JAWS 2 SCRIPT
Final Draft Screenplay
by
HOWARD SACKLER and DOROTHY TRISTAN
November 30, 1976
PRODUCERS: Richard Zanuck
PROD. #02102
David Brown
JAWS II
FADE IN
1 UNDERWATER - SEA BOTTOM - DAY 1
A pair of divers, one in a black suit and one wearing orange,
search for lobster in the nooks and crannies of a rock forma-
tion. Black Suit carries a camera with strobe light. Orange
Suit has a canvas bag clipped to his belt. He flushes out a
large lobster and holds it up...an admiring "Hmm!" from Black
Suit, who brings up his camera and focuses. A funny pose
with the lobster and -- flash! -- Black Suit takes the shot,
and moves off to try another spot -- and gives another "Hmm!"
-- there's a length of heavy rope, frayed and overgrown with
algae. It leads across the bottom. They follow it through
rocks...and suddenly the bottom is no longer there. The rope
cascades down, disappearing in the gloom beyond the lip of
a cliff. They check their depth gauges, surprised to find
this sudden dropoff leading down to God knows where. They
follow the line down. Seaweed hangs from a ruined metal
barrel strung on the line. They proceed further down ---
2 THE ORCA 2
The line is leading them to a hulking shape...its outline
clearer now...a sunken boat! A battered, algae-covered
wreck, lying on its side in the depth. The gentle back-and-
forth of the water sways a forest of eelgrass and creaks the
cables of the rigging. Excited hums and whinnies from the
divers, and Black Suit rubs at the green muck on the prow,
revealing the boat's name: ORCA! Animated nods and gestures
-- they recognize it, and what a find, and salvage rights
for the two of them! Clowning elatedly, Orange Suit turns a
somersault, then whips out his knife and begins to scratch
their claim on the hull.
Black Suit moves off alone to explore their prize. The slant
of the deck is disorienting. He swims into the dark entrance
to the cabin. Scratching noises from the knife are amplified
in the water. Junk floats against the cabin ceiling.
Orange Suit finishes writing "CLAIMED BY J. MONATO & M. LAUB."
He looks around for his friend and doesn't see him. Swimming
over the wreck he looks into the broken windows of the cabin.
Something's moving in the darkness. He enters through the
window. The lid of a hatch swings soundlessly back and forth.
Light from the cabin door barely penetrates the dark chamber.
No sign of his buddy. Silence except for his breathing and
the soft steady creaking of metal rigging. He fins toward
the open door and suddenly, lurching in his face, is Black
Suit, screaming wildly. He's found a huge skillet, several
bottles of soda, and some booze.
Orange Suit grabs the liquor and indicates it's time to go
back up. As they rise slowly, he mimes (for his buddy's
camera) drinking from the bottle -- and accidentally drops it.
Groaning, he swims quickly down, snatching it before it lands.
A flash goes off and he turns smiling up into the camera,
and there he sees to his horror, his buddy in the jaws of a
Great White, a cloud of blood half-obscuring them. A moment
of staring-eyed hesitation and then, knife poised, he fins
toward the Shark...which tosses aside the dead man and now
swiftly seizes on him...a thrashing, a glimpse of the knife
dropping, and the end of him dimly seen through the darkening
water.
TITLES
3 EXT. AMITY ROAD - DAY 3
Martin Brody's squad car speeds past the Amity billboard,
weather-stained, peeling and flaking in the strong May sun-
shine. Over the wind we hear snatches of a speech-making
voice on a P. A. system.
4 INT. SQUAD CAR - BRODY 4
has the look of a survivor who will never shake off the memory
of what he survived. He passes:
5 BEACHSIDE COTTAGES 5
closed and in disrepair. A faded upside-down FOR RENT sign in
one of the windows. The o.s. voice continues --
6 BOARDINGHOUSE 6
Its only sign of life an old woman, bundled up and sitting on
a rocking chair near the steps, her face raised to the sun.
The o.s. voice continues --
7 THE BEACH 7
No people, just a few stray dogs chasing each other and rooting
in the sand. Dominating the beach is a 50-foot-high metal
shark tower. As the o.s. voice elicits a distant patter of
applause, Brody arrives at:
8 EXT. SWIMMING POOL AND GROUNDS OF AMITY SHORES 8
where a ceremony is taking place: above the speech-maker
-- Mayor Vaughan -- stretches a banner reading AMITY SHORES, INC.
and applauding around the pool are the leading townsmen of
Amity and their friends.
Behind Mayor Vaughan is his wife, caught up in the prevailing
mood, and their son, Reeves.
The newly-built pool is on the grounds of a housing project in
construction. Beyond the buffet table is the high school band.
Prominent at the poolside is Brody's family: his wife Ellen,
and his sons Mike (15) and Sean (7) fidgeting. Brody slips
through the crowd to join them.
VAUGHAN
And so, before we inaugurate this
lovely new swimming facility, I'd
like to say, on behalf of my fellow
Amity-ites....
BRODY
(simultaneously
whispering to Ellen)
Sorry I'm late. I got a call from
the Coast Guard.
Ellen slips her arm around him.
VAUGHAN
...how grateful we are to Resort
Enterprises and their representa-
tive here, our new neighbor Len
Peterson ---
Applause and whistles as the man beside him waves acknowledge-
ment. Leonard Peterson, about 50, is an impressive looking
man with an air of good-humored irony.
VAUGHAN
-- not just for making this pool
available to us, I mean for every-
thing. By casting an eye on our
little town and coming to develop
Amity Shores here, well, that's
going to give us a whole new lease
on life -- and after a few of the
toughest years this town's ever had,
we're not too proud I hope to admit it!
Applause. Next to Brody is a thirtyish gym teacher and skin-
diving instructor, Tom Andrews. The Mayor's speech continues
in the b.g. as Andrews smiles at Brody and gestures at the
pool ---
ANDREWS
(whispering)
Perfect, huh?
BRODY
Two divers from Dutch Harbor are
missing.
ANDREWS
Who?
BRODY
Don't know. The Coast Guard found
their boat. Beer, some uppers,
no divers.
ANDREWS
(already suspicious)
What was the name of their boat?
BRODY
The Sea something.
ANDREWS
The Sea Dart?
(Brody nods)
I knew those guys. I dove with
them once.
Andrews stares somberly into the water; Brody thinking, as:
VAUGHAN
(continues)
...and Len estimates that within a
few months he'll have fifty condo-
minium units completed and occupied --
(plows on through
a smattering of
applause)
-- and twice that many again in
another few months!
