PRODUCERS: Richard Zanuck							PROD. #02102
           David Brown

J A W S 2 Final Draft Screenplay by CARL GOTTLIEB Based on a Story by HOWARD SACKLER & DOROTHY TRISTAN
JAWS 2 FADE IN 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 illumination. 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 four years. 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, similarly tangled. 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, Death. 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 from home.... DISSOLVE TO 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. VAUGHN 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. ELLEN Where the hell were you? BRODY Late. ELLEN I can see that. Don't you know this is a big deal? BRODY VAUGHN 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 promise. ELLEN (applause) 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. (applause) 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 VAUGHN ...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. VAUGHN 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. LUCY I don't think she's such hot stuff. POLO When are we going out? You and me? LUCY Not tonight. POLO You going with Patrick? Lucy nods, Polo shrugs, and turns to Jane, a girl nearby. POLO Listen, Jane -- you want to dance as soon as we get out of these monkey suits? She nods happily, they whisper together, while we: CUT TO 9 ANGLE ON DAIS 9 Martin and Ellen have been joined by their youngest son, Sean. SEAN Mom, Michael won't talk to me. BRODY (to Ellen) Shouldn't he be at home? ELLEN Mrs. Silvera couldn't come. VAUGHN 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. VAUGHN (prompting) 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 his fingers. 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. VAUGHN 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. DISSOLVE TO 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 Amity townspeople. BRODY (seeing Peterson and Vaughn) Do I have to talk to those two? ELLEN My boss and your boss. Sure. VAUGHN Hello, hello. It went well, I thought. BRODY Very impressive ceremony. Good speech. VAUGHN 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. PETERSON The speech was right on the money. (to Ellen) 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 liking. PETERSON (to Brody) Fantastic lady. Don't know what I'd do without her. BRODY Me neither. PETERSON (looking around) Y'know, Brody -- for the first time in years it's worth putting money into this town. BRODY All of us thank you, okay? ELLEN 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. SEAN Can I go swimming? BRODY No. Find your brother, okay? Sean nods and runs off, happy to have a mission. CUT TO 12 ANGLE ON MICHAEL BRODY - NEAR THE BAND 12 He is talking to Brooke Peters, a mop-maned teen-ager with a pleasant face. Timmy Weldon, a grade behind, lurks nearby. A plumpish, curly-haired buddy, Andy Nicholas, is enjoying a cup of punch. MIKE How old is your cousin? BROOKE Seventeen. She's a senior. MIKE I'm not crazy about blind dates. ANDY They're okay, if they got little white canes and tin cups. BROOKE That's awful. ANDY What the hell. (to Mike) Did your mom put all this together? MIKE Yeah, it's her job. ANDY Is she responsible for the punch? MIKE No. ANDY Good. It's terrible. BROOKE My cousin will be here tomorrow. MIKE Great. Sean finds them, and bursts into their group. SEAN Michael, Michael, Dad said to find you. ANDY Okay, you did that. SEAN Come on, Mikey, come on.... He tugs at Mike's sleeve; Mike allows himself to be dragged off. MIKE Okay, okay. Got to go. Andy and Brooke are left standing together, Tim moves in. TIM (to Brooke) Want to dance? (she shakes her head "no") Okay. Later? On her shrug, as she turns to Andy: CUT TO 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. DOUG Get a dance yet? TIMMY Nope. DOUG Me neither. TIMMY Who'd you ask? DOUG Tina Wilcox. TIMMY You're crazy. She's Ed's girl friend. DOUG Doesn't hurt to ask. Sometimes the most beautiful girls are the loneliest. TIMMY That's a crock of shit. DOUG I know. Bob Burnside, a tall pal of Larry Vaughn Jr.'s, turns up by their side. BOB Same tired old faces. You see Vaughn? DOUG The mayor? BOB Larry Vaughn Junior? (Doug shrugs) If you see him, tell him I got a six-pack, a blanket, and the Brebner twins. He exits, on the prowl. TIMMY No class. DOUG None at all. (pause) I wonder what the Brebner twins are doing tomorrow night. 14 ANGLE ON BRODY AND ELLEN 14 BRODY Can you take a little time out from your busy schedule to dance with the old man? ELLEN Why? BRODY 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. PETERSON May I have this dance? BRODY Sorry, I'm all booked up... (taking Ellen) Come, m'dear. They slowly fox trot out onto the terrace. Both of them nodding greetings to townspeople and kids -- everyone knows the chief. BRODY Remember 1959, the Jersey shore? ELLEN And how. I thought you wouldn't respect me. BRODY I did, I did. The music and the summer moon are working their magic. BRODY Listen -- what are you doing later? ELLEN Fooling around? BRODY Right. He dips with her; they look up and notice Sean, sound asleep on a bench. ELLEN Let's get the kid home. BRODY Home it is. He crosses to the sleepy Sean and hoists him with a grunt. BRODY (to the kid) You're getting a little big for this. 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. DISSOLVE TO 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, morning-horny. BRODY Mmmm. ELLEN MMMmmmorning.... They start to move a little, then turn face to face. Outside their door, the sounds of little feet; Sean padding downstairs. BRODY Sean's awake. ELLEN Door's locked. BRODY (kissing) Good. Their bodies move under the blankets. There's a crash from the kitchen. They stop for a beat. As they resume, little feet return. SEAN'S VOICE The milk fell out of the 'frigerator. ELLEN (whispering) Put a towel down. And shh -- Daddy's sleeping. SEAN'S VOICE Okay. His feet paddle off. Brody and Ellen start to slide together, passion resumes. ELLEN C'mere.... 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 beep. BRODY Mrs. Silvera? ELLEN Mrs. Silvera. 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, and themselves. 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. BRODY Need a ride? ELLEN As far as the office. CUT TO 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. BRODY Some people. SEAN What's daddy doing? ELLEN Writing a ticket. Brody is out of the car, his pad in his hand. ELLEN Hey! That's my boss! BRODY Better yet. Peterson, in shirt-sleeves and a tie, hustles out of the office PETERSON Wait a minute.... BRODY Too late, it's written. PETERSON Heck of a way to treat a taxpayer. (to Ellen) Don't you have any pull with the chief, here? ELLEN Do I have to? PETERSON (taking the ticket) Better get a sales kit together for after lunch. I'm taking some prospects out. Ellen kisses Brody, and starts in for her day's work. ELLEN See you later. PETERSON (to Brody) Can't we fix it up to get this made into a green zone or something? BRODY 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. HENDRICKS (to Red) Tie it off on your left. Your other left! As Red complies, Hendricks spots his boss. HENDRICKS Good morning! BRODY (walking onto the dock, Sean tagging along) Aren't you off-duty? HENDRICKS Till noon. This is on my own time. (to Sean) Hi, Shorty. SEAN 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. SKIPPER Yo! Chief! BRODY What? SKIPPER You got a gold-plater drifting in the main channel. Big cruiser. HENDRICKS Whereabouts? SKIPPER Off the Point. No running lights, just a diver's flag. HENDRICKS (aside to Brody) Want me to run out there? BRODY On your own time? HENDRICKS Happy to do it. BRODY Then check it out. I'll be in the office. Hendricks nods, and starts the engine importantly. HENDRICKS 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. BRODY Where to? MIKE No place special. Just hanging out. BRODY Sailing? Mike nods. BRODY Watch your kid brother, huh? He gets into his jeep, leaving Sean with the teen-agers. BROOKE 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? PATRICK MIKE Machs nix to me. No. LUCY SEAN Anyone got a spare Please? mooring line? Mine's shot. TINA MIKE 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. BROOKE You're not going out right away, are you? MIKE Waiting for Andy. BROOKE I want you to meet my cousin. MIKE I will, I will. SEAN 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." MIKE I don't need you. Andy's here. SEAN You always go with Andy. MIKE (to Andy) How was dive class? ANDY Same as always -- glub-glub, bubble-bubble, stroke-stroke. There sure is some weird shit on the bottom of the ocean. BROOKE Shells and lobsters and stuff? ANDY Mostly old garbage. Today we found a '48 Hudson. SEAN Do I have to play with the little kids? MIKE Yeah. Go on, beat it. Sean mopes away while Andy and Mike get their boat ready for sea. 