proof of anything without Brody's inner vision.
It's nothing I can see.
112 ANGLE ON BRODY 112
waving the picture.
What are you all, blind? It's a
shark. Look -- teeth, jaw, gills.
Is that what it is?
You're damn right that's what it is.
I'm sorry, I just don't see it.
Sansom and Kaiser agree, ad lib, "That's nothing...."
Martin, it could be anything.
What the hell does it take to make
sense to you numbskulls? Jesus,
it's right there in front of you.
I know what a goddamn shark looks
like, I've been through it, don't
you understand? I've seen this
The Selectmen look at each other in the face of Brody's
agitation. Tempers are running high.
What have you seen before? This
is nothing. Seaweed. Mud. Some-
thing in the lens.
Be reasonable, please....
Forget it, he won't listen.
There is nothing to discuss.
Will you listen to this man?
Will you just listen to him?
You really caused a panic on a
public beach, you shoot up the
place, God knows who could've been
injured -- what if somebody de-
cides to sue us? That could ruin
Is that what it is? Dollars?
Money? I'll pay for it. Take it
out of my salary.
You don't make enough.
Maybe I don't make as much money
as some bullshit rip-off artists
around here, but I don't work the
What's that supposed to mean?
It means I don't like all that
grab-ass and heavy breathing with
my wife, it means I know who's
out to screw me here, and it means
that I know something none of you
know because I've been there --
and I don't want to go through
that horror again. Ever!
There's a long pause.
Martin, could you wait here for
a few minutes while we make up
our minds about something?
Go ahead, whatever it's worth.
The Selectmen file into Vaughn's office, leaving Brody
alone in the room. The last one in the door very carefully
makes sure it's tightly shut.
Brody sits alone at the table.
113 OMITTED 113
114 INT. VAUGHN'S OFFICE - NIGHT 114
They are sitting there, deliberating.
I won't mention his personal
attack on me.
I've never seen him like this.
And Hendricks is qualified, you
heard that from his own mouth.
We made a motion and it was al-
Very well then.
It is moved and seconded that
Martin Brody be relieved of his
duties as Chief of Police, his
contract with the township be
terminated, and that Jeff
Hendricks be appointed Acting
Chief in the interim. Those in
All the hands go up.
Anyone opposed, or is it
Vaughn's hand goes up, the sole dissent. They stare at
I'm sorry, but I respect his
convictions. The motion is
He goes to the door, and opens it.
Martin? Could you come in please?
115 OMITTED 115
116 EXT. BRODY HOUSE - NIGHT 116
The police jeep pulls up and stops; although the engine's
shut down, Brody still sits quietly inside the car. Then
his hand appears at the window, and he drops an empty beer
can onto the lawn. Clink.
After a while, he drops another beer can, then another, until
the "clinks" tell us he's polished off a six-pack on the way
home. Not too steady on his feet, Brody climbs out of the
car and starts for the door to his house.
117 INT. BRODY HOUSE NIGHT 117
Ellen is working at her desk in the den. She is looking
towards the door, expectantly -- it's been an unusually long
pause between car arrival and husband arrival. Brody enters.
Hi. I closed a sale today, without
Len. That's $1200 commission, if
the papers go through.
That's great too. Gorgeous.
He takes a long look at her.
You look about 22 years old sitting
there. Like you were doing homework....
He goes to join her, bumping into some furniture in the dimly
lit room. Ellen has a beer and sandwich half-finished on her
desk; Brody takes a healthy swallow from the beer.
Ooohh, nothing. I just got fired,
He tosses the photo sloppily on the desk.
What'd I say?
That you were fired.
Then that's what I meant. Fired.
Canned. Out on my fanny. The
Selectmen just made Hendricks the
new Chief of Police. Just like that.
Because of today? The beach?
No sweat. A blessing in disguise.
Back to the city, you can go to
Bloomingdale's without waiting six
hours for the ferryboat...we're
surrounded by water here, you
realize that? Me, surrounded by
Stop that! We're not going any
place. You love it here. Tell me
what the hell happened!
Showed them the photo, showed them
the goddamn Shark, big as life.
They didn't see it. Not like me.
Not like the poor son-of-a-bitch
who snapped this li'l picture...He's
out there, somewhere... I shot off
my gun, shot off my big mouth, so
they fired me....
Honey, this is nothing...I don't
know what it is. What did they....
...Everybody wants the job. No one
wants the authority.
Except Hendricks. Fine. He can go
out there in that precious boat,
and when he looks whitey in his
big mouth he can just call me. Call
me in New York...tell him to kiss
(seeing his pain)
They have no right to treat you
like that. You've given them every-
thing. For four years, you've
protected this town, the people on
I'm not a hysterical man. I'm
responsible. I know what I saw....
I know you did....
I try. Goddamnit, I tried...Now,
I'm tired...I can't keep fighting
it...I'm too tired...I'm...I'm....
Brody's slipping under; the beers and the day have finally
overcome him. He slumps in Ellen's arms.
You're drunk is what you are....
She eases him onto the couch, tucking a comforter over his
Take it easy...Easy....
118 ANGLE ON THE STAIRWELL 118
Sean comes down the stairs, sleepy, in his pajamas.
Is dad home? I heard something....
He comes into the darkened den.
119 ELLEN AND SEAN 119
Shhhh. Go back upstairs. Daddy's
Sean finds the photo, and stares at it idly.
Nothing, sweetheart. Seaweed.
She takes him by his sleepy hand and leads him out of the
room, leaving Brody tucked in on the couch, dead to the world.
120 INT. NEWSSTORE - NIGHT 120
This is the Amity teen-ager's hangout -- a newsstand and
pinball arcade with a minimal refreshment counter where soft
drinks and submarine sandwiches are dispensed. A jukebox is
blaring some n.d. rock music. Present are Donnie, Doug,
Timmy, Bob, Larry Vaughn Jr., Brooke, Marge, Denise, Jane,
Andy, and Mike. The boys are passing around hot-rod van and
custom boat magazines; the girls are looking at Silver Screen,
Tiger Beat, People, and Time. Andy and Mike are at the
counter, splitting a sandwich.
(holding a book)
That's what I want -- a gaff rig.
Gaff rigged? Why not a staysail
schooner? Go anywhere. Look at
this -- the Mayan, an Alden schooner.
Hey, Mike -- I saw your dad over at
the town hall.
Did he really freak out at the beach?
I don't know.
Hey, it's all bullshit. Anyone
want to play pong for money?
No one does. There's a bustle at the door, and some couples
enter from the movies: Patrick and Lucy, Ed and Tina, Polo
and Jackie. There are a lot of ad-lib greetings;
How was the show?
It was okay.
I'd rather go the lighthouse.
Anyone want to go the lighthouse?
Now? At night?
Nah. Tomorrow. Early, spend the
day. My folks left two cases of
beer in the garage.
Is it still there?
Nope. Got it in my boat.
Let's go for it.
There's a general ad-lib agreement to organize a day's
Mike, you going?
Why shouldn't I?
I thought you might still be
painting the restrooms at the
Laughter from the gang.
Anyone want a coke or anything?
They break up into pairs and trios, some going for the soda
fountain, others hanging out by the magazines.
121 ANGLE ON JACKIE AND MIKE 121
I'd like to go out to the light-
house with you.
I'm not sure I can.
It'll be fun, come on!
Maybe you and Brooke could come
over to the town beach....
No way. Everybody's going sailing.
If you don't want to take me, just
That's not it. My dad told me not
You do everything your parents tell
Good. I'll be on the dock at eight.
(to the gang)
Eight o'clock, everybody!
They ad lib agreement.
(aside to Mike)
I really want to to be there.
(to the crowd)
Who's bringing the wine? And who's
got a quarter for the box?
Brooke takes Mike aside, as Jackie goes to the jukebox.
Larry is right there with a quarter, standing next to her as
they select a tune.
She just likes to tease. I think
she really likes you.