More applause. Vaughan continues o.s. as:
BRODY
(emphatically)
So you're going to have the kids
skin-dive here in this pool. Aren't
you, Tom?
ANDREWS
Not Mike and his group, they've
done their pool work. He'll be
taking his open-water Junior soon.
Open-water -- you know, in the ocean.
BRODY
In the ocean. Not Mike.
ANDREWS
(shakes his head,
laughing)
Come on Martin, we went through this
when you signed the form.
BRODY
In fact, I don't want him diving
at all.
Brody's son is overhearing, taking it in stride.
ANDREWS
He's the best of my juniors, Mike!
First-rate diving material!
BRODY
Were your two friends from Dutch
Harbor first-rate diving material
too?
ANDREWS
They weren't my friends. A couple
of spaced out machos. Probably
stoned and weren't watching their
air. Maybe got stuck in a cave or
a net...anything could've happened
with those guys!
BRODY
With both of them?
Andrews shrugs: yes, conceivably with both of them. Brody
concedes -- it's possible.
VAUGHAN
(continuing)
-- and next year, God willing,
another set of fine condominiums,
real homes for people with fire-
places, round-the-clock tennis
courts, an eighteen-hole golf course
and for some of you younger frisk-
ier marrieds like the Brodys over
there and maybe this'll get his
attention, yes I see it has -- we
even have plans for -- a jacuzzi!
(Brody joins in
the general
laughter.
Ellen pretends
to blush, covers
her face)
But seriously, folks, we're gonna
be back on our feet, we're gonna
be back on top as a secure family-
oriented resort community and that's
why we say
(over crescendo
of applause, Brody
clapping too)
Welcome, Amity Shores! We say
Welcome, Amity Shores!
A fanfare from the band cuts across the applause, and we see
the town's five Selectmen, in bathrobes, lining up dutifully
at the other end of the pool, Officer Hendricks beside them.
VAUGHAN
Ready? Okay!
(as they take off
their robes and
stand shivering)
Here, to make this opening a hundred
percent official --
(over whistles
and laughter)
I give you the Amity Board of
Selectmen!
HENDRICKS
(raising his
pistol)
On your mark...get set....
He fires, and they flop in. As they do their laps, the band
playing a gallop and their fellow townsmen cheering them on,
we close in on Brody. He's not entertained, he's just looking
at the splashing arms and legs.
8-A WATCHTOWER 8-A
High above the beach, perched atop the fifty-foot shark tower,
Brody watches the activity below.
The season's first bathers carefully toe the water. It's
still too cold, except for a few hearty souls...like Harry,
the old guy from the first picture wearing "one crazy hat,"
who streaks past to plunge into the icy surf.
Len Peterson, of Amity Shores, Inc., appears at the base of
the tower. His Mercedes waits near Brody's squad car with
its door open -- someone sits in the front seat.
PETERSON
(calling up)
Chief!
BRODY
Yeah? Oh, hiya Mr. Peterson. You
want to see me?
PETERSON
Several potential buyers are coming
here on Sunday. I'll be running
groups over every weekend.
BRODY
(starts to climb
down)
Fine, I'll make sure everything's
tidied up, no uncollected garbage
or anything.
PETERSON
I wonder if this could be taken
down?
BRODY
It's permanent.
PETERSON
What do you watch from it? Been
nothing for two or three years.
BRODY
Nothing we've been able to see.
PETERSON
That's exactly what it makes people
feel.
BRODY
(arriving at
his side)
If it were up to me, Mr. Peterson,
I wouldn't only have a watchtower,
I'd have that water protected with
a ring of steel from the beach to
fifty yards out.
(they walk
toward the
car)
Wouldn't cost all that much either.
One-hundred-gauge steel mesh with
concrete blocks at the bottom.
PETERSON
Any time off for good behavior?
BRODY
I know how it sounds, but I know
this too...years ago the water
was full of fish, plenty for sharks
to eat. Now, fewer fish and the
water's full of people. Know what
I mean?
They've reached the beach road. Mayor Vaughan sits in
Peterson's car.
BRODY
Hi Larry, didn't see you.
VAUGHAN
Staying in here where it's warm.
Are you still pushing that beach
plan?? You know we can't afford
it.
BRODY
I thought he might be interested.
(starting
for his
car)
Think it over, Mr. Peterson.
PETERSON
Kind of intense about it, isn't
he?
VAUGHAN
Don't mind the Chief. He gets
like that every year at this time.
You can understand why.
(pause)
He's a good man though, Len.
PETERSON
You don't seem so sure of it.
DISSOLVE TO
8-A-1 EXT. AMITY - DAY - BRODY PATROLS HIS TOWN 8-A-1
He views with mixed feelings signs that spring is further
advanced. Trees are blooming, boats are being launched --
among them we notice one with a fresh coat of yellow paint
being lowered into the water by Heller. Slipping out of his
coat, he greets Brody.
HELLER
Hey, Martin, how you doing? Feel
that sun...be summer before you
know it...ain't you warm in that
thing?
BRODY
No. I like to pretend it's still
winter.
CUT TO
9 AMITY STREET - DAY 9
Two teenage bicyclists in "Andover" windbreakers, one of
them Reeves Vaughan the Mayor's son, are trying to give
Brody an argument as he writes them a citation.
REEVES
We didn't hit anyone.
BRODY
Yet.
REEVES
Be a sport, Chief! My dad'll
kill me!
BRODY
I warned you last weekend, Reeves
-- no riding on the sidewalk.
(hands him the
citation)
My regards to the Mayor.
10 EXT. FERRY SLIP - NIGHT 10
Stillness, except for the base thudding of the ferry's
engine as it noses in and bumps into place. The doors open
and footsteps clang down the gangway. Brody watches the
first few tourists of the season stream through pools of
light. Summer -- it's beginning.
DISSOLVE TO
11 DOCK - DAY - THE YELLOW BOAT 11
is filling with a party of four, beer, water-skis, and extra
five gallon can of gas, fishpoles, lunch. Heller, his wife
Dee and another couple have brought enough stuff for a trans-
Atlantic crossing in their little boat.
HELLER
(donning a
nautical cap)
Stand by to cast off.
DEE
Avast ye swabs! Port to Starboard!
Yo Ho Heave Ho! Straight as she
goes ---
HELLER
(breaking out
the beer)
-- and a bottle of rum before and
aft....
This nonsense fades as they chug away from the dock.