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. JACKIE Brooke! Hey! 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 ANDY Who's that? Quick -- I'm in love. MIKE I hope that's the cousin. BROOKE Over here. I want you to meet somebody. ANDY Lucky. Lucky, lucky, lucky. As the four teen-agers come together in a tight quartet, the music rocks up and we: CUT TO 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. JACKIE How fast does this go? ANDY With the right wind, 15-20 knots. JACKIE What? MIKE Real fast. He sheets in, heeling the boat over in the stiff breeze. BROOKE Far out! 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. LARRY Coming up! BOB Gangway, Turkies! It's immediately a race between the red boat -- "Sizzler," and Mike's "Green Machine." The Kids ad-lib -- "Faster," "Lookout," "Gybe, gybe." ANDY We're carrying weight. LARRY We'll take your supercargo. JACKIE Is that me? BROOKE That's you. JACKIE I've never been supercargo. Donny and Denise's boat cuts in, stealing the Sizzler's air. LARRY Hey, get out of our air! DONNY 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. BOB 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 inflatable. -- Marge in her Lightening, sailing close to Ed and Tina in Tina's Joy. CUT TO 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. HENDRICKS Rich or poor, it's nice to have money. RED Figure they split? HENDRICKS Happens every season -- someone takes off. Once we had a schooner for a month while the owners went fox hunting. A sudden eruption in the water nearby startles them -- it's Andrews, surfacing, holding up the underwater flash camera. ANDREWS This is all there is. Crosby pops up next to him, shows empty hands. HENDRICKS If that's it, that's it. The divers head for their boat, Hendricks fires up his engine, and we: CUT TO 28 INT. BRODY'S OFFICE - DAY 28 Brody is trying to reason with an indignant fat man. INDIGNANT 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...." BRODY I'll do what I can, but you're talk- ing about a federal jurisdiction.... INDIGNANT MAN (leaving in a huff) So call the FBI! POLLY Black, two sugars. BRODY Thanks. What else is out there? POLLY One petty theft, one domestic dis- turbance, and an exhibitionist. BRODY I'll take the exhibitionist, you handle the others. WOMAN Chief Brody? I want you to do something about my first husband. Brody is caught in the open. WHITE-HAIRED MAN Martin, you have got to demand that Grace Kinney keep her shades down. 2ND MAN What about enforcing the "No Park- ing" ordinance on Beach Road? BRODY 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! BRODY (to White Haired Man) Talk to me about Mrs. Kinney. WHITE-HAIRED MAN Her bedroom window faces my oldest boy's bedroom, and she's teasing him, dancing around in a towel, or less.... BRODY Dancing? Hendricks has entered, carrying the camera brought up from the bottom by the divers. HENDRICKS Chief.... BRODY 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. HENDRICKS I never heard of a 908. BRODY I just made it up. It means, "Get me out of there." (notices the camera) What the hell's that? HENDRICKS Diver's camera. Tom Andrews brought it up from under that abandoned cruiser. BRODY Abandoned? It's a little early in the season for that. HENDRICKS Rich people. Home port is Newport, Rhode Island. BRODY If I had a $100,000 boat, I sure as hell wouldn't leave it anchored alone in the channel. HENDRICKS 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. WHITE-HAIRED MAN Grace Kinney is driving my boy to distraction. BRODY Hendricks, get a description of that dance. LARGE MAN (to Brody) 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.... something.... As Brody turns to deal with the mess, we: CUT TO 29 29 thru OMITTED thru 32 32 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. CUT TO 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 Diane. TERRY Did you ever see a dolphin? DIANE Sure. They like to play. We may see some today. TERRY Great! She fumbles with her skis. TERRY Whoops, almost lost one. Can't play with the dolphins without skis.... DIANE Ready? TERRY 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. TINA Take a break for a minute, okay? ED Huh? Tina stands, and looks out to the sea, where the boat is towing Terry on the water. TINA Eddie, can we do that? (no reaction) Can we go skiing? We can use my Uncle's boat. Eddie? ED Next week. TINA 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. TERRY Faster! Faster! 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 turbulent wake. 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. TERRY 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 hurt herself. DIANE Terry! You okay? TERRY Help! Help! DIANE 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. DIANE (screaming) Terry! Then the Shark appears, blood on its mouth, lunging up and butting the stern, jarring the engine loose. Fuel spills from a ruptured line. DIANE Help! God, help! She throws things at the Shark, which slides back under the water. 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. DIANE No-o-o-o-o-o...! 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: CUT TO 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. HENDRICKS 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. BRODY There should be bodies. Witnesses say two people; one in the boat, one skiing. HENDRICKS (o.s.) (filtered) I told you -- nothing here. BRODY Try dragging. HENDRICKS (o.s.) For how long? Current's moving everything around, and it's getting dark. BRODY Stay on it. I don't care how long it takes. HENDRICKS (o.s.) 10-4. Brody turns to Ed and Tina, and takes out his notebook. TINA We heard this noise, like a 'boomp' out there, and when we looked, there was just this cloud of smoke. GRACE That was the explosion. One minute they were having a wonderful time, the next, bang! BRODY GRACE I don't know what could've done that. Brody stares out at the quiet sea -- what's lurking under that calm surface? TINA Can we go now? Brody's still looking past them, towards the ocean. TINA Chief Brody -- can we go? Please? BRODY Oh, yeah. Sure. As he gazes at the ocean, we hear the sound of a distant siren, and CUT TO 44-A EXT. AMITY - DAY 44-A An ambulance, siren wailing and red light flashing, drives on its melancholy way through the picturesque town. DISSOLVE TO 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, hauling back. RED How much longer? HENDRICKS Until we find something. RED 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. HENDRICKS I think we got something. Red moves to the winch, watching warily as it slows to a near stall with the weight. RED About damn time. HENDRICKS 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. HENDRICKS 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. RED Oh shit. Drop it. HENDRICKS What is it? RED Power line. HENDRICKS Oh, great. 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. RED It comes here from Cable Junction. HENDRICKS Untangle it and let's go -- We don't need a blackout on the island. RED (at the winch) Now you're talking. Let's get out of here before we do find something. DISSOLVE TO 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. ELLEN You have to smoke so early in the morning? BRODY It's good with coffee. ELLEN So's a donut. SEAN I want Fruit Loops! MIKE Eat Cheerios. SEAN You eat Cheerios. I want Fruit Loops. ELLEN Eat Cheerios. BRODY What're you guys doing today? MIKE (indicates Sean) I don't know about him -- I'm going down to the dock, maybe go sailing. BRODY Every day? MIKE What else is there to do? BRODY You could work out at the beach, make a few bucks for school. MIKE Do I have to? BRODY You'll have to make up your own mind about that. ELLEN Where's my day book? BRODY In the den. Ellen passes them on the way to the den to look for it. ELLEN He doesn't have to work all the time, it's his vacation. Mrs. Silvera enters from the service porch. MRS. SILVERA Good morning -- everyone up early today? BRODY 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. ELLEN Why don't you take a half day and clean this junk up? BRODY 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 another one. ELLEN One what? (she finds the book) Ah-ha! BRODY Boat nut. What is it about this place that makes everyone a freak for boating? ELLEN 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 MIKE I'm going. BRODY What about tennis? Riding? fixing up old cars? Bartending? MIKE Bartending? I'm 17. BRODY Okay, not bartending. Why on the water every day? MIKE Because. BRODY Look, humor the old man -- just be careful. MIKE (going) 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. BRODY Don't go out if it's rough or any- thing, huh? We've had a lot of trouble. MIKE Okay, okay. The back door slams behind him. SEAN Can I go with you today? BRODY You stay with Mrs. Silvera, Tootsie. Okay? Sean nods, resigning himself to the inevitable. MRS. SILVERA (to Sean) You can come with me to the market. SEAN All right. BRODY 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. SEAN Bye, Daddy. I'm going to be careful, all day. CUT TO 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. LUCY (from her boat) Where're we going? ANDY Oh, out a ways. Maybe the lighthouse. BROOKE The lighthouse? ANDY No big thing, we'll see who's out there, maybe picnic. MIKE We got some stuff at the store. Ed and Tina are going to be there. BROOkE Oh, sure, they would be. JACKIE What's the lighthouse? MIKE It's an island, near here, with a lighthouse. We sometimes hang out there, you know.... JACKIE 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 BROOKE (aside) The lighthouse is a make-out spot. JACKIE Now I really want to see it. BROOKE You going to fool around with Mike? (Jackie shrugs) Well, I'm not doing anything with him. She indicates Andy, who pretends great indifference. JACKIE 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. CUT TO 57 57 thru OMITTED thru 62 62 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. ED Come on back up here! TINA Nope. ED Give me back my hat! TINA Double nope! 