Some rock music starts, and we:
and OMITTED and
124 INT. BRODY BEDROOM - DAY 124
Ellen is asleep under the covers, Brody, still in his clothes
from the night before, is sprawled on top; obviously he's
stumbled upstairs sometime during the night. There's a noise
down the hall, from Mike's room. Brody stirs, but doesn't
125 INT. MIKE'S ROOM - DAY 125
Mike is holding a lamp that's almost fallen -- the noise we
just heard. He's almost dressed, but not quite satisfied
with his image in the mirror. He takes off his clean shirt,
and checks a more comfortable, worn shirt. A brief sniff to
make sure it's okay for another day, and he puts it on; he
tiptoes to the hall, where a noise stops him in his tracks.
126 INT. BRODY HALLWAY - DAY 126
Mike is frozen in his part-opened bedroom door. Sean's door
opens, and little Sean, also fully dressed, comes sneaking
You're going out.
You're going sailing.
I want to go with you!
Okay, okay. Close your door.
Sean does, and happily tiptoes with exaggerated stealth to
Mike; the two of them start downstairs.
127 EXT. BRODY HOUSE 127
Michael and Sean are walking away towards the road into town.
128 INT. BRODY UPSTAIRS HALLWAY - DAY 128
Brody emerges from the bathroom, dressed in sweatshirt, and
cutoffs: no uniform today. He starts downstairs, stopping
only to look into Mike's room. It's empty.
Good morning, America....
A grin crosses his face -- "My son, the Don Juan..." He goes
129 OMITTED 129
130 INT. BRODY KITCHEN - DAY 130
Brody enters from upstairs. He heats coffee. Ellen enters
dressed for work. He pours two cups.
What're you going to do today?
Turn in the car. Clean my desk,
explain things to our sons, then
maybe get shit-faced and punch
I'll give notice.
Don't rush into it -- we may need
She pours the coffee, they drink it for a moment.
Mike left early. Couldn't wait to
make out. Must be a morning man.
Ellen and Brody sip their coffee quietly for a few moments.
Mrs. Silvera arrives, carrying groceries.
Morning. Anything special today?
ELLEN (simultaneously) BRODY
Sean's not up yet. The sink upstairs is
You know what he likes, Try some Drano, or a
just some Fruit Loops plunger, maybe. Or call
and milk. No candy. your brother, the plumber,
what's his name....
Frankie. He's my cousin.
Frankie. Okay. Ask him if he
needs an apprentice.
Brody and Ellen are at the door.
Have a nice day.
131 EXT. DOCKSIDE - DAY 131
The Kids are into their boats, fitting out for a day of
recreational offshore sailing. Mike and Andy are readying
his Tornado, while Sean gets in the way. In the b.g.,
Hendricks can be seen puttering around on the Amity police
If you're beached, why are
we doing this? For practice?
Then why are we futzing around the
dock? We can make a few bucks
working at the beach.
Sean knocks something over, Mike snaps at him.
Look -- if you're going to get in
the way, you can just go home.
I'm not in the way. Andy, am I in
You're always in the way.
Marge joins them, scooping Sean up.
This guy giving you any trouble?
Put me down!
Put him down in the water.
You want to go out in my boat?
Would you take him?
You've just made someone very happy.
Marge and Sean go over to her Lightening. Brooke and Jackie
come down the dock, dressed for sailing.
Mike! Are you going out?
I thought you were grounded.
I can go out if I want to.
You going to the lighthouse?
I could give you a dozen good
Okay, okay, don't say I didn't
Is there room on your boat for all
Mike looks: Andy, Jackie, Brooke, himself...Timmy moves
in, sensing the chance of a lifetime.
Well, we're pretty crowded, and I
don't know when we're leaving....
Timmy makes his move.
I've got room.
That's okay -- I'll go with Timmy.
And she walks towards his boat, looking back for him to
follow. He's dumbstruck by his sudden good fortune.
He runs to join her, untying mooring lines like crazy; they're
together again at last for the first time. Andy is left
shuffling with Mike and Jackie.
And she plops down in Mike's boat, ready to be taken. Any-
Come on, you guys.
Well, I don't know....
Jackie flashes him one of her pouty little smiles. Why break
one heart when you can break two? Or more?
Please come with us?
Mike is glaring. The message is clear, if unspoken.
What the hell. For you....
Andy joins them. Mike casts off, while Andy helps, and Jackie
sits there, looking cute.
132 ANGLE ON LARRY AND BOB 132
watching what's going on.
I thought you said she was going
Let's just go sailing, okay?
Want to talk about it?
Want to swim home?
Bob gets the message and shuts up. The Sizzler fills its
sails, and points out of the harbor.
133 WIDE ON THE HARBOR 133
Lots of day-sailing Kids, a few bigger, adult boats, some
working fishermen and sport fishers; a typical recreational
boating mix. The Kids are finding the same general direction,
pointing out of the harbor.
134 QUICK CUTS 134
-- Sails being trimmed.
-- Brooke and Timmy, staring into each other's eyes as he
sets a course straight for the lighthouse.
-- Larry, lifting a hull, almost losing Bob.
135 EXT. HARBOR MOUTH - DAY 135
The Kids' boats, in a loose bunch, slipping out to sea.
136 REVERSE - LOOKING OUT TO SEA 136
The dive class boat, isolated near the channel, a group of
Kids in wet suits and tanks assembled with three adult in-
structors: Tom Andrews, Crosby, and Sparky.
137 EXT. DIVING BOAT - DAY 137
Andrews and his assistant instructor, Sparky, are addressing
the class, when Mike and Andy's "Green Machine" sails by,
Hey! Nicholas! You're supposed
to be in class!
Today I'm staying topside. You
dive for me!
I'm going for lobster.
Great! Find one for me.
With butter, if they got any....
Andrews dismisses them with a good-natured wave.
So long, turkies.
He turns to his class.
Sparky will take you down today.
If everyone's got a buddy, we'll
The class dutifully lines up and starts going in, while
in the b.g. the Kids sailboats head out to sea. Andrews'
two partners, Crosby and Sparky, get ready to follow the
Let's get some dinner.
He goes over, Andrews following. Sparky is with the class,
signalling "Down;" they submerge like clumsy seals.
138 UNDERWATER 138
The class, paired up, is drifting down; Sparky offering en-
couragement as they descend. Andrews and Crosby are already
disappearing, swimming away with strong kicks.
139 FOLLOWING ANDREWS AND CROSBY 139
as they go over the edge of a shelf and drop into darker,
deeper waters. Crosby checks his depth, his watch, looks
140 HIS POINT OF VIEW 140
far above him, the class, going about their business.
Below him, murk, depth, and suddenly, a big lunker bass.
Andrews sees it, too.
141 ANGLE - ON ANDREWS 141
Assuming Crosby is following, he takes off, following the big
lunker. Crosby, hung up in some minor equipment problem,
misses seeing him go. The two men are separated. Follow
Andrews as he twists and turns after the bass, going deeper,
losing him in the rocks, suddenly rounding a boulder, and
meeting, almost face-to-face, horror:
142 BELOW HIM THE SHARK 142
The Great White Shark, taking the striper in a single gulp,
it's looking up at Andrews with one glassy doll's eye; it
turns to face him directly, and we see the scar; ugly, red
and black, charred flesh from jaw back on the right side, eyes
and teeth gleaming like raw bone in the massive, uncaring face.
Andrews' mouth clamps violently on his mouthpiece, then goes
wide as he screams in fear into the water. Finning backwards,
he ditches his weights, gulps for air, and yanks the cord on
his safety vest. It balloons out, and pulls him up, surging
towards the surface. The mouthpiece, useless, falls away
from his lips.
Eyes closed, hose dangling, Andrews hurtles upward, holding
his breath in a final, fatal panic, passing a startled Crosby.
143 THE DIVERS 143
look over at the rocketing ascent. What's wrong? Sparky
signals "up," and they begin to carefully follow him towards
the surface. Crosby's already surfacing.
144 DECK OF THE DIVING BOAT - DAY 144
Andrews is on his side, bloody froth on his lips. One of
the class is clinging to his legs, trying to arrest his
convulsions. Sparky is holding his shoulders, trying to
Get us in! For Christ's sake,
get us in!
In his arms, Andrews writhes, pain knotting his limbs.