CUT TO
12 SEA OFF AMITY - PETERSON'S CABIN CRUISER 12
Heading toward the town...Peterson in a yachting cap, at the
controls, spieling to the new group of prospective buyers --
two late-middle-age couples, a thirtyish couple with a Little
Girl, and an Elderly Man with an expensive-looking camera.
PETERSON
Over there's the harbor, been in
use two hundred years, nearly...
Quite a few sort of antique houses,
too ---
At the cry of a pelican the Elderly Man looks up and aims his
camera.
13 ELDERLY MAN 13
as he eagerly lines up his shot ---
PETERSON (o.s.)
How's it feel to breathe real air,
huh?
A chorus of appreciative "mm's."
14 THE PELICAN 14
seen through his viewfinder: it wheels and dives full tilt
straight down, smashing the water with a crazy suicidal splash
-- the shutter clicks. The pelican emerges with a fish.
As we follow its circling ascent:
PETERSON (o.s.)
Honey, you want to steer the boat
awhile?
The pelican dives again...the shutter clicks.
LITTLE GIRL (o.s.)
I don't like boats.
Laughter...the bird comes up with another fish. Another click.
We following its wheeling again.
PETERSON (o.s.)
She'll learn to like 'em in Amity!
Little guys her age practically
live in the water here ---
The pelican dives -- click!
PETERSON (o.s.)
Plenty to do and see for everybody,
all ages. Well, you know our con-
cept, let the place speak for
itself.
Pause...the pelican has not come up...the Little Girl begins
humming...it still doesn't come up.
15 ELDERLY MAN AND THE OTHERS 15
He's lowering his camera, looking out to sea, very puzzled,
as Peterson's boat passes the yellow boat in the mouth of
the harbor.
16 YELLOW BOAT - HELLER'S PARTY 16
As they clear the harbor mouth the other couple drops off the
back of the boat with their black Fiberglas water-skis.
WOMAN
Okay, wait, wait, don't start yet.
HELLER
Say when.
DEE
Isn't it too crowded here?
HELLER
Yeah, I'll go over that way.
WOMAN
Watch me now, watch how I get up.
A false start -- she's not very good -- and she's up.
17 ANGLE 17
They head out to a deserted stretch of water.
18 THE WATER SKIERS 18
WOMAN
Look, watch this!
Whooping and carrying on, she does a spastic, one-legged
ballerina.
MAN
Oh, Boy! That's really -- terrible.
19 UNDERWATER - FROM SHARK'S POINT OF VIEW 19
Two pairs of black water-skis leave a frothy trail.
20 A FIN 20
appears in the water behind the skiers.
21 BOAT - DEE 21
is the first to spot it.
DEE
(stiffens)
Jesus Christ!
22 ANGLE 22
HELLER
Shark. A shark!
DEE
Oh God, do something.
HELLER
Get them the hell away from it.
He twists the throttle and the little boat jerks forward
almost pulling the skiers off balance.
MAN
Hey! What the hell?
Then he too sees the fin.
At first, they try to outrun it.
WOMAN
I can't! I'll fall!! Please!
Please somebody help me.
23 BOAT - HELLER 23
is forced to slow down.
DEE
Can't we get them aboard?
24 THE SKIERS 24
sink a little in the water as the boat slows.
MAN
No! We can't stop!!
Heller speeds up. For an eternity the Shark seems content
just to follow what is being so appetizingly trolled. They
attempt a wide turn to head back toward land...the skiers
screaming.
25 BEACH HOUSE DECK - AN OLD LADY 25
glances up from her book. From where she sits they seem to
be having a wonderful time.
26 THE SKIERS 26
try to work their way hand-over-hand to the boat but as they
approach safety the wake is too much for the woman and she
loses her balance. The Shark strikes her as she falls. She
is dragged for a few seconds through the water by the rope,
then grabbed by her husband. She clings to him screaming in
terror as the Shark hits her again. And again.
27 DEE AND HELLER 27
are crying and flinging clothes, picnic basket, and oar,
everything they can lay their hands on at the Shark. He
shouts at her to open the extra can of gasoline and pour some
on a rag.
The man is doing his best to hang on to his wife, but he's
losing her. He brutally takes a turn of her hair around
his hand. The Shark, seemingly confident that its victims
won't escape, is taking its time. It swims leisurely in
for more.
WOMAN
BILLY! BILLY!
She hugs his legs, begging him for help. The Shark brushes
her with its head and drops back a few yards.
On the boat, Dee hysterically slops gas down her legs and on
the deck. Heller crams the soaked rag into the mouth of the
can.
In the water, the woman's no longer screaming. Billy looks
down at her. Her face is a pallid mask. She's no longer
aware who her husband is. She's dying. Billy can't stand
it, it's too much for him and he loses his balance.
The Shark thrusts its powerful tail, coming in for the kill
as Billy cartwheels awkwardly into the water, twisting,
hugging, snarling in the tow-line in his pathetic determina-
tion to hold on to what is no longer the woman. The line
snaps taut pulling his shoulder from its socket, raising a
wide cloud of pink spray as they're dragged through the water
sideways. No longer content with slashing bites, the Shark's
jaws close on the woman and won't let go, its head vibrating
from side to side. Billy is strangling in the line ---
Heller lights the soaked rag and heaves the five gallon can
at the Shark.
A tremendous explosion of shrapnel, a ball of flame, and the
enraged Shark crashes onto the stern of the boat with one side
of its head aflame...sending Dee, the gas-soaked deck, and the
boat's own tank up in blinding succession leaving nothing but a
smoldering, sinking mess to plunge to the bottom.
DISSOLVE TO
28 DUSK - THE AMITY P.D. BOAT 28
is fishing up a few pieces of what remains. A tangle of
towline leads across the deck to a body covered with a sheet
of black vinyl.
HENDRICKS
(on 2-way)
Yeah, just the one guy who got
strangled in the line. Nothing
much else to do here, Chief. A
few cushions, some miscellaneous.
We'll have to drag tomorrow for
the others.
29 BEACH HOUSE - DECK - BRODY AND OLD LADY 29
BRODY
(on 2-way)
Better get started tonight.
HENDRICKS (o.s.)
But Chief -- this swell's coming
up. And the current's moved every-
thing anyway ---
BRODY
Tonight.
HENDRICKS (o.s)
(groans)
Roger.
Brody turns back to the Old Lady.
BRODY
So, that's all you saw?