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. ANDY Why'd they decide to move? BROOKE Too hot in the lighthouse? MIKE Too hot tor those two? I can't believe it. JACKIE Is there something I don't know about? BROOKE I told you, remember? JACKIE Oh, yeah. So why aren't they doing it now? There's a little round of giggling. ANDY Maybe by now they are. MIKE They're moving pretty fast. JACKIE He's cute.... 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 reacting. TINA Yech! 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. DISSOLVE TO 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 gesturing. CUT TO 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. BRODY As soon as I heard about it, I called you. This thing is big! His arms indicate big. ELKINS After we've looked, we'll talk. HENDRICKS 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. HENDRICKS Move back, please...back off... open it up a little.... The crowd edges back, giving way to Brody and Elkins. BRODY 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. BRODY Look at that: ELKINS First things first. She produces a tape measure and gives one end to Brody. ELKINS 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. ELKINS Length, 22 feet, 8 inches. BRODY Come on, let's check the bite radius. ELKINS (cold) The what? BRODY Bite radius. You know, the size of the mouth? ELKINS The whale's mouth? BRODY The Shark's mouth. ELKINS What shark? Brody pitches his voice low, so that the crowd won't listen. BRODY The shark that did this. It was a shark, wasn't it? ELKINS We don't know that, do we? BRODY But that's what we're here to find out, right? ELKINS You don't tell me my job, and I won't tell you about yours, okay? HENDRICKS I can't hear you if you're going to whisper. MIKE 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. BRODY (to Mike) You stay here a minute. MIKE Oh, c'mon. BRODY You heard me. JACKIE We'll be over by the lighthouse. MIKE I'll be right there. Wait up. They hang around, waiting for him. Elkins has reclaimed Brody's attention. ELKINS Could be a shark. But maybe not. BRODY Look, I know a little bit about sharks. ELKINS Do you? BRODY I know that this was probably a Great White Shark. Car-cadon... Caradan.... He fumbles for the correct Latin. ELKINS (helping out) Carcharadon Carcharias. BRODY That's it. ELKINS Okay, so that's it. BRODY Is there one in these waters? ELKINS What makes you think there might be? BRODY Because this big fish has been bitten by some other big fish.... ELKINS This is a mammal, not a fish. BRODY Jesus, don't quibble with me. I want to know if a Great White Shark did this. ELKINS Probably. BRODY That's it? Probably? Look, sharks are attracted by blood, and thrashing around.... ELKINS And sound. BRODY (this is a new one) Sound? ELKINS Sound. Like sonar, or radar. They home in on irregular sounds, unusual sounds, any rhythmic low- frequency vibration. BRODY So there's one around here. ELKINS 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 further. HENDRICKS (chiming in) We got a helluva tide this month. BRODY Could you just keep that crowd back, please? MIKE (fidgeting) Pop.... BRODY 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 Hendricks. 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.... MIKE She won't. The Kids have moved a little closer to hear what's going on between father and son. BRODY I don't want to discuss it. Elkins crosses to Brody. ELKINS It's either a Great White, or another killer whale. BRODY Can't you tell? ELKINS 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. BRODY Look -- can Great White Sharks communicate? Send out signals, or something? You know, take revenge, sense an enemy.... ELKINS Don't be ridiculous -- Sharks don't take things personally. MIKE Dad, please.... Brody turns on him. This at least, is something he can do something about. BRODY No more sailing. You come back with me, and that's it. MIKE Why me? BRODY Because I say so. ANDY I'll tie up at the town dock, don't worry, man. JACKIE See you later, Mikey.... ED AND TINA Later, bye... (Ad lib). 73 OMITTED 73 DISSOLVE TO 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. VAUGHN I'm showing summer rentals. We got a helluva season going. BRODY We have got to talk, and we have got to talk alone. VAUGHN We're alone. BRODY 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. VAUGHN Are you serious? BRODY Of course. Look -- I've got some missing persons, fatalities, evidence of a large predator.... VAUGHN No one has seen a shark -- no fin, no bites, nothing. Be realistic. BRODY I got a feeling. I have to act on it -- you can understand that, can't you? VAUGHN Of course I can, but can't it wait? These things cost money, and this town doesn't have much money. BRODY We have to do something. VAUGHN 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, y'know. BRODY I know, I know.... VAUGHN 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. BRODY It's still a good idea. VAUGHN Martin, when we build up our tax base a little, you can have every- thing you want; right now, the town's broke. BRODY Please, Larry -- there's good reason. Those water skiers.... VAUGHN (interrupting) A tragedy. But that was a boating accident; no bites, no sharks, nothing but a boating accident. BRODY Two of them are still missing! VAUGHN There's always deaths in these waters that never turn up. Are they all shark victims? BRODY Maybe they are! Brody's overstated his case, and he realizes it. VAUGHN Bullshit. BRODY (shouting) Bullshit? I'll give you bullshit -- there's a dead whale out there with bites all over it! VAUGHN (shouting back) What am I, an ass? When you called me, I called Elkins, and her bosses. Nothing she saw is proof of anything. BRODY Someone has to do something. VAUGHN (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, VAUGHN 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. CUT TO 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 something: 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. BRODY 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 after it. BRODY Come on. Here boy. Come to Poppa.... It eludes him, and he flounders after it. A big wave breaks across his crotch. BRODY Hoo! Cold! 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.... BRODY (ad lib) Come here. Come on, Sweetheart. You bastard. A little closer... Here y'go.... Then, he's got it --- BRODY (exultant) Gotcha! 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. DISSOLVE TO 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. HENDRICKS Chief? BRODY In here. HENDRICKS I missed you at the funeral home. Santos said you were here. BRODY You didn't miss much. Christ, what a mess. HENDRICKS Positive I.D.? BRODY The woman passenger on the boat that blew up. HENDRICKS Oh. There's an awkward pause. Brody sees the box with the divers' stuff sitting where it was left earlier. BRODY What about that camera? HENDRICKS What camera? BRODY That one -- from the wreck. You brought it up, did you look inside it? Hendricks' guilty look confirms he didn't. BRODY Well, what the hell -- might be something worth seeing. Take it somewhere and see if there's film in it.... HENDRICKS (catching on) If there is, develop it! BRODY You got it. The Deputy rummages in the locker, happy to be on the trail. HENDRICKS I know just where to go. BRODY Not the drugstore! HENDRICKS Of course not, They're closed. Phil Fogarty's place. He'll do it for me. BRODY The drugstore's closed? What the hell time is it? HENDRICKS Nine-thirty, ten maybe. BRODY 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. BRODY (at the door) Oh yeah -- I'm expecting a long distance call, very important. Give them my home phone. HENDRICKS Right. Brody pats his pockets to make sure the speed-loaders are safe inside, then exits. As Hendricks watches him go, 85 OMITTED 85 CUT TO 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. CUT TO 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 following. ELLEN (into the phone) Thank you. I'll tell him. BRODY For me? ELLEN (hanging up) 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 spring. BRODY Damn. He starts upstairs, casually concealing the towel-wrapped package of gun and ammunition. MIKE Is Hooper coming to dinner? BRODY Not till next year. He goes upstairs, Ellen waits a few beats, then follows him. CUT TO 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. BRODY Oh, hi -- How was dinner? ELLEN Oh, perfect -- a 75 per cent family affair. Where were you? BRODY (getting up) Santos' place. 