Behind them, in the water, the fin surfaces, and casually
turns towards..the ocean. The Shark is headed for the sea. and
for the now distant Kids in their sailboats, dotting the
horizon in their familiar bright colors.
145 EXT. OCEAN - ED AND TINA'S SANDPIPER - DAY 145
They are alone. In the middle distance, the rest of the
Kids' sails can be seen, headed for the lighthouse in the dis-
tance. The Sandpiper's sails are luffing, they're making no
You want to tack, or just leave
her pointed up like this?
Just like this.
What about sailing?
The tide's running. It'll take
us to the light.
It'll take us to Budapest if you're
Ed is lashing the rudder as they continue to drift with the
First things first.
He fumbles in a cooler chest, produces a bottle of wine.
What about the others?
They'll be there when we get there.
Might even have a fire started.
What're we going to do in the mean
I dunno. We'll think of something.
He pours the wine into the two paper cups.
But first, a little juice....
Wait a minute. Promise me something.
That you'll put down a blanket. I've
got black and blue marks all over
my butt, and my Mom's getting uptight
You got it.
And he fumbles for a blanket in a locker, thumping and banging
gear around as he rummages for it. Tina sips wine contentedly,
satisfied to wait.
146 UNDERWATER 146
The Sandpiper's hull, alone above us, as the Shark rises dread-
ful certainty, attracted by the erratic sounds of Ed's hasty
147 ANGLE ON TINA - WATCHING THE OCEAN 147
The terrible fin breaks the surface, about 20 yards out, then
dips and disappears. Then, impossibly fast, the entire
Sandpiper is lifted from underneath by a powerful surge, as
the Shark lunges up against it from below, an unseen horror.
Ed is knocked over the side, into the water.
148 ANGLE ON ED 148
as he breaks the surface, shaking the hair out of his eyes,
trying to orient himself, finding the boat. He starts to
swim for it, Tina extending an arm to help him climb aboard.
149 ANGLE OVER THE GUNWALE, TOWARDS ED 149
He has barely taken two strokes when a powerful force takes
him from below the surface, rushing him towards us through the
water. Tina screams. Before Ed can react to the pain, he is
slammed face first into the boat. His jaw breaks, blood
smears his nose and lip.
His hands grab the wooden-cap rail with a death-grip.
150 REVERSE 150
Tina is staring down at the water, terror-stricken; Ed's arms
and head are f.g., as he locks onto the boat with desperate
151 INSERT 151
Ed's hands on the rail, knuckles white, an iron grip. With
awful finality, the force pulls down, and the wood shatters
and splits away as Ed's hands are pulled down and under by
the awful force.
152 TINA 152
her mouth working silently, unable to scream, staring down at
the blood and froth on the water, swirling in a grim eddy
under her, the Sandpiper rocking gently in the diminishing swell.
153 EXT. OCEAN - DAY - ESTABLISHING SHOT 153
On the way to the lighthouse, but away from the harbor, the
Kids are sailing in fairly close order: The sloops (Polo,
Timmy, Marge) heeled well over in the stiff breeze, the
faster cats (Mike, Larry, Donny, etc.) skimming around,
tacking more often, faster and more maneuverable.
153-A CLOSE ON PATRICK AND LUCY 153-A
She ducks under the boom, handling the jib sheets with easy
familiarity. They come about and scoot off on a new tack.
153-B CLOSE ON POLO 153-B
reading the wind, trimming sail expertly, competent and
(to a near-
Great day! I think the wind's
going to change....
153-C CLOSE ON TIMMY AND BROOKE 153-C
He comes about, she slides into him, he holds her to steady
her, she snuggles into his arms. True love, at last...He's
153-D CLOSE ON DOUG 153-D
in his inflatable, poking slowly along. Marge passes him,
Sean hooting with glee.
Slowpoke! Slowpoke! Marge is
I'm getting new sails, then watch
out. Just a question of modifying
154 ANGLE ON MIKE'S "GREEN MACHINE" 154
Jackie, Mike and Andy, clipping along, Larry Vaughn and Bob
in the Sizzler nearby. Mike lifts the hull, Jackie squeals
How fast is enough?
I want to go faster!
He trims his sheets, the cat heels more, one hull flying,
Andy and Jackie clinging to the trampoline.
155 ANGLE ON THE SIZZLER 155
Larry is carefully adjusting his tiller, Bob senses what he's
You coming up on him?
You bet. Hang on....
They gybe sharply, running up behind the green cat.
Coming up! Give way!
Like hell! We're on the starboard tack!
155-A THE SIZZLER AND THE "GREEN MACHINE" 155-A
Running close to each other; very tight two-by-two.
Don't let him pass. Faster!
Mike and Larry silently fight for clean air, racing. Water
splashes over them.
My hair's getting wet!
156 CLOSE ON MIKE'S BOAT 156
He veers onto a less dramatic tack, sparing Jackie's hair.
Larry and Bob speed by, yelling.
When do we get to the lighthouse?
Soon, dark eyes, soon.
The tide's turning.
Andy reveals a knowledgeable side to his character.
We're going to be fighting the
(he looks up)
Wind's backing around a few points,
Jackie snuggles against Mike.
I can't wait to get there.
But of course.
He goes forward to trim the jib, leaving the lovebirds snug-
gling astern. They pull away from us, and we:
157 EXT. AMITY WATERFRONT STREET - DAY 157
Ellen and Brody are in the jeep; he's driving her to work.
There's a crowd at dockside, and the town ambulance's now-
familiar blinking red light. Brody, out of force of habit,
wheels the jeep towards the action, nudging through the crowd,
which gives way to the official blue-and-white vehicle.
Hey -- it's not your job any more.
I'm going to be late for work.
Just one minute....
He gets out, and pushes through the crowd, Ellen following.
158 DOCKSIDE 158
The dive boat is moored at a clumsy angle next to the Police
Boat, where Hendricks has been pulling routine maintenance.
The Police launch is cluttered with tools and spare parts;
some non-essential piece of gear is stripped and laid out on
the deck. Hendricks is on the dive boat, kneeling next to
159 ABOARD THE DIVE BOAT 159
Andrews is shaking, bloody froth on his lips and chest. The
shaken divers are huddled together, an ambulance attendant is
wheeling a gurney into position. Crosby and Sparky are
What the hell happened?
Embolism. Air bubbles in his blood.
Came up too damn fast. Held his
He is near collapse himself.
He panicked! Something scared him!
An Ambulance Attendant is putting a blanket around Sparky.
It's okay. We're taking care of him.
The other attendant holds something out to Brody. Brody
examines it; a scuba mouthpiece, bitten in two, useless.
How'd this happen?
Bite reflex, like a spasm.
Right after, the Kids went out?
What Kids? Who went out?
All of them. Mike, Junior Vaughn,
Brookie Peters, Pat, Lucy -- all
that whole gang.
Mike? Our Mike?
Yep. Looked like they were headed
to the lighthouse.
How long ago?
About an hour, maybe two.
Let's see -- I came on about
Brody is gone, pushing through the crowd.
160 THE POLICE BOAT 160
Brody is casting off lines. Ellen is on the dock, watching
What're you doing?
Uh, Chief -- look. You're not
Chief any more.
Brody keeps working, making ready for sea.
I can't let you take her out.
You can't stop me.
Ellen is climbing aboard, taking off her heels.
Mrs. Brody, look -- if he can't go,
then you can't go. Neither of you
Mike's out there.
But I signed for the boat. You' re
not authorized any more.
Brody starts the engines with a roar, and slams it into re-
verse. The boat starts out of the slip, then lunges to a
halt, shuddering on its still-fastened bow mooring line.
Untie that rope.
Please. It's my job.
I'll do it.
And she moves purposefully towards the boat cleat.
Mrs. Brody, please....
Brody is shifting gears, the boat is crabbing sideways as he
puts the helm hard over. It bumps the dock, hard.
You're too close. Back off.
Goddamnit, Hendricks, untie the
Hendricks goes to the bow, jumps aboard and frees the bow
line. The boat slips into reverse, the water boiling as
Brody guns it away from the dock.
Let me. Please.
He takes the wheel, eases off on the rudder, and comes about,
pointing the launch out to sea.