OLD LADY
That's all. One minute they were
havin' a heck of a time and the
next I know the whole thing just
blew to smithereens. Who were
they? Off-islanders?
BRODY
No, friends.
CUT TO
30 EXT. BRODY HOUSE - EVENING 30
Glad to be home, Brody turns into his driveway. There is a
light from the garage. His sons Mike and Sean and Mike's
chubby friend, Andy, are scrubbing a catamaran sailboat.
Mike Brody is fifteen, very good-looking and knows it.
BRODY
(slowly getting
out of his car)
What the hell is that?
MIKE
Doug let me have it cheap. A
beaut isn't it? What's the
matter?
BRODY
Nothing.
SEAN
(7 years old)
That old boat was too small. Mike
said we couldn't race with that.
I'm going with them.
MIKE
No you aren't.
ANDY
(wears heavy braces)
The guys run out to the lighthouse
and back now, Mr. Brody. He needs
this. It's much safer.
MIKE
This will be a racer, and the old
boat leaks and I'm paying for this
myself.
SEAN
I like it. Don't you like it, Dad?
BRODY
(turning to go in)
I don't want to talk about it now.
I guess at least it's better than
diving.
MIKE
You know I wish you'd believe Tom
Andrews. Diving is safer than
camping out or driving a car ---
BRODY
Or parachute jumping.
CUT TO
31 INT. KITCHEN DINING AREA 31
Ellen turns the stove on to heat up his dinner.
BRODY
(pouring a drink)
I'm not too hungry.
ELLEN
Yeah, I heard. How did it happen?
BRODY
I wish I knew.
The three Kids stream through the kitchen on their way to
get something from Mike's room. Sean hangs back and leans
up against his father.
SEAN
Guess what, Dad?
BRODY
What?
SEAN
Andy's moving away. And his
mother too.
BRODY
No kidding.
ELLEN
How come you're moving, Andy?
He tromps back in and rummages through the refrigerator.
ANDY
My mother got laid off again. Not
enough work in the restaurant.
ELLEN
That's too bad. Mike'll miss you.
SEAN
Me too.
MIKE
(entering)
Miss him? Barf!
ELLEN
Can't she find another job?
BRODY
In this town?
ANDY
She's got a job on the mainland,
I think, in the fall.
ELLEN
Maybe she could get a job here
with the Amity Shores project
before then. Martin says some
people are getting work already,
and if they really get rolling....
ANDY
...anyway, until this is all re-
solved, you won't mind if I sort
of move into your refrigerator.
ELLEN
I thought you had.
Andy smiles, peanut butter sticking to his braces.
MIKE
He's selling his braces. Wanta
buy them.
ELLEN
No thanks.
ANDY
Your loss.
The Kids go back outside, Andy dripping peanut butter and
jelly across the kitchen floor.
ANDY
(going out the door)
Things'll never be the same without
me, huh?
Brody sits in silence for a moment -- smiling, but involved
in his own thoughts.
CUT TO
32 UNDERWATER - NIGHT - A LARGE METAL RAKE 32
scrapes along the ocean floor leaving clouds of silt in its
wake. It rises toward the surface.
The P.D. Boat's searchlight scans the waves: the wind has
risen sharply, whipping their crests to foam. Winching the
rake to the stern, Hendricks frees it of seaweed and drops
it back in.
CUT TO
33 INT. BRODY BEDROOM - MIDDLE OF THE NIGHT 33
Brody is awake. There's something he can't get out of his
mind. He gets out of bed, pulls on his pants.
34 ON HIS DESK 34
is a photograph. He's smiling, shaking hands with Matt Hooper.
And a plaque: "Martin Brody, Amity Man of the Year, 1975."
Beyond the desk is the sea. A storm is coming. He unlocks
a drawer and takes out: a box of .38 caliber hollow-point
bullets, a twenty-five cc vial of sodium cyanide, and a dispos-
able plastic syringe. From a cupboard in the dining room he
gets a red candle. He turns the desk lamp on, opens the box
of bullets. Carefully, one by one, he stands them on end.
CUT TO
35 AT SEA - MIDDLE OF NIGHT - THE P.D. BOAT 35
is still dragging.
HENDRICKS
Okay, pull her up.
They put the boat in neutral and start the winch. A few yards
of line come up, then the winch grinds slowly to a stop with
the weight of something very heavy.
HENDRICKS
(working its gears)
Damn, this thing never works right.
Now the line begins to rise again, slowly tipping the boat,
bringing its stern almost level with the waves from the weight
of its burden.
HENDRICKS
Jesus, something really heavy.
What could be so heavy...a piece of the burned boat...a body?
It's coming up. The searchlight finds it. They bring it
closer. Great tendrils of kelp hang from the rake, obscuring
what's underneath. Afraid of what he'll find, Hendricks
carefully removes slippery weeds and discovers, draped across
the rake's claws, a six-inch-thick insulated cable.
HENDRICKS
For Christ's sakes, it's the
electric line from the mainland!
(he frees it and
drops it back in)
I told him we'd never find anything
in this weather.
ANOTHER OFFICER
One more time?
The P.D. Boat's lights cast eerie forms on the waves and it's
cold -- Hendricks doesn't like it at all.
HENDRICKS
Let's get the hell out of here
before we do find something.
CUT TO
36 BRODY'S DESK - LETHAL BLUE LIQUID 36
is drawn from the vial into the syringe. Brody inserts the
needle into the hollow point of a bullet and fills it. He
tips the candle, sealing the poison in with a drop of wax.
A hand touches him.
ELLEN
For God's sake, Martin! What is
the matter? Why are you doing
that?
BRODY
Why do you think?
ELLEN
What I think doesn't matter. It's
what you think.
BRODY
I want to ask you a question. Four
people are...
ELLEN
We've been through this already.
BRODY
(carefully placing
the prepared bullets
back in the box)
Four people are out in a boat. It
blows up with two of them in it.
Okay. The other two are water-
skiing behind it. What happens to
them? Could they blow up? One of
them is strangled in the tow-line.
The other can't be found. What
happened to that one?
ELLEN
I don't know.
BRODY
(locks box in drawer)
I'm asking you, doesn't that seem
strange to you?
ELLEN
Yes it does, but the whole inci-
dent is weird...Martin, come back
to bed,
(going)
you're exhausted.
BRODY
I don't know what I am. All I know
is what I'm afraid of.
He doesn't follow her.
CUT TO
37 EXT. PORCH - NIGHT 37
Brody comes out and walks to the water. Mike's old boat is
banging against the dock with the rising swells. It's half
full of water. Brody walks along the beach.