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 water. BRODY Oww! ELLEN Careful. What's wrong? BRODY Nothing. ELLEN Nothing, huh? BRODY That's what I said. Is there any of that hand cleaner stuff? ELLEN Use the little brush there. Why were you at Santos'? BRODY Found one of the missing victims from that boat deal. ELLEN Oh. Want to talk about it? BRODY No. ELLEN Terrific. Mike comes up the stairs, and is starting into his room when Brody spots him; Sean is just behind him. BRODY Michael. MIKE Yeah? BRODY You want to come here a minute? Mike shrugs and crosses to his father; Sean whizzes past on into his room. SEAN Hi Dad. BRODY Hiya yourself. MIKE What is it? He expects something: this is a formal audience with the Head of The House. BRODY I got something for you to do tomorrow. MIKE I kind of had plans.... BRODY Sailing? (Mike nods) Forget it. You're beached. Grounded. No more boats. MIKE Hey, come on.... BRODY No backtalk! I spoke to Upton, at the beach, and he's got a job for you there. You can work until school starts. ELLEN All summer? BRODY 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. MIKE (o.s.) Dad, please.... BRODY (o.s.) 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- lion. ELLEN Not so loud! The music lowers its volume. Brody turns to go into the bedroom, to take his shoes off, to go to bed.... BRODY I know what you're going to say. ELLEN Do you? BRODY (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? ELLEN It was bad, wasn't it. BRODY The goddamn smell is always the same. (he shudders at the recollection) ELLEN Are you going to be able to sleep? BRODY Yeah. I think so. (he raises his voice) 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. DISSOLVE TO 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. PETERSON 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. ELLEN During the summer, the sun sets right there... (she points) Over the water. Beautiful. VAUGHN (to Ellen) 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. NICHOLS Hello -- selling some more of the good life? ELLEN A piece here, a piece there, it all adds up. NICHOLS Your husband's been here all morn- ing. What's he doing? ELLEN (good-naturedly) His job. Michael Brody, dressed in township workman's coveralls, is repainting some flaking woodwork. Sean is happily mixing paint. Vaughn joins them. VAUGHN Your dad got you working? MIKE Yeah. He continues his chore, without enthusiasm. SEAN I'm helping. VAUGHN You know where your dad is? MIKE Up there. He points at the tower. VAUGHN Oh, for Christ's sake. He crosses briskly to where Peterson is finishing. PETERSON And if you have any questions about recreational possibilities, Ellen Brody here will be happy to answer them. VAUGHN Len, can I see you a minute? Peterson excuses himself and joins the Mayor. PETERSON I think we got a couple of live ones. VAUGHN Brody's riding his tower. PETERSON (looking up) Oh, shit. 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 unseeing crowd. 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. JACKIE This is fun! Can we go faster? LARRY (to Bob) Trim. Bob does, Larry trims the main, and the hull lifts. JACKIE Yay! She snuggles in Larry's arms. He waves to someone. LARRY 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. VAUGHN (to Peterson) Wave to my son. PETERSON (waving) How the hell do we get him down. from there? VAUGHN Maybe nobody will notice. Let's get them back in the bus. Mrs. Bryant approaches them, tugging her daughter. MRS. BRYANT Renee wants to know what that man is doing way up there? PETERSON He's, ah, watching. A lookout. MRS. BRYANT For what? RENEE (a precocious little girl) It's a shark tower. I saw one in Florida. He's looking for sharks. VAUGHN It's an observation platform. That's our Chief of Police. He's just checking it. PETERSON Normally, it's used for, ah, bird- watching. Nature observation. Weather measurements, that sort of thing. (a little desperate) Ellen, we're running late! ELLEN 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. PETERSON The country club has an 18-hole course, putting greens, and twelve tennis courts.... CUT TO 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. BRODY (screaming) 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 shouting. BRODY Get out of the water! Tell every- one to get out: Now: Out of the water! 97 ANGLE ON PETERSON, VAUGHN, AND NICHOLS 97 reacting. VAUGHN (recalling another panic) Oh, my God.... PETERSON What the hell is he doing? NICHOLS Oh, no! 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. BRODY 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. ELLEN (seeing something) Martin! No! 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. BRODY No! Don't go in! Stay out! Stay clear! 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. LIFEGUARD 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. A SWIMMER What's going on? ANOTHER SWIMMER Fish! Anyone got a net? 3RD SWIMMER 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. BRODY 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. BRODY Okay, it's all over, go on, it's over. No trouble.... Ellen joins him. ELLEN 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. BRODY It's all right, everything's all right.... Sean emerges from the crowd, and helps his daddy pick up the bullets, Ellen moves to disperse the rudely curious. ELLEN (o.s.) Let's go, everyone...Mrs. Bryant, Len, please.... 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. DISSOLVE TO 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. VAUGHN Brody's a good man. KAISER Nobody says he isn't. PETERSON You should've been out there. You should've seen him waving that gun, like a maniac. There were shots fired! VAUGHN He thought he had a good reason. MS. NICHOLS But that's not rational behavior! PETERSON That's what I'm saying! VAUGHN How many people were there? MS. NICHOLS Hundred! Literally hundreds. What are they going to say about us? PETERSON (to Vaughn) Larry, I'm a businessman, trying to make a buck like anybody else. VAUGHN So? So? PETERSON So it can't be done like that. The man's a menace, plain and simple. VAUGHN Look, what am I supposed to do? It's done, it's over. We have to deal with the consequences. SANSOM That's what we're here to do. VAUGHN All right. Let's go into my office, where we can have a little privacy. 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 the room. VAUGHN I believe we have a quorum, and informally, I suggest we call this meeting an executive session and dispense with minutes.... CUT TO 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. BRODY Polly, no calls, please... (she insists) Okay, okay. (he punches a button) 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. CUT TO 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. PHIL 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 pleasure.... BRODY You said something about a camera. PHIL 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, so he.... BRODY (interrupting) Did you get any pictures? PHIL 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 I did.... 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. BRODY (O.S.) Oh, Jesus. That boat.... 105 ANGLE ON BRODY AND PHIL 105 PHIL Not bad -- that's a real fast lens, probably 1.4. Look at the diffusion, though.... BRODY What else you got? PHIL Let's see -- you got a minute? BRODY Come on, Phil, don't jerk me around. PHIL 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. BRODY (o.s.) (shaken) 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. CUT TO 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. 