What the hell, they can't fire both
of us -- someone's got to be in
charge, right? Which way are we
Find the Kids. The lighthouse --
you said something about the light-
house. Get us there.
161 WIDE ON THE HARBOR 161
The Amity Police Boat, Brody, Ellen and Hendricks aboard, is
headed under full power out to sea. Hendricks is pumping the
horn, warning boats out of the way, ignoring the rules of the
road; as small boats scatter out of the way, we can see the
ambulance, red light flashing, pushing out slowly through the
crowd at dockside.
162 ABOARD THE AMITY POLICE BOAT - DAY 162
As they clear the harbor mouth, Brody is on the radio, Ellen
is crouching in the shelter of the deckhouse, Hendricks is
Amity Launch to Harbor Patrol, over.
HARBOR PATROL (v.o.)
Harbor Patrol. Is that you, Brody?
Affirmative. Can you get your
10-4, in a few minutes. He's down
checking a buoy in the Bay Channel.
Get him the hell over to Amity Point,
the old lighthouse. Right now.
There's a bunch of Kids day-sailing
that way. Turn them back to port.
That's it. Just do it, all right?
10-4, soon as I can raise him.
If they're not at the light, look
for them. I don't want them out
there. Get them back to port!
Affirmative, affirmative. Turn the
Kids day-sailing back to port. I
heard you. Patrol out.
As Brody's eyes sweep the horizon anxiously, Hendricks pours
it on, and the police boat surges forward.
162-A EXT. OCEAN - DAY - KIDS SAILING 162-A
Donnie and Denise and Susie are sailing close to each other.
Starving. Let's go eat now.
We're going in to eat!
She nods agreement, their boats veer off from the rest and
head towards the lighthouse.
163 ANGLE ON THE SIZZLER 163
as it sails close to the Green Machine.
Hey! Brody! Want to race?
How about a side bet to make it
That's fun! Let's race for some-
Loser sails home alone.
(aside to Mike)
You're betting what you already got.
I don't care.
I love it.
Sure you do -- you win either way.
I'm supposed to.
It's a bet. Once around the marker
That's the pin -- the buoy.
Larry is confident -- he's got the air, but Mike suddenly
gybes without warning, snapping onto a new fast tack, down-
wind. Larry and Bob are caught by surprise, and lose precious
moments as they fumble with their sails.
Turkeys! Eat wind!
He pounds with glee on the canvas trampoline as their boat
moves ahead, a drumming sound.
163-A UNDERWATER 163-A
The twin hulls of a catamaran's hull, the muffled, eerie
sound of drumming, as the water carries the tempting "thud-
thud-thud" sound down to the deep.
164 ANGLE ON DOUG IN HIS INFLATABLE 164
falling behind as the boats change course for the marker
buoy, following Larry and Mike's lead.
Hey! Wait for the H.M.S. Invincible!
Brooke and Timmy sail by him, laughing; Polo with them.
Can't -- we're watching a race!
Since when? Who's racing?
Larry and Mike!
165 PATRICK AND LUCY 165
Pat and Lucy are trimming sail, moving faster.
Mike and Larry are racing!
Loser goes home alone!
If we beat them, they can both go
home stag! Single-O! Alone!
Jackie can come back in this boat!
What about me?
Uh. Well. Maybe you could give
Polo a hand going in....
with a rope)
Your ass I will. Besides, the
wind's turning with the tide.
Sailing back is going to be a bitch.
and OMITTED and
168 QUICK CUTS - SAILBOAT RACING MONTAGE 168
-- Ropes and sails rattling through blocks.
-- Sails snapping taut, filling with wind.
-- Catamarans heeled over, racers hanging over the
water, dangerously suspended in trapeze harnesses.
-- Skippers' faces, concentrating on boat handling.
169 AERIAL VIEW - SAILBOATS 169
It's the chopper's point of view, as the Harbor Patrol copter
from the Cape flies towards the Kids, following Brody's
previous instructions. He sees the sailboats and fly that way.
into his mike)
Air Patrol to Base. I have visual
contact on the Kids. Going down
to use the loud hailer....
170 LOOKING UP AT THE APPROACHING COPTER 170
It approaches the sailboats, losing altitude fast, rotor
blades chuffing up a storm.
The Pilot has his microphone to his lips, and his voice is
blaring down at them.
This is the Harbor Patrol. Return
to port immediately. Return --
to -- port -- immediately.
171 THE BOATS 171
The Kids look at each other, some coming about awkwardly,
others luffing, wondering what this is all about.
Your dad must be really pissed.
We better go back in.
It's not going to be easy.
We're fighting wind and current.
I though we'd be out longer, catch
the incoming tide.
Putz -- that won't be for hours.
I was counting on hours.
Return -- to -- port.
We're trying, we're trying.
He waves acknowledgement, and puts about. The others take
their cue from him, and set a rough course back, but without
172 PATRICK AND LUCY 172
Might as well.
173 ANGLE ON THE THREE SLOOPS 173
Polo, Timmy and Brooke, Marge and Sean. They see the faster
catamarans come about and try to beat back.
They're turning around.
Coming about, then.
Are we going back?
Going to try. Lighthouse, everybody....
She puts about, the three of them start back towards the
lighthouse, not making much headway. Doug's inflatable is
the slowest, and he is now, by virtue of his position, at the
head of the line beating back towards the island.
174 OMITTED 174
175 DOUG'S BOAT 175
The others in the b.g.
Make way for the Carrier Enterprise!
176 INSERT - A WEAK PATCH IN THE RUBBER 176
It whistles and visibly leaks under the strain.
177 DOUG 177
looking down in dismay.
Make that the Titanic.
He rigs a little foot pump, and begins thumping away, trying
to breath air back into the raft.
178 INT. CHOPPER - LOOKING DOWN AT THE SAILBOATS 178
Patrol One to Base. Looks like
they're turning back.
All right, Patrol. Go back to work.
You've wasted enough time.
179 UNDERWATER 179
Looking up at the scattered hulls of the sailboats, the tur-
bulence from the low-flying chopper making a vast circular
pattern of irregular vibrations.
180 LOOKING UP AT THE CHOPPER 180
It wheels around, and heads back towards land.
181 ABOARD THE AMITY POLICE BOAT - DAY 181
183 Rushing through the seas under full power. About three 183
hundred yards ahead, a small, seemingly empty sailboat;
Ed and Tina's Sandpiper. Further off, a day-sailing power
cruiser, sport fishing.
It's not his boat.
Hendricks maneuvers closer, slowing the engine, reversing in
time to bring them alongside with a gentle bump. Ellen
watches apprehensively as Brody drops into the little boat.
Brody moves around on the deck of the Sandpiper, until he
discovers Tina, cowering in shock; a sudden revealing of a
It's okay, it's okay. What's the
matter? Tina? Honey? Hey ---
No! It's still there!
What is it? What's there?
It's still there!
I need a hand here....
Hendricks has gotten a blanket, and he steps over, putting it
over the shivering girl's shoulders. Ellen comforts the girl.
Tina, baby...what is it?
184 ANGLE ON BRODY - FOLLOWING HIM AS HE REACTS 184
I knew it. I goddamn well told
He moves abruptly, stepping up onto the police launch, snapping
on the radio, leaving Hendricks, Ellen and Tina on the sail-
boat moored alongside.
Amity Launch to Harbor Patrol.
PATROL COMMANDER (v.o.)
This is Cape Patrol -- what is it,
Brody? I heard you weren't chief
Skip that. What about those kids
It's all okay -- Colby got to them.
They were turning back when he left
He left them?
Sure. He's got work to do in Bay
Get him the hell back there! We
got possible fatalities! Brody
His eyes wild, Brody looks over at the Sandpiper, then scans
the nearby waters with sudden tension.
185 BRODY'S POINT OF VIEW 185
Ellen and Hendricks comforting Tina on the Sandpiper. Nearby,
a big cabin cruiser casually trolling by. Brody pulls the
police boat's air horn, the cruiser's passengers look over,
Hendricks and Ellen jump at the unexpected blast.