CUT TO
38 BEACH - NIGHT - SNOW FENCE 38
Billowing clouds and a steady surf breaking, high tide is
rolling in...the bell in a buoy rings with each surge. Along
the deserted flotsam-littered shore, darkly communing with
himself, plods Brody.
39 POINT OF VIEW FROM THE WATER 39
Something unseen keeps slow pace with him.
40 BEACH - BRODY 40
stops, and looks out to sea, the source of his haunting
fears and nightmarish memories. After a moment he walks
on, then stops and turns. He's seen something in the surf,
he's curious...peering, he walks out onto the wet sand. We
see it now, near the buoy, a large piece of something bright
yellow. From the boat? Brody can't tell, steps out farther,
water's flowing over his shoes, he hardly notices.
The waves aren't bringing it in, he looks around for a stick,
a pole...nothing...he'll have to wade out for it. Three steps
and he's up to his knees. He backs away as a wave breaks,
then goes forward again, keeping his eye on the yellow object.
Slower now, almost parallel with it...another wave is coming...
and suddenly a black shape lunges upon him from a wave. He
cries out, striking blindly at it ---
41 A BODY 41
burned beyond recognition.
42 BRODY 42
stands there panting...then, appalled by what he must do, he
forces himself to approach the thing rolling in the sea.
43 UNDERWATER 43
Brody's legs moving toward the body.
44 BRODY 44
closes his eyes and grabs. The thing comes apart. Gasping,
he rushes from the water.
45 UNDERWATER 45
Brody's legs pump out of reach.
CUT TO
46 INT. BRODY'S OFFICE - GRAY LIGHT 46
Brody and his elderly secretary Polly (she's wearing signs of
having been summoned in the middle of the night) are filling
out a mountain of forms. Coroner Santos comes in.
CORONER
Wind's dying down.
BRODY
Well?
CORONER
(dictating to Polly)
Minor lacerations, complete charring
of the body.
BRODY
Lacerations??
CORONER
Not from what you think.
He places a plastic bag containing several small pieces of
jagged metal on the desk in front of Brody.
CORONER
These were embedded.
47 ANGLE - METAL PIECES 47
Brody turns them in his hand.
BRODY (o.s.)
Gasoline can.
POLLY
What do you think Chief?
He doesn't answer.
CORONER
A false alarm now would break this
town.
BRODY
So would a shark attack.
POLLY
(pause)
Well, what's the decision?
CORONER
If you're suspicious Martin, close
the beaches.
BRODY
I am suspicious! But dammit, there's
no proof and if I'm wrong how's this
town going to make it through the
summer?
CUT TO
48 MAIN STREET - BRIGHT DAY - TWO HOT YOUNG THINGS 48
one pretty, one plain, swing along looking in shop windows and
keeping an eye out for local boys. Reeves Vaughan cycles past.
REEVES
See anything you like?
BROOKE
(the plain one,
sourly)
Not you, certainly.
REEVES
Who's talking to you?
ANGELA
(the pretty one)
Don't make the attempt, sir.
He cycles off.
CUT TO
49 DOCK - MIKE BRODY'S CATAMARAN 49
A considerable amount of work has been done on the new sailboat.
Sean Brody sits on the dock throwing pieces of a hotdog to a
school of small fish. He watches his older brother Mike hang
over the water to screw in supports for a fire extinguisher. A
cassette player is mounted on the mast. Andy selects a tape.
Music.
SEAN
Gee, that'll be neat when we're
out on the water.
ANDY
What do you mean "we?"
SEAN
I can come with you, can't I Mike?
MIKE
Sometimes, but let's get this
straight, Nudge, fundamentally
this boat is for one thing and
one thing only.
SEAN
Yeah...what?
MIKE
Making out.
SEAN
(oily)
Oh....
ANDY
See these cushions? You know what
they're for?
SEAN
They're lifesavers
Mike and Andy crack up.
MIKE
They sure are.
(crooning under
his breath)
Don't look now, but...mammaries....
ANDY
(whirling around)
Where?
MIKE
I said don't look!
They busy themselves about the boat. Mike eases the volume
up on the music, and lounges on the bow casually dangling
one hand in the water, very smooth. Andy adjusts his velvet
hat to a more attractive angle.
MIKE
God damn this zit! Can you see
it from where you are?
ANDY
(grinning slowly,
wickedly)
Can you see my braces?
50 ANGELA AND BROOKE 50
are walking in their direction. They are indeed very well
endowed -- although in different directions: Angela on top,
Brooke on the bottom. They notice the boys, and pass by
slowly, busying themselves in conversation.
SEAN
(yelling)
They're passing!
ANDY
Shut up!
SEAN
(whispering)
Say something!
MIKE
Hey, where are you girls from?
ANGELA
I beg your pardon?
MIKE
(smooth)
Where you from? Haven't seen you
around before.
The girls exchange a look...snazzy boat, the chubby guy's
kinda cute, and the other one -- !
BROOKE
New York.
ANDY
Far out! His father's from New
York too.
ANGELA
Oh yeah?
Mike nods, very casual.
BROOKE
What a great boat!
ANGELA
(smiles)
Yeah, stereo and everything.
Sean is impressed.
CUT TO
51 OUT AT SEA - OFF THE LIGHTHOUSE 51
About 20 small sailboats of every sort (dinghies, catamarans,
Sunfishes, inflatables) are cruising around, most of them
manned by young people in their teens and early twenties.
Doug, a 17-year-old on his own in a tiny inflatable, knows
what he's doing as he neatly comes about. A scream from
behind him. All heads turn ---
52 MIKE BRODY'S CATAMARAN 52
is nearly keeling over with a sudden gust, one pontoon high
off the water, the other running below the surface. Even
part of the canvas framework stretched between the two pontoons
is awash. The scream was from Brooke, who's terrified at
how far they're keeled over. Mike eases off a little, and
the boat levels.
BROOKE
(screaming and
laughing at
the same time)
This is fun? Jesus Christ!
ANDY
(in quotes)
Brooke, my darling, come sit by me
and I'll protect you.
BROOKE
Yeah sure you'll protect me.
Angela smiles warmly at Mike Brody, tossing her hair back.
ANDY
(glad for
his friend)
Hey buddy why don't you head for
ol' lighthouse. We can go
ashore, walk around, find shells,
etcetera.
Mike nods as if the suggestion is a merely practical one
and heads away from the other boats toward the lighthouse.