108 108 and OMITTED and 109 109 110 INT. TOWN HALL - NIGHT 110 The Selectmen (Kaiser, Sansom, Nichols), Len Peterson, and Vaughn are seated informally around the big table. PETERSON (looking up) Speak of the devil. Brody enters, carrying the envelope with the photo. BRODY Thank God you guys were all together. I got something for you. Proof! VAUGHN Martin, this is kind of an official meeting BRODY Perfect. Look at this --- He fumbles with the envelope. VAUGHN Chief -- the Board of Selectmen has a question only you can answer. BRODY (preoccupied) What? PETERSON Is Jeff Hendricks qualified to fill in as an interim Chief of Police in your absence? BRODY Temporarily? Uh...sure.... The question's out of left field. Why are they asking? NICHOLS So Jeff could handle things? He knows the routine, he has the authority? BRODY Yeah. Why? PETERSON It came up during the meeting. BRODY 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. SANSOM I don't know -- what is it? BRODY 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. VAUGHN (o.s.) It's nothing I can see. 112 ANGLE ON BRODY 112 waving the picture. BRODY What are you all, blind? It's a shark. Look -- teeth, jaw, gills. PETERSON Is that what it is? BRODY You're damn right that's what it is. NICHOLS I'm sorry, I just don't see it. Sansom and Kaiser agree, ad lib, "That's nothing...." VAUGHN Martin, it could be anything. BRODY (exploding) 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 sonofabitch before! The Selectmen look at each other in the face of Brody's agitation. Tempers are running high. PETERSON What have you seen before? This is nothing. Seaweed. Mud. Some- thing in the lens. BRODY My ass! VAUGHN Be reasonable, please.... PETERSON (to Vaughn) Forget it, he won't listen. BRODY There is nothing to discuss. PETERSON (blowing up) Will you listen to this man? Will you just listen to him? (to Brody) 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 us. BRODY Is that what it is? Dollars? Money? I'll pay for it. Take it out of my salary. PETERSON You don't make enough. BRODY Maybe I don't make as much money as some bullshit rip-off artists around here, but I don't work the same way. PETERSON What's that supposed to mean? BRODY 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. VAUGHN Martin, could you wait here for a few minutes while we make up our minds about something? BRODY 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. CUT TO 113 OMITTED 113 114 INT. VAUGHN'S OFFICE - NIGHT 114 They are sitting there, deliberating. PETERSON I won't mention his personal attack on me. NICHOLS I've never seen him like this. PETERSON And Hendricks is qualified, you heard that from his own mouth. KAISER We made a motion and it was al- ready seconded. VAUGHN (official) 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 favor? All the hands go up. PETERSON Anyone opposed, or is it unanimous? Vaughn's hand goes up, the sole dissent. They stare at him. VAUGHN I'm sorry, but I respect his convictions. The motion is carried. He goes to the door, and opens it. VAUGHN Martin? Could you come in please? CUT TO 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. CUT TO 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. ELLEN Hi. I closed a sale today, without Len. That's $1200 commission, if the papers go through. BRODY That's great. ELLEN Sean's asleep. BRODY That's great too. Gorgeous. He takes a long look at her. BRODY 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. ELLEN (sensitive) What's wrong? BRODY Ooohh, nothing. I just got fired, that's all. He tosses the photo sloppily on the desk. ELLEN What? BRODY What'd I say? ELLEN That you were fired. BRODY 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. ELLEN Because of today? The beach? BRODY (expansively) 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 water...Ridiculous. ELLEN Stop that! We're not going any place. You love it here. Tell me what the hell happened! BRODY 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.... ELLEN (studying the photo) Honey, this is nothing...I don't know what it is. What did they.... BRODY (going on) ...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 my ass.... ELLEN (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 this island.... BRODY Fired me! (at Ellen) I'm not a hysterical man. I'm responsible. I know what I saw.... ELLEN I know you did.... BRODY 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. ELLEN You're drunk is what you are.... She eases him onto the couch, tucking a comforter over his inert shape. ELLEN Take it easy...Easy.... 118 ANGLE ON THE STAIRWELL 118 Sean comes down the stairs, sleepy, in his pajamas. SEAN Is dad home? I heard something.... He comes into the darkened den. 119 ELLEN AND SEAN 119 ELLEN Shhhh. Go back upstairs. Daddy's sleeping. Sean finds the photo, and stares at it idly. SEAN What's this? ELLEN 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. CUT TO 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. DOUG (holding a book) That's what I want -- a gaff rig. TIMMY Gaff rigged? Why not a staysail schooner? Go anywhere. Look at this -- the Mayan, an Alden schooner. BOB Hey, Mike -- I saw your dad over at the town hall. MIKE I know. DOUG (innocently) Did he really freak out at the beach? MIKE I don't know. ANDY 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; LARRY How was the show? ED Yech. TINA It was okay. PATRICK I'd rather go the lighthouse. LUCY Who wouldn't. POLO Anyone want to go the lighthouse? BROOKE Now? At night? POLO Nah. Tomorrow. Early, spend the day. My folks left two cases of beer in the garage. PATRICK Is it still there? POLO Nope. Got it in my boat. LUCY All-right. JACKIE Let's go for it. There's a general ad-lib agreement to organize a day's sailing picnic. TINA Mike, you going? MIKE Why shouldn't I? LARRY I thought you might still be painting the restrooms at the beach. Laughter from the gang. BROOKE 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 JACKIE I'd like to go out to the light- house with you. MIKE I'm not sure I can. JACKIE It'll be fun, come on! MIKE Maybe you and Brooke could come over to the town beach.... JACKIE No way. Everybody's going sailing. If you don't want to take me, just say so. MIKE That's not it. My dad told me not to go. JACKIE You do everything your parents tell you? MIKE No. JACKIE Good. I'll be on the dock at eight. (to the gang) Eight o'clock, everybody! They ad lib agreement. JACKIE (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. BROOKE She just likes to tease. I think she really likes you. MIKE Great. Some rock music starts, and we: CUT TO 122 122 and OMITTED and 123 123 124 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 wake up. CUT TO 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 out. SEAN (whispering) You're going out. MIKE Yeah. SEAN You're going sailing. MIKE Maybe. SEAN Take me. MIKE No. SEAN (louder) I want to go with you! MIKE Quiet! Shhh! SEAN (even louder) Michael.... MIKE Okay, okay. Close your door. Sean does, and happily tiptoes with exaggerated stealth to Mike; the two of them start downstairs. CUT TO 127 EXT. BRODY HOUSE 127 Michael and Sean are walking away towards the road into town. CUT TO 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. BRODY Good morning, America.... A grin crosses his face -- "My son, the Don Juan..." He goes downstairs. CUT TO 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. ELLEN What're you going to do today? BRODY Turn in the car. Clean my desk, explain things to our sons, then maybe get shit-faced and punch your boss. ELLEN I'll give notice. BRODY Don't rush into it -- we may need the income. She pours the coffee, they drink it for a moment. BRODY 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. MRS. SILVERA Morning. Anything special today? ELLEN (simultaneously) BRODY Sean's not up yet. The sink upstairs is busted. 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.... MRS. SILVERA Frankie. He's my cousin. BRODY Frankie. Okay. Ask him if he needs an apprentice. Brody and Ellen are at the door. MRS. SILVERA Have a nice day. They leave. CUT TO 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 boat. ANDY If you're beached, why are we doing this? For practice? MIKE Yeah. ANDY 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. MIKE Look -- if you're going to get in the way, you can just go home. SEAN I'm not in the way. Andy, am I in the way? ANDY You're always in the way. Marge joins them, scooping Sean up. MARGE This guy giving you any trouble? SEAN Put me down! ANDY Put him down in the water. MARGE (to Sean) You want to go out in my boat? SEAN Yeah. MIKE Would you take him? MARGE Sure. ANDY 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. BROOKE Mike! Are you going out? MIKE Maybe. JACKIE I thought you were grounded. MIKE I can go out if I want to. ANDY You can? JACKIE You going to the lighthouse? MIKE Why not? ANDY I could give you a dozen good reasons. MIKE (to Andy) Shut up. ANDY Okay, okay, don't say I didn't remind you. JACKIE Is there room on your boat for all of us? Mike looks: Andy, Jackie, Brooke, himself...Timmy moves in, sensing the chance of a lifetime. ANDY Well, we're pretty crowded, and I don't know when we're leaving.... Timmy makes his move. TIMMY I've got room. BROOKE Great. (to Andy) That's okay -- I'll go with Timmy. TIMMY You will? BROOKE Sure. And she walks towards his boat, looking back for him to follow. He's dumbstruck by his sudden good fortune. TIMMY Fan-tas-tic! 