185-A ANGLE ON BRODY 185-A
I'm going out there.
Hey -- you can't do that.
What is it? What's the matter?
Mike's out there.
Brody starts the launch's motor, throwing clear the mooring
line that ties the two boats together.
Get her in. Get them both in.
Martin, please! Chief, be sensible....
Where are they?
About 10 degrees off your star-
board bow, take a heading leeward
of Sand Island, and lay her north
Never mind that shit. Just point.
See where Cable Junction is? Look
to the left. The lighthouse. That's
And he kicks the engine into gear, moving the launch away and
out toward the sea.
Come back! Martin!
He guns the engine as soon as he's clear. Hendricks gives
his jacket to a suddenly chilled Ellen, and hails the cabin
cruiser, already changing course to pick them up, sounding
Ellen stares after the receding boat.
My purse is on that boat.
186 EXT. OCEAN - DAY - THE KID'S SAILBOATS 186
They are trying to beat back towards the lighthouse, fighting
wind and tide. Only Doug's inflatable, with its clumsy little
motor, is making any headway.
186-A ANGLE ON DOUG 186-A
playing at being Charles Laughton.
Mr. Christian! Mr. Christian!
Pump up this boat! And shave
that silly moustache!
Pumping, steering, he's floundering along.
187 UNDERWATER - MOVING TOWARDS THE SURFACE 187
The Shark has fixated on something -- one outlying shape, the
easily identifiable outline of Doug's inflatable, thumping
and putting. It homes in on the sound.
188 ANGLE ON DOUG AND THE KIDS 188
The other kids exchange banter with Doug in his raft, as he
clowns for their benefit.
England expects every man to do
his duty...You may fire when ready,
Gridley...Damn the torpedoes, full
Despite his pumping, the bulging patch bursts with a loud
Someone pop your balloon?
No problem, no problem.
Want a lifesaver?
How about a skyhook?
You sail your boat, I'll sail
A fin rises partially, almost invisible to most of the kids,
but Mike notices it, believing it to be a porpoise.
Hey, Fetterman -- You got company.
Company? The place is a mess....
Before anyone can react, the shape rises behind Doug, striking
his raft a terrible blow.
189 THE OTHERS, WATCHING 189
Not making any headway themselves, they casually watch the
class clown, wondering what he's up to this time.
190 DOUG'S BOAT 190
a distance from the rest. It shakes, then blows up as big
teeth grip it from below. Doug goes flying into the drink.
The Shark has the inflatable in his teeth, and is shaking it
from side to side. Doug's eyes bug out as he sees what's
going on. He begins treading water, backing away as fast as
he can, waving his arm in the air frantically -- "pick me up,
191 MIKE'S BOAT 191
He sails to where Doug is being carried along by the current.
The inflatable is a mess -- shredded rubber and dead engine;
the Shark didn't like it.
Doug! This way!
Doug carefully -- oh, so carefully -- strokes over to where
Mike and Andy can pull him abroad. Some of the others sail
closer to get a look.
What was that about?
What was that?
So much for the rubber duck.
192 THE GROUP, DRIFTING TOGETHER 192
This incident hasn't yet touched them -- no one actually saw
what it was, except Doug, who's never been serious about any-
thing. Until now.
A shark ate my boat.
I'm telling you, a goddamn shark
ate my goddamn boat!
If he liked your boat, I got some
sneakers he'll love.
There's nervous laughter from all around as they examine the
remains of Doug's inflatable. Some of those jagged rents
could be made by teeth....
...Jeez -- what did that?...A
porpoise, maybe...Nah, killer whale
...I think he snagged it...I hate
to pop his balloon...(Etc.)
193 ANGLE ON MIKE'S BOAT 193
Doug's inflatable is draped over the tip of one hull, forward.
Without warning, the Shark hits. Screams, terror, confusion.
Mike, Andy, Jackie into the water.
194 CLOSE ON MIKE 194
His head bangs on a metal fitting as the boat turns over.
195 ON THE GROUP 195
Patrick and Lucy ram into Timmy's boat, locking into it,
knocking Timmy into the water as Brooke screams.
196 CONFUSION 196
200 As the following events take place: 200
-- Larry's red cat rams and locks onto Mike's Tornado.
-- Marge's boat capsizes, putting Sean and Marge into the drink.
-- Marge scrambles up on the over-turned hull, pulling Sean up
with her, just in time.
-- Polo, under full sail, scoops Mike out of the water before
the Shark can get to him.
-- The Shark dips out of sight.
201 SURFACE, WIDE OVER THE STERN OF POLO'S BOAT 201
showing the results of the turmoil:
202 ANGLE ON THE SURVIVORS 202
As they make ineffectual, frightened moves towards grouping
together, Andy is the first to gain any composure.
Raft up! Raft 'em up!
He reaches towards a drifting line, and pulls Timmy's Doughdish
towards them, tying it off as it comes close.
Tie off to your strongest point.
Anyone need an extra line?
Polo has Mike and Timmy aboard his boat. Timmy is looking up
from examining Mike's dazed body.
Can you sail?
(testing his rudder)
Yeah! We'll take him in!
He starts to make sail back towards the lighthouse, on a severe,
but manageable tack. Polo, Timmy, and the injured Mike sail
towards safety, leaving the others behind.
Tackle the job at hand, concentrating on survival. Jackie
is strangely quiet; things are out of control....
203 CLOSE ON A NAUTICAL CHART - DAY 203
clearly marked: Amity Island, Amity Lighthouse, Cable
Junction. Brody's nervous finger traces an approximation
of his course. It fumbles, pauses, stops.
203-A ABOARD THE POLICE BOAT - DAY 203-A
Brody, looking up from his chart, scans the ocean. Ahead is
the Lighthouse, his immediate destination. Out of sight to
the right, Cable Junction, and beyond that, 2500 miles of
cold Atlantic. Brody looks up from his chart, and grabs the
Amity Launch to Patrol Air Unit One.
Harbor Air, where are you?
CHOPPER PILOT (v.o.)
This is Air One. That you, Brody?
It's me. Any fix on those Kids?
Negative. I'm still down.
For Christ's sake, get going! I'm
all alone out here!
Brody, I got to switch frequencies,
call my boss. We'll meet you over
by Francis Shoal. Harbor Air out....
Where the hell is Francis Shoal?
Static. No answer. Brody realizes something
I'm all alone out here.
204 RUNBY 204
The Amity Police Boat, under full power, surging through the
heavy swell, Brody very much alone at the helm.
205 EXT. OCEAN, NEAR THE LIGHTHOUSE - DAY 205
We can see Brody's boat approaching. It slows as it nears the
206 CLOSE ON BRODY 206
staring, perplexed. Which way?
He puts the wheel over, slewing the boat around. To the left
-- the wrong way.
207 ANGLE ON THE BOAT, LIGHTHOUSE IN B.G. 207
It barrels off to the left.
208 THE RAFTED BOATS 208
floating in the current, drifting away from the lighthouse,
towards the open sea. Floating on the wreckage and tangled
boats are: Doug, Andy, Jackie, Patrick, Lucy, Larry, Bob,
Brooke, Marge, and Sean.
Anyone know what time it is?
Larry, Bob, Patrick, and Lucy (the practiced sailors) ad lib
Tide doesn't turn for three hours.
Low tide at Cable Junction is
What'd you do? Memorize the
I can't help it it sticks in
(making light of it)
Anyone want to play charades?
No one does.
As long as we're drifting, might
as well go with the flow.
Three knot current?
At least. And an offshore wind.
What's after Cable Junction?
The Atlantic. Then Ireland.
Can't we stop?
Silence from the group.
They're probably looking for us.
What about the fish?
Maybe it's gone.
They tend to follow moving things.
Maybe it's following Polo and
They consider this.
So all we have to do is land at
Cable Junction and wait.
First we got to get there.
How're we going to do that floating
on this garbage...?
Anyone got another set of sails?
The Kids scramble to rig whatever canvas is available.
Is that big thing still out there?
209 HELICOPTER (AERIAL) FLY-BY 209
A panorama of open ocean; a quick fly-by to orient us: First,
Cable Junction, then, a mile or so ahead, the raft.