ANGELA
(changing
the subject)
Your little brother's so cute.
ANDY
Puleese.
ANGELA
Aw, you're mean to him. You should've
let him come.
MIKE
(with meaning)
He would've just been...in the way.
ANGELA
(husky)
Yeah.
53 THE ROCKS BENEATH THE LIGHTHOUSE 53
are steep. Waves break against them with hollow thuds.
A small sailboat rides at anchor...Ed is 17, Tina is pretty
and all his. They are making their way down from the con-
cealment of the rocks to swim back to their boat.
ANDY
(calling)
Nice day!
TINA
(tying the back
of her bathing
suit)
Mind you own business you fat fag!
Andy strains to think of a snappy comeback...and fails.
BROOKE
(suddenly)
Hey! What's that -- over there -- ?
From their point of view: a black, floating shape on the
water.
BROOKE
(pointing to
the shape)
Let's go see.
ANGELA
What is it?
Ed and Tina have seen it too, and are on their way to
investigate. Mike's boat cuts through the chop.
54 ANGLE - THE SHAPE 54
ahead of them, closer, more defined now...a whale.
55 MIKE'S BOAT 55
They're peering ahead. Then:
ANDY
It's a whale, a dead whale!
MIKE
(cautious)
How do you know it's dead?
ANDY
Look!
We're close enough now to see that it's listing slightly --
and that its flank is pocked with large red holes.
Ed and Tina arrive at the carcass. It reeks, but they're
fascinated.
ED
(awed)
Something's sure been chewing on him.
From their point of view, the whale's flank: now we can see
clearly how great hunks of flesh have been torn from it.
DISSOLVE TO
56 OUT AT SEA - DUSK - WHALE 56
The Amity P.D. Boat idles alongside the floating carcass,
deputies manning the boat. We see it is well equipped --
first aid gear, emergency flares, and inflatable "Res-Q-Raft"
in a suitcase-sized pack. Brody leans over the side with
his camera, taking a close shot of one of the bites. His
shark paranoia is rising -- and the smell of the decomposi-
tion is making him ill.
BRODY
Now I want to measure a couple.
He climbs over and takes a steel tape measure from his
pocket, pulls out a couple feet of tape.
BRODY
Jesus, look at its teeth. What
the hell kind of whale is this?
Brody looks at a bite, and pulls out a bit more tape. He
leans out to measure, holding the rail with one hand.
DEPUTY
Must be this warm spell, making
it smell so high.
Close on Brody, measuring the huge gouges.
BRODY
Fifty-one vertical...forty seven
horizontal.
DEPUTY
(writing it down)
What you gonna do with all this,
Chief?
BRODY
Take it over to the Mainland...
Woods Hole.
CUT TO
57 WOODS HOLE LABORATORY - MORNING 57
Humming, buzzing, clicking, flashing electronic gear.
Specimens of fish and eels in tanks. Young men and women
peer into microscopes, monitoring instruments. Not dis-
tracted by the array, Brody's only concern is what Dr. Elkins
(the Institute's director) has to say about his photographs
and measurements.
DR. ELKINS
(looks at them
and nods)
Yes. I would say this was the
work of a Great White.
Relieved to have it out in the open, terrified of what it
means, Brody is far away in another time.
BRODY
I knew it.
DR. ELKINS
There's no cause for alarm, though ---
BRODY
It was only ten miles out, Doctor
Elkins. Listen...do sharks ever
return to the same location?
DR. ELKINS
Let me show you something ---
58 SHARK RESEARCH OFFICE 58
Charts depicting types of sharks, glass cages containing
rows of labeled teeth, a blowup of an aerial shot of
thousands of migrating sharks, and a large map of the world,
the oceans marked with many little symbols.
DR. ELKINS
This is what we know of the world's
shark population. Whites often
travel through these waters --
(points from the
Carolinas to Maine)
-- quite a way out where it's deep
as a rule, between late spring and
early summer.
BRODY
Like around now.
DR. ELKINS
Yes...Probably they're following
whales, they like mammals.
BRODY
Yeah.
DR. ELKINS
That's when the whales are up here,
migrating north. Baby sperm whales,
pilot whales, they're favorite
targets of the Whites. This one
though, is a bit unusual. This is
a killer whale, did you know that?
Yes, it took a particularly
powerful Great White to kill him.
Still...so far out it really implies
no danger to your beaches again.
BRODY
Attacks by sharks -- are they pretty
much random, or do they happen in
the same places?
DR. ELKINS
Yes, where there are a lot of sharks,
like Australia, or South Africa.
There's no other pattern as far as
we know. And it's not a common
occurrence anyway. More than five
times as many people are struck by
lightning.
BRODY
And lightning never strikes twice
in the same place?
DR. ELKINS
(leading him
from the room)
Not often. I have something you
might be interested in ---
59 SHARK LAB - "AUTHORIZED PERSONNEL ONLY" 59
Several testing systems in operation. Two assistants are
dissecting a brown shark. Brody looks around uncomfortably.
DR. ELKINS
(gesturing
toward the
dissecting table)
Sharks produce an anti-body that
protects them from cancer. Did
you know that?
(Brody shakes
his head)
Yes...if we can find out what that
anti-body is, sharks may prove to
be of great value to man. Might
even save human lives ---
BRODY
That would be a switch.
DR. ELKINS
(watching Brody)
-- yet people are terrified of
sharks. So terrified that they
hunt them down, mutilate them --
club them to death. Sharks,
Mr. Brody, are God's creatures too.
(moves to a
glass tank)
We're just beginning to learn about
them, so much is still a mystery.
ASSISTANT
(at a tank)
Like a run on Elvis, Doctor?
DR. ELKINS
(nods, then
to Brody)
Visual stimuli. Here, stand up
close to it...
(Brody hesitates)
...there's no need to be afraid.
As Brody looks at the shark's head behind the Plexiglas,
the Assistant draws a blackout curtain around them...Brody
and Dr. Elkins watch as he then proceeds, with a complex
flashlight, to beam rays of different colors and intensities
directly at the shark's eyes...lighting up the whole head
with an eerie changing glow.
DR. ELKINS
Color and intensity...watch the
response....
Close on the shark's eyes as the nictitating membrane and
pupils move with the changes of light.
BRODY
My God, does that excite them too?
I thought it was just blood or
splashing ---
DR. ELKINS
(drawing back
the curtain)
Any number of things. Sounds of
all sorts. Sound is top of the
list, in fact.