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. JACKIE I'm ready. And she plops down in Mike's boat, ready to be taken. Any- where. JACKIE Come on, you guys. ANDY 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? JACKIE Please come with us? Mike is glaring. The message is clear, if unspoken. JACKIE For me...? ANDY 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. BOB I thought you said she was going with us? LARRY Let's just go sailing, okay? BOB (casting off) Want to talk about it? LARRY 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, close. ANDREWS Hey! Nicholas! You're supposed to be in class! ANDY Today I'm staying topside. You dive for me! ANDREWS I'm going for lobster. JACKIE Great! Find one for me. ANDY With butter, if they got any.... Andrews dismisses them with a good-natured wave. ANDREWS So long, turkies. He turns to his class. ANDREWS Sparky will take you down today. If everyone's got a buddy, we'll drop. 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 class over. CROSBY (to Andrews) Let's get some dinner. He goes over, Andrews following. Sparky is with the class, signalling "Down;" they submerge like clumsy seals. CUT TO 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 around.... 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. CUT TO 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 administer mouth-to-mouth. SPARKY 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. CUT TO 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 headway. TINA You want to tack, or just leave her pointed up like this? ED (snuggling close) Just like this. TINA What about sailing? ED The tide's running. It'll take us to the light. TINA It'll take us to Budapest if you're not careful. Ed is lashing the rudder as they continue to drift with the current. ED First things first. He fumbles in a cooler chest, produces a bottle of wine. TINA What about the others? ED They'll be there when we get there. Might even have a fire started. TINA What're we going to do in the mean time? ED I dunno. We'll think of something. He pours the wine into the two paper cups. ED But first, a little juice.... TINA And second? ED (kissing her) Mmmmmm. TINA (resisting) Wait a minute. Promise me something. ED Anything. Anything. TINA That you'll put down a blanket. I've got black and blue marks all over my butt, and my Mom's getting uptight about them. ED 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 search. 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 hands. 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 LUCY Faster! Faster! PATRICK Coming about.... 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 alone. POLO (to a near- by boat) 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 thrilled. 153-D CLOSE ON DOUG 153-D in his inflatable, poking slowly along. Marge passes him, Sean hooting with glee. MARGE Coming up. SEAN Slowpoke! Slowpoke! Marge is faster! DOUG I'm getting new sails, then watch out. Just a question of modifying the rigging! 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 in delight. JACKIE Wheee! Faster! ANDY How fast is enough? JACKIE I want to go faster! MIKE Hang on.... 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 doing. BOB You coming up on him? LARRY You bet. Hang on.... They gybe sharply, running up behind the green cat. LARRY Coming up! Give way! ANDY 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. JACKIE Don't let him pass. Faster! Mike and Larry silently fight for clean air, racing. Water splashes over them. JACKIE My hair's getting wet! ANDY So's mine. 156 CLOSE ON MIKE'S BOAT 156 He veers onto a less dramatic tack, sparing Jackie's hair. Larry and Bob speed by, yelling. JACKIE When do we get to the lighthouse? ANDY Soon, dark eyes, soon. MIKE The tide's turning. Andy reveals a knowledgeable side to his character. ANDY We're going to be fighting the current. (he looks up) Wind's backing around a few points, too. Jackie snuggles against Mike. JACKIE I can't wait to get there. ANDY But of course. He goes forward to trim the jib, leaving the lovebirds snug- gling astern. They pull away from us, and we: CUT TO 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. ELLEN Hey -- it's not your job any more. I'm going to be late for work. BRODY 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 Andrews. 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 stunned. BRODY What the hell happened? SPARKY Embolism. Air bubbles in his blood. Came up too damn fast. Held his goddamn breath! He is near collapse himself. HENDRICKS Easy.... CROSBY He panicked! Something scared him! An Ambulance Attendant is putting a blanket around Sparky. ATTENDANT 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. BRODY How'd this happen? SPARKY Bite reflex, like a spasm. BRODY When? HENDRICKS Right after, the Kids went out? ELLEN What Kids? Who went out? HENDRICKS All of them. Mike, Junior Vaughn, Brookie Peters, Pat, Lucy -- all that whole gang. ELLEN Mike? Our Mike? HENDRICKS Yep. Looked like they were headed to the lighthouse. BRODY How long ago? HENDRICKS About an hour, maybe two. (thinking) Let's see -- I came on about eight.... Brody is gone, pushing through the crowd. 160 THE POLICE BOAT 160 Brody is casting off lines. Ellen is on the dock, watching him. ELLEN What're you doing? BRODY Going out. HENDRICKS Uh, Chief -- look. You're not Chief any more. Brody keeps working, making ready for sea. HENDRICKS I can't let you take her out. BRODY You can't stop me. Ellen is climbing aboard, taking off her heels. HENDRICKS Mrs. Brody, look -- if he can't go, then you can't go. Neither of you can go. ELLEN I'm going. BRODY Mike's out there. HENDRICKS 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. BRODY Untie that rope. HENDRICKS Please. It's my job. ELLEN I'll do it. And she moves purposefully towards the boat cleat. HENDRICKS Mrs. Brody, please.... Brody is shifting gears, the boat is crabbing sideways as he puts the helm hard over. It bumps the dock, hard. HENDRICKS You're too close. Back off. BRODY Goddamnit, Hendricks, untie the rope there. 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. HENDRICKS Let me. Please. He takes the wheel, eases off on the rudder, and comes about, pointing the launch out to sea. ELLEN Hurry, please. HENDRICKS What the hell, they can't fire both of us -- someone's got to be in charge, right? Which way are we going? BRODY 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. CUT TO 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 steering. BRODY Amity Launch to Harbor Patrol, over. HARBOR PATROL (v.o.) (filtered) Harbor Patrol. Is that you, Brody? BRODY Affirmative. Can you get your chopper airborne? PATROL VOICE 10-4, in a few minutes. He's down checking a buoy in the Bay Channel. BRODY Get him the hell over to Amity Point, the old lighthouse. Right now. PATROL VOICE What for? BRODY There's a bunch of Kids day-sailing that way. Turn them back to port. PATROL VOICE That's it? BRODY That's it. Just do it, all right? PATROL VOICE 10-4, soon as I can raise him. BRODY If they're not at the light, look for them. I don't want them out there. Get them back to port! PATROL VOICE (exasperated) 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. CUT TO 162-A EXT. OCEAN - DAY - KIDS SAILING 162-A Donnie and Denise and Susie are sailing close to each other. DONNIE Hungry? DENISE Starving. Let's go eat now. DONNIE (shouting to Susie) We're going in to eat! She nods agreement, their boats veer off from the rest and head towards the lighthouse. CUT TO 163 ANGLE ON THE SIZZLER 163 as it sails close to the Green Machine. LARRY Hey! Brody! Want to race? MIKE (confident) Sure. LARRY How about a side bet to make it interesting? JACKIE That's fun! Let's race for some- thing! MIKE Name it. LARRY Loser sails home alone. ANDY (aside to Mike) You're betting what you already got. MIKE I don't care. JACKIE I love it. ANDY Sure you do -- you win either way. JACKIE (simply) I'm supposed to. LARRY It's a bet. Once around the marker buoy? MIKE 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. ANDY (pulling away) Turkeys! Eat wind! MIKE Yee-hah! 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. DOUG Hey! Wait for the H.M.S. Invincible! Brooke and Timmy sail by him, laughing; Polo with them. BROOKE Can't -- we're watching a race! DOUG Since when? Who's racing? TIMMY Larry and Mike! 165 PATRICK AND LUCY 165 Pat and Lucy are trimming sail, moving faster. LUCY Mike and Larry are racing! Loser goes home alone! PATRICK If we beat them, they can both go home stag! Single-O! Alone! Jackie can come back in this boat! LUCY What about me? PATRICK Uh. Well. Maybe you could give Polo a hand going in.... LUCY (snapping him with a rope) Your ass I will. Besides, the wind's turning with the tide. Sailing back is going to be a bitch. 166 166 and OMITTED and 167 167 168 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. PILOT (filtered, 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. PILOT (v.o.) 