210 THE RAFT 210
More sail, some improvised rigging, Patrick and Lucy trimming
what there is, trying to steer the clumsy contraption. From
afar, the distant sound of an approaching chopper.
The Kids react with enthusiasm to the arrival of the rescue
Don't everyone jump around!
But they ignore him. The copter is descending.
211 INT. COPTER - DAY 211
A one-man light spotter; the space next to the pilot cluttered
with tools and floats, lashed in place. Below, seen through
the plastic bubble, the raft growing larger as the chopper
Air One to Base. I have a positive
location on that sailing party.
Disabled and adrift...
chart on his
...about 3/4 miles west of Cable
Junction, wind and current carrying
them just about due east. I count
212 THE RAFT 212
The helicopter is creating a lot of turbulence as it sets
down, a huge circular pattern of prop-wash on the surface as
the rotors slow to a halt. The Kids are waving and jubilant.
213 ANGLE ON THE COPTER 213
As the Pilot unbuckles, opens the door, and steps out on one
pontoon; he speaks through a bullhorn.
Everyone okay? Any injuries?
The Kids ad-lib in the affirmative.
Can you put us on Cable Junction?
I got no room for passengers.
How about a tow? Can you rig that?
The Pilot nods. Larry heaves a line to him, the Pilot catches
it and makes it fast to a convenient tie-off on the under-
As soon as you get us on the island,
you got to call in. My dad's the
There's a shark....
The other Kids all chime in, adding their ad-lib shouts
describing what happened, calling for help, etc. It's all
a noisy jumble, the Pilot ignores it, trying to do his job.
214 ANGLE ON THE RAFT 214
The Kids all shouting at once; Jackie is screaming.
You have to take us off! You have
to! Why don't you take us!
It's an observation spotter, he
doesn't have the room....
215 ANGLE ON THE PILOT 215
He finishes tying off, and yells through his bullhorn at the
Listen. I'm going to give you an
assist to get you on Cable Junction.
Then I'll call in, and get the Coast
Guard to send a cutter. Hang on to
He climbs into his bubble, shuts the door, gives the Kids a
"thumbs up," and starts the engine.
216 QUICK CUTS - RAFT AND CHOPPER 216
Engine turning over.
A line tied off to one of the ringbolts on an overturned
hull; it pulls taut out of the water.
Int. Chopper, the Pilot intent on his job.
The raft, Kids watching in fascination and anticipation.
The whole operation, getting under way.
217 UNDERWATER 217
looking up at pontoons, wreckage, wind turbulence on the
surface, the heavy "thud-thud-thud" of chopper blades.
218 WIDE ON THE RAFT AND CHOPPER 218
In the f.g., the fin rises, and starts for the scene.
219 CLOSE ON THE CHOPPER 219
as it starts to lift, inexplicably. The Pilot reacts as;
220 THE SHARK 220
attacks one of the pontoons, biting down on it, clamping
great scarred jaws onto the bulbous floats.
221 THE RAFT 221
222 QUICK CUTS 222
-- Rotor blade spinning wildly.
-- Pilot's hands jerked on the delicate controls.
-- Med. shot, copter shaking.
-- Closeup engine and gas tanks, rotor head spinning.
-- Med. closeup Pilot in buffeting cockpit.
223 RAFT AND COPTER 223
The Kids watch, horror-stricken, as the giant Shark hangs
on the roaring copter; in the b.g., Cable Junction is loom-
ing closer. The copter tilts dangerously, the Shark bites
224 ANGLE ON THE COPTER 224
as it tilts. Then, the unspeakable -- the blades touch the
water and explode. Chunks of murderous steel break off the
shattered blades and whistle through the air like projectiles.
225 THE KIDS 225
reacting, ducking in terror. Huge chunks of disintegrating
rotors are flying all around. Masts and sails left standing
before are chopped into a deadly salad. Screams.
226 LOW IN THE WATER 226
as blades skip and crash, the bubble of the overturned
copter, Pilot trapped inside, sinks into the sea.
227 THE COPTER COCKPIT - UNDERWATER 227
Pilot struggling with his safety harness, trying to hit
switches, working on instinct. Some air in the bubble,
but water too, and sparks as electrical connections short
out and burn.
Then, the Shark, powering out of the murk.
228 ANGLE ON THE PILOT - UNDERWATER 228
as grim death batters at his fragile bubble. Screaming.
The bubble cracks. Water floods, teeth snap at the slippery
plastic, the Pilot fumbles for oxygen as the Shark veers off
into the murk.
229 ON THE SURFACE - THE RAFT 229
The Kids, reacting as the broken copter sinks beneath the
waves. Calm for a moment, then:
The Shark reappears, and batters at the raft.
230 SHARK ATTACK 230
The raft shudders, and begins to break up under the pounding.
The Kids cling for their lives to masts and wreckage.
Marge's overturned hull is struck a fierce blow from beneath.
He and Marge topple into the water.
Sean is bobbing in his life-vest, Marge strokes to be near
231 ANGLE ON MARGE AND SEAN 231
in the water, swimming for the apparent safety of the raft.
Then, the fin, and the massive bulk of the killer, heaving
up through the waves.
She heaves him up out of the water, hurling him with des-
peration towards the safety of the floating hull.
232 ANGLE ON SEAN 232
screaming, hands and feet scrabbling like a monkey as he
struggles for a grip on the slippery surface. Behind him,
Marge helping as much as she can from the water. Then,
233 THE SHARK 233
rising like grey doom, then dropping out of sight. Marge
234 UNDERWATER 234
Marge ducking under the bulk of the Shark, shoving off with
panicky reserves of strength, swimming away underwater,
while the Shark takes a massive crunching bite out of a sub-
Follow Marge as she swims.
234-A COPTER WRECKAGE 234-A
Huddled in the cracked plastic bubble, the Pilot is sucking
air from his oxygen tank. He sees Marge, and slips out of
his bubble, headed for her.
234-B MARGE 234-B
as the Pilot overtakes her -- a moment of horror, as she
thinks the Shark has found her, then relief, as the Pilot
motions to the bubble, and indicates "Air." She follows
234-C MARGE AND THE PILOT 234-C
scuttling like two crabs into the shelter of the broken
chopper, buddy breathing as he passes her the oxygen tube.
The chopper tilts, and moves, breaking up on the bottom as
currents move it. They struggle silently.
234-D ANGLE ON THE CHOPPER 234-D
as it slips across the bottom, the current pulling it,
broken parts breaking off in slow motion, dirty swirls of
oil and hydraulic fluid clouding the water.
234-E ON THE SURFACE - THE RAFT 234-E
A parallel struggle for survival, as the current separates
Sean from the other Kids; Marge is gone, the little boy is
clinging alone to the free-floating Lightening.
Andy! Please help! Help!
234-F ON THE SURFACE - A DISTANCE AWAY 234-F
Copter wreckage is bubbling up from underneath, like a sub-
marine destroyed by depth charges; an oil slick, pieces of
broken blade, a seat cushion, then, suddenly, the Pilot,
and Marge, almost choked to death, their air run out. They
cling to a section of pontoon, panting, looking around with
They are alone on the ocean; a half-mile away, the distant
sails of the broken raft, and the low-lying shape of Cable
Junction. Safe, for now....
235 BRODY - ALONE IN THE POLICE BOAT - DAY 235
He throttles down, and the boat slumps in the water. He
looks around, sees nothing, in all directions. He hits his
Harbor Air, this is Brody. Air
One, come in.
Static, no answer. He tries a couple of times, checking the
knobs and dials to make sure the unit's working.
Harbor Air, do you read? Over?
Brody? This is Patrol Base.
The familiar voice is tinged with annoyance. He's had a
long shift, and nothing's going right.
Where the hell is Air One?
That's what I'd like to know. Lost
transmission at Cable Junction.
Did he raise the Kids?
Last transmission said ten juve-
Yeah? Then what?
Then nothing. If you see him, tell
him to switch to an operational
frequency, or give me a status report
Did you say Cable Junction?
That's what he said.
1530 hours. Might still be there.
Brody revs up, and powers out, headed for Cable Junction.