(stepping to the
shark on the
dissecting table)
They have extraordinary hearing
apparatus, a kind of radar --
(pointing it out)
-- sensors running from head to
tail -- they pick up certain
frequencies and home in, like a
guided missile.
BRODY
What kind of frequencies?
DR. ELKINS
(moving to the
large tub)
Oh, quite a range. And over con-
sidebar distances. Irregular
sounds, unusual sounds, electrical
impulses, almost any low-frequency
vibrations --
(to another
Assistant)
Tape please, Bob?
(to Brody, pointing
to a spot in the wall
of the tub)
There's a little speaker in there.
Watch.
The Assistant starts a tape machine, and Brody looks down
into the tub, following the movements of the lemon shark
with rigid fascination.
DR. ELKINS
Now he's just hearing peaceful
marine life...nothing special...
but now he hears the sound of a
wounded grouper a mile away --
(the shark noses
at the speaker,
agitated)
Now just silence --
(the shark resumes
circling as before)
Now -- watch him -- a Waring Blender,
low speed, same distance ---
The shark pauses, then strikes at the speaker repeatedly,
jaws wide and snapping. Brody watches, appalled.
BRODY
Let me ask you -- this might seem
kind of stupid --
DR. ELKINS
What's that?
BRODY
They must get signals from each
other too ---
Dr. Elkins shrugs.
BRODY
See, I've read how dolphins send
out whole messages -- I just won-
dered if a shark --
(pauses, embarrassed)
I mean, that one I killed...how do
we know it didn't communicate with
other sharks before it died. May-
be it had a mate or something.
Maybe I left a trace in the water,
a smell -- or maybe they just sense
me in some way you don't know about
yet. They never go for revenge or
anything like that, do they?
DR. ELKINS
(slightly amused)
Sharks, Mr. Brody, never take any-
thing personally.
Brody nods, then looks back into the tub: the lemon shark is
circling again.
CUT TO
60 AMITY BEACH - DAY 60
Brody on a dune above the beach, sweating, peering through
field glasses.
61 BEACH FROM HIS POINT OF VIEW 61
The cabanas, their paint weathered, are being scrubbed up for
the season. About 100 people on the beach, a dozen in the
water. Although it's the first swimmable weekend of the
season, it's still a bit early in the day, and the water's
cold.
Reeves Vaughan and a boy with heavy sideburns arrive on their
expensive ten-speeds and a sprawl in the sun.
The Amity P.D. Boat is patrolling off shore. The watchtower:
a guard on duty at the top, a warning bell hangs beside him.
As Brody scans out to sea again:
SEAN (o.s.)
Mom said eat your lunch.
The boy has hiked up the dune -- he holds out a sandwich and
thermos to his father. Ellen has spread a blanket out on the
sand.
BRODY
You eat it, Sean.
SEAN
I just had lunch.
BRODY
Good, then you can't go in the
water.
Sean looks at him, wishing he hadn't said that. We hear the
sound of a large vehicle braking ---
62 A BRIGHTLY PAINTED BUS 62
with AMITY SHORES lettered on its side pulls up close to the
beach. Peterson and Mayor Vaughan disembark, all smiles,
followed by several affluent-looking couples carrying picnic
lunches.
Brody watches for a moment and looks seaward again.
Two more people emerge from the Amity Shores bus: a tired-
looking mother and a girl of nine (Bunny) dragging her terrible
dog behind her. They look around as Peterson continues his
soft sell.
PETERSON
...Never very crowded or noisy,
almost a private beach really, one
of the finest on this coast. Any-
one low on Bain de Soleil?
(they chuckle
appreciatively)
Enjoy yourselves.
The people disperse to the sands.
ELLEN
Hi Larry! Mr. Peterson! Want some
lunch?
PETERSON
(sitting)
That's the best offer I've had
all...
He breaks off: the mother and her little girl are coming over,
the child still dragging the dog.
MRS. RYAN
Oh, Mr. Peterson, I wanted to ask...
Bunny, stop that, leave that thing
alone!
PETERSON
Yes, Mrs. Ryan?
MRS. RYAN
I know I'm being silly, but is it
really safe to go in?
PETERSON
Absolutely.
VAUGHAN
Couldn't be safer!
(gestures at the
tower and P.D. Boat)
All these precautions!
MRS. RYAN
Yes, I noticed the policeman there.
They follow her glance: there's Brody, conspicuously poised
at his vigil.
ELLEN
Oh, he's...bird watching, you know
...seagulls, ducks....
BUNNY
No, he's not.
PETERSON
You and your little girl have your
dip, Mrs. Ryan.
Nodding a bit doubtfully, she walks away.
PETERSON
There goes that sale.
ELLEN
He's doing his job.
PETERSON
Well, maybe we should ask him to
hold off doing his job until these
people leave.
63 BRODY 63
is peering out at the bathers.
His point of view: Mrs. Ryan and Bunny wade into the water,
Bunny carrying her reluctant dog out for a swimming lesson.
VAUGHAN (o.s.)
Martin, for Pete's sake.
Brody lowers his binoculars, and sees Vaughan wallowing up the
dune toward him.
VAUGHAN
Please quit standing up here with
those glasses. There's no reason
for it, Martin, you'll scare people
to death.
Brody doesn't reply, and continues his watch. Vaughan
crouches down beside him not wanting to be seen.
VAUGHAN
Will you stop acting crazy? A
whale, a whale got killed fifteen
miles out....
BRODY
(scanning the beach)
Ten.
Bunny is waist-deep trying to get her dog to swim. It clings
to her in terror. She throws it into deeper water and her
mother screams at her. Bunny sticks her tongue out.
Brody raises his binoculars beyond Bunny and goes rigid as he
sees a large shadow undulating in the water.
BRODY
There. What's that?
Whatever it is, is moving in like a giant amoeba. Gulls hover
as it glides along beneath the surface, then dart and plunge,
screaming as it moves closer.
Brody drops his glasses. Horrified, waving at the watchtower,
he starts to run toward the beach.
VAUGHAN
(following)
Martin! ---
64 BRODY 64
running -- down the dune to the beach, gesturing frantically --
why doesn't the guard ring the bell?!!
65 TOWER PLATFORM - SAM THE GUARD 65
is looking through field glasses, checking via walkie-talkie
with the police boat.
SAM
What the hell is it?
66 OFF-SHORE - P.D. BOAT 66
OFFICER
(into walkie-talkie)
Don't know. Too big to be a shark.