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. ANDY (to Mike) Your dad must be really pissed. MIKE We better go back in. ANDY It's not going to be easy. JACKIE What's wrong? MIKE We're fighting wind and current. I though we'd be out longer, catch the incoming tide. ANDY Putz -- that won't be for hours. MIKE I was counting on hours. CHOPPER (v.o.) Return -- to -- port. MIKE 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 much success. 172 PATRICK AND LUCY 172 LUCY Heading back? PATRICK 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. POLO They're turning around. LUCY Coming about, then. SEAN Are we going back? MARGE 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. DOUG 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. DOUG 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 PILOT Patrol One to Base. Looks like they're turning back. CONTROL 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. CUT TO 181 ABOARD THE AMITY POLICE BOAT - DAY 181 thru thru 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. ELLEN Michael? BRODY 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. ELLEN Be careful.... HENDRICKS Anything? BRODY (on the Sandpiper) Nope... (he sees something) Hold on.... Brody moves around on the deck of the Sandpiper, until he discovers Tina, cowering in shock; a sudden revealing of a terrorized victim. BRODY Tina! TINA (a moan) N-o-o-o-o-o-o.... BRODY It's okay, it's okay. What's the matter? Tina? Honey? Hey --- TINA No! It's still there! BRODY What is it? What's there? TINA It's still there! BRODY (to Hendricks and Ellen) 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. ELLEN Tina, baby...what is it? TINA Sh...Sh...Shark.... 184 ANGLE ON BRODY - FOLLOWING HIM AS HE REACTS 184 BRODY I knew it. I goddamn well told them. He moves abruptly, stepping up onto the police launch, snapping on the radio, leaving Hendricks, Ellen and Tina on the sail- boat moored alongside. BRODY Amity Launch to Harbor Patrol. PATROL COMMANDER (v.o.) (filter) This is Cape Patrol -- what is it, Brody? I heard you weren't chief any more. BRODY Skip that. What about those kids out sailing? COMMANDER (v.o.) It's all okay -- Colby got to them. They were turning back when he left 'em. BRODY He left them? COMMANDER (v.o.) Sure. He's got work to do in Bay Channel. BRODY Get him the hell back there! We got possible fatalities! Brody out.... 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 BRODY I'm going out there. HENDRICKS Hey -- you can't do that. ELLEN What is it? What's the matter? BRODY Mike's out there. Brody starts the launch's motor, throwing clear the mooring line that ties the two boats together. BRODY (to Hendricks) Get her in. Get them both in. ELLEN HENDRICKS Martin, please! Chief, be sensible.... BRODY Where are they? HENDRICKS About 10 degrees off your star- board bow, take a heading leeward of Sand Island, and lay her north by northeast.... BRODY Never mind that shit. Just point. Hendricks complies. HENDRICKS (pointing) See where Cable Junction is? Look to the left. The lighthouse. That's it. BRODY Got it. And he kicks the engine into gear, moving the launch away and out toward the sea. ELLEN 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 its horn. Ellen stares after the receding boat. ELLEN My purse is on that boat. CUT TO 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. DOUG 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. DOUG England expects every man to do his duty...You may fire when ready, Gridley...Damn the torpedoes, full speed ahead.... Despite his pumping, the bulging patch bursts with a loud bang. DOUG Oh, shit. ANDY Someone pop your balloon? DOUG No problem, no problem. JACKIE Want a lifesaver? MARGE How about a skyhook? DOUG You sail your boat, I'll sail mine. A fin rises partially, almost invisible to most of the kids, but Mike notices it, believing it to be a porpoise. MIKE Hey, Fetterman -- You got company. DOUG Company? The place is a mess.... Before anyone can react, the shape rises behind Doug, striking his raft a terrible blow. DOUG Whoops. CUT TO 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, quick...." 191 MIKE'S BOAT 191 MIKE Doug's down! 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. ANDY 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. PATRICK What was that about? MARGE You okay? LUCY What was that? LARRY 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. DOUG A shark ate my boat. BOB Come on. DOUG I'm telling you, a goddamn shark ate my goddamn boat! ANDY 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.... KIDS (ad lib) ...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 thru thru 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. ANDY 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. LARRY Tie off to your strongest point. PATRICK Anyone need an extra line? Polo has Mike and Timmy aboard his boat. Timmy is looking up from examining Mike's dazed body. TIMMY Mike's bleeding! ANDY Can you sail? POLO (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.... CUT TO 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 radio. BRODY (on radio) Amity Launch to Patrol Air Unit One. Harbor Air, where are you? CHOPPER PILOT (v.o.) (filter) This is Air One. That you, Brody? BRODY It's me. Any fix on those Kids? PILOT (v.o.) Negative. I'm still down. BRODY For Christ's sake, get going! I'm all alone out here! PILOT (v.o.) Brody, I got to switch frequencies, call my boss. We'll meet you over by Francis Shoal. Harbor Air out.... BRODY Where the hell is Francis Shoal? Static. No answer. Brody realizes something BRODY 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 island. 206 CLOSE ON BRODY 206 staring, perplexed. Which way? BRODY Shit. 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. DISSOLVE TO 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. LARRY Anyone know what time it is? DOUG 3:30. MARGE Damn! Larry, Bob, Patrick, and Lucy (the practiced sailors) ad lib equal dissatisfaction. JACKIE What's wrong? BROOKE Tide doesn't turn for three hours. DOUG Low tide at Cable Junction is 7:46 p.m. ANDY What'd you do? Memorize the tide tables? DOUG I can't help it it sticks in my mind. BROOKE (making light of it) Anyone want to play charades? No one does. PATRICK As long as we're drifting, might as well go with the flow. ANDY Not funny. PATRICK Three knot current? LUCY At least. And an offshore wind. SEAN What's after Cable Junction? BOB The Atlantic. Then Ireland. JACKIE Can't we stop? Silence from the group. BROOKE They're probably looking for us. DOUG What about the fish? LARRY Maybe it's gone. DOUG They tend to follow moving things. Maybe it's following Polo and Timmy. They consider this. BROOKE So all we have to do is land at Cable Junction and wait. PATRICK First we got to get there. LARRY How're we going to do that floating on this garbage...? BOB Anyone got another set of sails? The Kids scramble to rig whatever canvas is available. SEAN Is that big thing still out there? MARGE Shhhh. CUT TO 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. LARRY Hey! BOB (waving) Over here! The Kids react with enthusiasm to the arrival of the rescue chopper. ANDY 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 sets down. PILOT Air One to Base. I have a positive location on that sailing party. Disabled and adrift... (he checks chart on his knee board) ...about 3/4 miles west of Cable Junction, wind and current carrying them just about due east. I count ten juveniles. 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. PILOT Everyone okay? Any injuries? The Kids ad-lib in the affirmative. ANDY Can you put us on Cable Junction? PILOT I got no room for passengers. ANDY 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- carriage. LARRY As soon as you get us on the island, you got to call in. My dad's the mayor.... ANDY (interrupting) 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. JACKIE You have to take us off! You have to! Why don't you take us! DOUG (calming her) 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 Kids. PILOT 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 something. 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. Follow it. 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 Kids screaming. 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 deeper, harder. 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: LARRY Look out! JACKIE (screams) No-o-o-o! 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. SEAN Help! He and Marge topple into the water. ANDY Don't struggle! Sean is bobbing in his life-vest, Marge strokes to be near him. 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. MARGE Sean! 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, behind her; 233 THE SHARK 233 rising like grey doom, then dropping out of sight. Marge is gone. 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- merged hull. 