236 EXT. OCEAN - DAY - THE RAFT 236
Sean is crying on his isolated perch, clinging to the upturned
keel. The other Kids are throwing a rope, trying to get him
back. Patrick heaves, and misses.
Sean! Catch the rope!
The rope! The rope!
The others shoot fearful glances at the waters.
He's got to help or it won't work.
Sean, baby, please....
Sean is ignoring the efforts to rescue him, paralyzed by fear,
he shivers alone. Jackie is near catatonia herself, Brooke
and Doug trying to soothe her.
It killed her. It ate her.
It's okay, it's okay....
Sean! Listen! Listen to me, Sean.
The kid looks up dully.
Goddamn it, Sean, you listen to me
or I will kick your ass, do you
Listen to Andy, Sean.
We're throwing a rope and you better
catch it, hear?
Sean nods. The other Kids are encouraged. The rope is thrown
-- it misses.
Keep an eye out for that fish.
Bob climbs to a vantage point, watching.
Sean! Catch it!
Another miss. In his haste to help, Larry overreaches to
fish the trailing rope out of the water, and falls headlong
into the sea. Shrieks of fright from the others.
He scrambles out, hardly wet, that's how fast he's moving.
Finally -- Patrick takes the crucial throw, and the rope
practically knocks Sean off his perch, but he clutches and
holds it. As Andy carefully calls instructions, Sean secures
the rope and the others carefully, carefully begin to pull
237 ANGLE - ON SEAN 237
as they pull. The slippery rope is undoing itself.
238 THE RAFT 238
With the kids reaching out hands, sticks, rope, anything to
pull the little one to safety. The ocean swells rise and
fall with hidden menace.
239 QUICK CUTS 239
-- Hands gripping rope.
-- The knot, pulling apart.
-- Anguished faces, concentrating, as Patrick, Lucy, Larry,
and Andy struggle to bring him in.
240 ANDY AND SEAN 240
Success. He's pulled to safety. They lash his little hull
as tight as they can to the rest of the floating wreckage.
Bob sees something.
Cable Junction's ahead!
Can we make it?
I don't know.
241 BOB'S POINT OF VIEW 241
looking over the wreckage to Cable Junction, now much closer.
Beyond it, miles of empty Atlantic. It's off to one side, and
unless they can slow down or alter course, they will miss it.
242 THE RAFT 242
She's not. Shaking, silent, eyes glazed.
Dear Jesus, Holy Mary, Mother of
God, help us, please....
Keep her warm.
Can someone help me rig a jury
rudder? We might steer this....
Andy joins him, and they try to make a sweep or a rudder out
of whatever wreckage they can use.
By 7:46, when the tide turns around,
we'll be twenty miles out. More,
with this wind.
I can't stop thinking!
God, please help us, Merciful Father,
in Christ's name, we beg you, help
us, please, Dear God, save us, help
us, please, God, help....
243 BRODY'S POLICE BOAT - DAY 243
He is rounding a sand bar off the lighthouse when he looks
ahead and sees the bright sails of some of the survivors'
He puts the helm over and heads for them.
244 EXT. OCEAN NEAR LIGHTHOUSE - DAY 244
Polo's sloop is beating back towards the harbor when the
police launch bears down, Brody leaning on the air horn.
The Kids signal and wave.
Over here! Yo!
I'm coming alongside!
The launch slows clumsily. Timmy gets a line around a cleat,
and pulls them fast.
Mike? Is that you?
Pop. I'm sorry.
It's okay. What happened?
A shark hit us out there.
Mike got knocked over.
Brody goes for his radio, to report in, to call for help.
I passed out, but I'm okay.
At least you're safe. What about
The three boys look at each other.
Jesus, don't freeze on me. What
about the others?
Sean's still out there.
He stops in his tracks, radio forgotten.
Mike goes on,
He wanted to come. It was okay,
wasn't it? It was okay before....
The others are ratted together.
With the current. Towards Cable
Brody jerks the mooring line holding them together, freeing
it. He starts for his controls, obsessed.
Dad, I'm sorry....
Stay here. Don't go anywhere.
Just stay here.
He indicates the lighthouse, then guns his engine.
Stay at the lighthouse!
He roars off, headed towards Cable Junction.
245 EXT. OCEAN - DAY - THE RAFT 245
approaching Cable Junction the rafted boats are
drifting towards the Cable Junction. Larry, Patrick and Andy are
working on improvised tiller lines to a jury rudder made out
of wreckage. Lucy has another line out to a sea anchor, trying
to slow their drift.
Bring her to port a little. That's
it -- steady.
I think we're changing course a
Can we land on it?
If we can get to it.
We're going to die.
It's all right, we're okay.
More to port.
It's all the way over.
Are we going to go on the island?
You bet, kiddo.
I don't know.
What the hell, we're steering for
The wind drift is lateral.
What's that mean?
Sideways - For every yard we go this
way, we also slide sideways this
His hands illustrate the predicament.
But we had it! We were headed right
Shit. Shit, shit, shit!
We're going to miss it!
The others are silent. It's true.
246 ANGLE ON THE RAFT 246
Larry, Bob and Brooke try to alter its course by padding.
But the island!
They freeze, as the raft grinds against something.
247 UNDERWATER 247
The inverted mast of one of the wrecked boats is snagged on
the rocks on the bottom.
248 ANGLE ON THE RAFT 248
as it slows, then stops, hung up from below.
What is it?
We're hung up on something.
Maybe the bottom.
It's that thing. It's going to
kill us now...We're going to die!
Shut up! Just shut Up!
Leave her alone!
Lighten up, man.... She's hysterical, goddamn it!
It's bad enough without Don't yell at her!
her freaking out.
The group dissolves in bitter exchanges. No one is rational.
Lucy is the first to notice something....
Wait a minute! Listen! Listen!
The group subsides, only Jackie is left, keening to herself.
There's a distant sound of a boat's engine. Bob spots it
first, and waves.
The others follow his pointing finger.
Over there! Coming this way!
243 OMITTED 249
250 HIS POINT OF VIEW - BRODY'S POLICE BOAT 250
under full power, heading straight for them,
251 THE KIDS 251
go crazy, waving, yelling, screaming, "Over here!" "Help!"
252 ANGLE ON BRODY AND THE RAFT 252
in the boat, coming up on the Kids fast. He throttles back,
his bow wave almost swamping them as he slides past.
Easy, easy -- you'll swamp us!
Brody fumbles with the throttle, manages to hold his boat
steady between the raft and Cable Junction island.
We're hung up here. Snagged.
Can you get us a line?
Brody finds a coil of line, makes one end fast, then throws
it to the Kids on the raft. They catch it, and tie it off
to a cleat.
We got it!
Go ahead, slow.
Brody throttles forward, the police boat shudders
under the strain as the line goes taut.
253 ANGLE ON THE RAFT 253
where the rope is tied off to a cleat. The wood groans, screws
Too late. The cleat rips out, Brody's boat leaps forward.
Come around again!
254 ANGLE ON BRODY'S BOAT 254
as he repositions; he's now between the raft and the island,
preparing to throw his line. He heaves, the Kids grab, they
have it, they tie off again,
Hang on, hang on -- we got it.
Brody starts to pull the raft again, when:
255 THE SHARK 255
surfaces, and moves purposefully towards the gap that separates
the police boat from the raft. It lunges at Brody as it passes
the launch; the fin hits the taut rescue line, snapping it.
256 ANGLE ON BRODY'S BOAT 256
Brody recoils in horror as the beast rushes past, he spins
the wheel and hits the throttle, sending the launch hard to
port. Out of control, it runs up on the rocks of Cable Junction.
257 INSIDE THE BOAT 257
as it tips up on the rocks. Brody falls, equipment and loose
material breaks loose and falls.
258 INSERT - THE RADIO 258
held by only a few screws, it pulls out of its mount and
shatters on the deck.
259 ANGLE ON THE STERN 259
lifting high out of the water, the screw turning in air.
260 THE KIDS ON THE RAFT 260
Their horrified reactions.
261 BRODY IN THE BOAT 261
picks himself up, and staggers to the rail, sees his predica-
I'm okay, baby, I'm here. It's
He climbs over the rail, onto the slippery wet rocks, trying
to get to where he can help. The Shark patrols the gap,
Can you get a line to me?
262 ABOARD THE RAFT 262
the Kids find some line. Andy coils, and throws.
263 CABLE JUNCTION - THE RAFT 263
Brady catches the Kids' line. He heaves on it with all his
might. Nothing. Jackie is hysterical, some of the other
Kids are screaming. The Shark's fin catches the taut line,
it slides up and over, Brody and the Kids are nearly pulled
into the water. The raft doesn't budge.
264 UNDERWATER 264
the mast bends under the strain, but holds the raft stuck fast.
265 CABLE JUNCTION - BRODY AND THE KIDS 265
He sees the winch and hooks on his launch, and makes the
towline fast to the steel winch cable; puts it in neutral.
The Kids haul their line, trying to bring the steel cable to
The shark rams their raft, impatient now. Screams and
scrambling as they let go their line and try to avoid the
beast. Brooke huddles with Sean, Jackie cowers alone. Larry
is lashing his big buck knife to a pole, an improvised weapon.
266 ANGLE ON THE WINCH LINE 266
Unattended, it drops into the water.
267 THE KIDS 267
Get the cable in! Pull!
They do, but now the winch cable is snagged under the surface.
It comes taut, but doesn't budge. Brody watches, helpless
for the moment.
Son of a bitch is stuck!
268 BRODY 268
climbs back onto the boat, starts the winch engine, trying
to pull the cable free.
269 THE SHARK 269
on the offensive now, takes an outrigger pontoon, biting it,
tearing it off the raft, shaking everything.
270 ON THE RAFT 270
the Kids react to this fresh attack.
It's killing us!
I don't want to die! Mommy!
271 IN THE BOAT 271
The winch smokes and stalls, the weight it's pulling almost
Come on, you bastard, come on,
272 THE RAFT 272
bursts apart from the center as the Shark lunges up through
the canvas trampoline of the Sizzler. The Kids, screaming,
fall into the water as the attack forces the fragile structure
into pieces. Only Sean, Brooke, and Jackie are left on the
272-A ANGLE ON BRODY 272-A
watching the destruction, seeing Sean practically alone in
Sean! Hang on!
He looks around the deck frantically, spots a rubber emer-
gency inflatable in its case. He wrestles it off its brackets,
and breaks the seals urgently. He hits the auto-inflate.
272-B BRODY'S POINT OF VIEW - SEAN 272-B
alone on the raft, Brooke and Jackie helpless nearby, the
other Kids flailing in the water. The huge bulk of the
Shark, fin cutting the water as it closes in on the confusion.
273 OMITTED 273
274 IN THE WATER 274
While Brody inflates the rubber raft and throws it in the
water, the Kids scramble for safety, swimming for their
lives. Each one is sure this moment is going to be his last.
Get on the rocks!
Swim for it!
Andy is pulling himself towards the boat, scrambling up on
the exposed wooden hull.
Lucy! Look out!
275 ANGLE ON LUCY AND BOB 275
As she looks over her shoulder and screams -- the monster is
sliding past her, intent on Bob. The rough hide scrapes her,
tearing her clothes, leaving raw bleeding lacerations on her
Larry and Patrick help her towards the rocks.
He's clinging to a piece of broken boat; the Shark lunges at
276 INSERT - WINCH 276
grinding, smoking, hauling something out of the water --
heavy, slimy, dripping metal cable, the main powerline from
277 BRODY IN THE WATER 277
paddling the raft towards Sean with desperate strokes, heed-
less of the danger around him.
Hang on! Just hang on!
He fights to see in the gathering gloom. Suddenly, a strange
glare snaps on, then more illumination, in a series of es-
277-A CABLE JUNCTION 277-A
silhouetted against the evening sky. Automatic timers are
turning on navigation and worklights, illuminating the barren
rocks and rusty steel with their glare -- throwing dark shad-
ows, putting the surrounding water into black limbo by their
278 ANGLE ON BRODY 278
straining to see what's going on. Looking for his son.
Dad! Help! Daddy!
He looks around desperately, sees Andy safe on the launch.
Andy! Use the lights! The lights!
278-A ANGLE ON ANDY 278-A
soaked, clinging to the rail of the launch, hearing Brody,
fumbling in the cabin, turning on worklights, the boat
throwing erratic shafts of powerful light from its many
lamps and searchlights. Andy grabs one and sweeps the
water with it, trying to help.
Where are you? Chief!
His light pokes and sweeps through the gloom.
278-B BRODY IN THE WATER 278-B
He hears the horrendous sounds of wood and metal breaking,
as the raft pounds to pieces on the rocks. He is blinded
by the sweeping searchlight, the confusion of terror-stricken
teen-agers screaming. It's the middle of The Inferno.
278-C BRODY'S POINT OF VIEW - SEAN 278-C
Sean, standing up, reaching out to him, the Shark hitting
his fragile perch, Sean tumbling backwards, towards what
seems to be certain death.
278-D ANGLE ON BRODY 278-D
as he hurls his paddle at the Shark, anything to get even,
to distract it.
He looks around him wildly, searching for a weapon, finding
a steel boathook. He screams at the unfeeling Shark....
Come here, you son-of-a-bitch!
The huge gray hulk obligingly turns towards this new irrita-
tion. Brody bangs on the raft, yelling, creating a commotion.
The Shark speeds towards him
279 THE SHARK 279
lunges at the raft, Brody sliding desperately away, smashing
at the snout with his steel, the tail fin bashing him as it
279-A ANGLE ON THE STERN OF THE POLICE BOAT 279-A
Brody is drifting close to the cable, drawn heavy and wet
cut of the water. He reaches up to it.
279-B ANGLE ON BRODY 279-B
dangling his feet in the water, holding onto the cable,
seeing it, inspired with a lunatic idea....
Over here! You bastard! Over here
280 THE SHARK 280
turns, bleeding from a superficial cut on its snout, its
scar glistening wet and terrible. It heads for Brady.
280-A BRODY 280-A
possessed, yelling at the top of his lungs.
Come and get me! Come and get me!
280-B THE SHARK 280-B
attacking. Missing Brody, who hauls himself up out of the
way in life-or-death spasm. The great jaws close, fastening
onto the thick cable. Shaking it. The cable resists for a
moment, then splits, layers or insulation and armor crack
open, the jaws clamp harder -- 20,000 tons of pressure --
then the live copper core is reached. Zap!
281 THE SHARK 281
dying. Leaping and convulsing as hundreds of thousands of
volts surge through its body, grounded in the salt sea. Hot
white fire shimmers like a halo, the fish smokes and stinks,
sputters, and dies.
282 BRODY 282
watching, cowering on the rubber raft to which he fell when
the shark hit the cable. It's strangely silent. The lights
on Cable Junction flicker and die as circuit breakers shut
down the mains, protecting the line. Only the boat's work-
lights provide light now.
No answer. Water lapping at the rocks, some Kids sobbing
quietly. Brody listlessly paddles towards the wreckage of
the raft, expecting the worst....
282-A ANGLE ON THE WRECKAGE 282-A
Timmy's Doughdish, where we last saw Sean. There's a scrab-
bling from inside, and Sean appears, soaked, from under
the seat where he'd fallen.
Brody moves toward him, holds out his arms, taking Sean
onto his raft. They paddle back towards the rocks.
283 THE ISLAND 283
with the Kids clinging like drowned rats to the rocks;
they're wet, scared, exhausted, but safe. Sean hugs his
daddy as they step onto land.
They made me go with them.
Sure they did....
He kisses the damp forehead.
284 EXT. AMITY HARBOR - DAY 284
A crowd of worried parents and adults, Ellen and Hendricks in
the forefront, are staring towards the harbor mouth. It's
dawn and the sun is rising. They see something, a cheer
285 ANGLE ON THE WATER 285
A big Coast Guard cutter is steaming into the harbor, a little
group of survivors on the foredeck.
286 CLOSE ON THE CUTTER 286
Brody and the surviving Kids wave to their families on land.
ROLL END CREDITS.