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 him. 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. CUT TO 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. PATRICK Sean! Sean! ANDY Don't move! SEAN 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 oxygen-starved eyes. 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.... CUT TO 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 radio. BRODY 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. BRODY Harbor Air, do you read? Over? PATROL VOICE Brody? This is Patrol Base. The familiar voice is tinged with annoyance. He's had a long shift, and nothing's going right. BRODY Where the hell is Air One? PATROL VOICE That's what I'd like to know. Lost transmission at Cable Junction. BRODY Did he raise the Kids? PATROL VOICE Last transmission said ten juve- niles. BRODY Yeah? Then what? PATROL VOICE Then nothing. If you see him, tell him to switch to an operational frequency, or give me a status report yourself. BRODY Did you say Cable Junction? PATROL VOICE That's what he said. BRODY When? PATROL VOICE 1530 hours. Might still be there. Base out. Brody revs up, and powers out, headed for Cable Junction. CUT TO 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. LARRY Sean! Catch the rope! BOB The rope! The rope! The others shoot fearful glances at the waters. PATRICK He's got to help or it won't work. LUCY 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. JACKIE It killed her. It ate her. BROOKE Shh. Shhh.... DOUG It's okay, it's okay.... ANDY Sean! Listen! Listen to me, Sean. The kid looks up dully. ANDY Goddamn it, Sean, you listen to me or I will kick your ass, do you hear me? LUCY Listen to Andy, Sean. ANDY We're throwing a rope and you better catch it, hear? Sean nods. The other Kids are encouraged. The rope is thrown -- it misses. ANDY (to Bob) Keep an eye out for that fish. Bob climbs to a vantage point, watching. LARRY Throw it. ANDY 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. LUCY Larry! 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 him in. 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. BOB Cable Junction's ahead! LUCY Can we make it? BOB 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 LARRY (to Jackie) You okay? She's not. Shaking, silent, eyes glazed. LUCY (alone) Dear Jesus, Holy Mary, Mother of God, help us, please.... (her lips move inaudibly) BROOKE (to Doug) Keep her warm. to Jackie) Jackie? Baby? PATRICK 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. DOUG By 7:46, when the tide turns around, we'll be twenty miles out. More, with this wind. LARRY Shut up. DOUG I can't stop thinking! LUCY (praying aloud) 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.... CUT TO 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' boats. BRODY Thank Christ. He puts the helm over and heads for them. CUT TO 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. POLO Over here! Yo! BRODY I'm coming alongside! The launch slows clumsily. Timmy gets a line around a cleat, and pulls them fast. BRODY Mike? Is that you? MIKE Pop. I'm sorry. BRODY It's okay. What happened? POLO A shark hit us out there. TIMMY Mike got knocked over. Brody goes for his radio, to report in, to call for help. MIKE I passed out, but I'm okay. BRODY At least you're safe. What about the others? The three boys look at each other. BRODY Jesus, don't freeze on me. What about the others? MIKE (tears in his eyes) Sean's still out there. BRODY What? He stops in his tracks, radio forgotten. heartsick. Mike goes on, MIKE He wanted to come. It was okay, wasn't it? It was okay before.... POLO The others are ratted together. Drifting. BRODY Which way? TIMMY With the current. Towards Cable Junction. Brody jerks the mooring line holding them together, freeing it. He starts for his controls, obsessed. MIKE Dad, I'm sorry.... BRODY Stay here. Don't go anywhere. Just stay here. He indicates the lighthouse, then guns his engine. BRODY Stay at the lighthouse! He roars off, headed towards Cable Junction. CUT TO 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. ANDY Bring her to port a little. That's it -- steady. DOUG I think we're changing course a little. BROOKE Can we land on it? LUCY If we can get to it. JACKIE We're going to die. BROOKE (comforting her) It's all right, we're okay. ANDY More to port. BOB It's all the way over. ANDY Shit. SEAN Are we going to go on the island? BROOKE You bet, kiddo. ANDY (the realist) I don't know. LARRY What the hell, we're steering for it. DOUG The wind drift is lateral. LARRY What's that mean? DOUG Sideways - For every yard we go this way, we also slide sideways this way.... His hands illustrate the predicament. LUCY But we had it! We were headed right for it! ANDY Shit. Shit, shit, shit! JACKIE 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. ANDY Don't! DOUG Stop paddling! LUCY But the island! ANDY The Shark. 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. BROOKE What is it? ANDY We're hung up on something. DOUG Maybe the bottom. JACKIE (hysteria) It's that thing. It's going to kill us now...We're going to die! LARRY Shut up! Just shut Up! BROOKE Leave her alone! BOB PATRICK Lighten up, man.... She's hysterical, goddamn it! LARRY LUCY 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.... LUCY 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. BOB 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!" "Hey!" SEAN It's Dad! 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. ANDY Easy, easy -- you'll swamp us! DOUG Back down! Brody fumbles with the throttle, manages to hold his boat steady between the raft and Cable Junction island. LARRY We're hung up here. Snagged. BOB 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. DOUG We got it! PATRICK Go ahead, slow. LUCY Be careful. 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 pop --- ANDY Whoa! Too late. The cleat rips out, Brody's boat leaps forward. DOUG 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, ANDY Hang on, hang on -- we got it. You're on! SEAN Dad! Help! 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- ment. BRODY Hang on! SEAN Dad! Dad! BRODY I'm okay, baby, I'm here. It's okay.... He climbs over the rail, onto the slippery wet rocks, trying to get to where he can help. The Shark patrols the gap, waiting. BRODY 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 them. 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 ANDY 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. BRODY 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. DOUG It's killing us! JACKIE I don't want to die! Mommy! 271 IN THE BOAT 271 The winch smokes and stalls, the weight it's pulling almost too much. BRODY Come on, you bastard, come on, pull. Pull! 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 remaining segment. 272-A ANGLE ON BRODY 272-A watching the destruction, seeing Sean practically alone in the water. BRODY 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. ANDY Get on the rocks! DOUG Swim for it! Andy is pulling himself towards the boat, scrambling up on the exposed wooden hull. PATRICK 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 torso. LUCY I'm bleeding! Larry and Patrick help her towards the rocks. BOB Help! He's clinging to a piece of broken boat; the Shark lunges at him. 276 INSERT - WINCH 276 grinding, smoking, hauling something out of the water -- heavy, slimy, dripping metal cable, the main powerline from the mainland! 277 BRODY IN THE WATER 277 paddling the raft towards Sean with desperate strokes, heed- less of the danger around him. BRODY 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- calating clicks. 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 contract. 278 ANGLE ON BRODY 278 straining to see what's going on. Looking for his son. SEAN (o.s.) Dad! Help! Daddy! BRODY I'm coming! He looks around desperately, sees Andy safe on the launch. BRODY 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. ANDY 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. BRODY (o.s.) Sean! 278-D ANGLE ON BRODY 278-D as he hurls his paddle at the Shark, anything to get even, to distract it. BRODY You bastard! He looks around him wildly, searching for a weapon, finding a steel boathook. He screams at the unfeeling Shark.... BRODY 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 passes.... 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.... BRODY 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. BRODY 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. BRODY Sean? 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. SEAN Dad? 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. SEAN They made me go with them. BRODY Sure they did.... He kisses the damp forehead. DISSOLVE TO 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 goes up. 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. FADE OUT ROLL END CREDITS.