67 BRODY RUNNING HARDER 67
He pulls out his gun as he runs and loads the prepared bullets.
He trips on the edge of a blanket and staggers on, flying
sand catching a child in the face.
Still running, his eyes strain into glaring reflections on the
water...it's difficult to determine what the shadow is.
The child is crying. People back off in alarm at the sight
of him running, gun drawn. Bunny's mother screams at her to
get out of the water. The obscure shape slides closer, rolling
in toward shore.
BRODY
(screaming up
at the tower)
RING THE BELL!!
Some bathers have seen the thing in the water and race out.
Others point in wonder at the dark mass as little fish spring
up from it.
Attracted by all the excitement, Sean Brody has come down to
the water's edge to investigate.
Bunny has succeeded too well. Her dog swims happily -- away
from her. She refuses to leave the water without him.
BUNNY
(crying, following
into deeper water)
Snapper, please come in! Snapper!!
She grabs him. Her mother screams at her.
68 BRODY 68
reaches the tower and starts to climb.
SAM
(leaning over)
It's okay, Chief!
BRODY
What are you talking about....
He climbs the tower. Vaughan, panting heavily, lumbers up
below.
VAUGHAN
Martin...please!
BRODY
(on top)
Ring the bell! Ring it!!
SAM
It's okay, Chief, look! It's a
school of bluefish.
(laughing)
Get your fishing rod!
69 THE BEACH 69
Several men have brought out their fishing gear, one's already
casting. Big blues flash wildly as the water bubbles and
boils with activity...the blues are chasing bait fish.
Stomping out of the water, Bunny spanks her wet rat of a dog.
The fishermen connect as soon as their lines hit the water.
Hoots and howls of excitement waft up to Brody as he stands
there sweating and panting, staring in amazement at the sight
before him.
BRODY
Oh, yeah...I didn't see....
A little unsteady, he puts his gun away and starts to climb
down. People are watching him.
The child is still crying. Sean is embarrassed for his father.
Peterson looks at Ellen.
PETERSON
(sarcastic)
Thorough at his job, isn't he?
70 BRODY 70
drops down, his box of red-tipped bullets spilling out on
the sand. He brushes them off with too much concentration.
BRODY
(to the Mayor)
Sorry, Larry.
VAUGHAN
(helping
pick them up)
What the hell are these red things,
Martin?
BRODY
Cyanide. There's cyanide inside...
can kill a shark instantly.
Vaughan puts an understanding hand on his shoulder, and they
walk beyond the tower, away from the crying. People here
and there are staring after Brody and talking among themselves.
Reeves Vaughan comes up.
REEVES
Anything wrong, Dad?
VAUGHAN
(banishing his son
with a glance, then
to Brody)
Maybe you ought to take some time
off. Before the summer really
starts.
BRODY
(gazes out
to sea)
Mine's already started.
DISSOLVE TO
71 BRODY HOUSE - PORCH - DUSK 71
Head back, eyes closed, Brody is listening to the sound of the
waves crashing on the beach. A heavy wind has come up, turning
the sky a deep red-purple. Ellen joins him.
ELLEN
What do you want for dessert?
BRODY
Wheat fields, farms, big stretches
of land.
ELLEN
You want to move again.
BRODY
A little.
ELLEN
As in 'a little pregnant?'
BRODY
I don't know. I've always lived
on an island. I mean, Manhattan
is an island, too.
ELLEN
(amused)
That's true. I never thought of
it that way. How would you like
to take a walk with a person who
loves you?
DISSOLVE TO
72 THE BEACH - ELLEN AND BRODY 72
are walking along the edge of the water. The ocean is
luminescent.
BRODY
Look out there. I wonder how many
sharks are spawned each year.
Millions probably. Millions of
eating machines...And we're soft,
we're meat. Did you ever think of
yourself as meat?
ELLEN
Well, as a matter of fact....
He slips his arm around her and they walk a few steps in
silence. Far down the beach some kids have made a bonfire
and are singing.
ELLEN
I wonder if they sense fear. I
mean dogs sense fear, and I bet
sharks do too.
BRODY
Everything else attracts them, so
you know they're attracted by fear.
And if they are, we're in big
trouble.
ELLEN
Why?
BRODY
(fake chuckle)
Cause I'm really scared.
She looks up at him...his face against the star-filled sky.
BRODY
I had a dream last night. I was
on this sliver of sand in front of
a huge dune, a cliff really. that
went straight up with no shrubs or
anything to hold onto. Then from a
long way out I saw a giant wave,
like a hundred stories high, coming.
So I tried to climb the cliff, but
the sand slipped through my fingers
and I fell. And all the time the
wave was getting closer, and, you
know, higher -- until it almost
filled the sky. But it wasn't the
wave I was afraid of. It was what
was under the wave...and I had to
kill it, and then another one came.
And I had to kill that one too, and
I was afraid they'd come too fast
and I wouldn't have a chance.
He stops and gazes out at the satiny black water.
BRODY
I can't stop looking out there. I
try, but when I turn away from it,
I get this creepy feeling that it's
coming closer...so I have to keep
watching...you see I just can't
shake the idea, that it's waiting
for me, and it's going to get me.
Not just anyone, me.
ELLEN
(muffled)
For what reason?
BRODY
Because it wants revenge! So call
the men in the white coats. Hey!
Ellen! Are you crying? Why're
you crying? I wasn't really serious.
I was just, oh hey don't cry.
ELLEN
If there's a shark that wants re-
venge he's sure getting it.
BRODY
What do you mean?
ELLEN
By making you feel like this. That's
his revenge. Somehow we've got to
put this thing behind us because
it's destroying us. We can't live
like this anymore. My God, Martin,
look at the state you're in. No-
thing's happened for three years!
BRODY
Six people dead in a month.
ELLEN
Three years ago there was concrete
evidence...you know you're not
really sure now.
BRODY
Oh, he's there.
(looks out to
sea, his voice
rising)
He's out there and he's playing with
us! Godammit I know that son-of-a-
bitch is out there!
CUT TO
73 AMITY VILLAGE - PRE-DAWN 73
Street lights glow icily in the mist and go out with the first
somber sign of dawn.
A lone fisherman makes his way down to the dock. One light
still shines on the pier, its reflections reaching out into
glassy swells where cabin cruisers swing from moorings in the
harbor. Japanese lanterns are strung like gems between the
masts of a large yawl.
And out there beyond the mouth of the harbor is the ocean,
barely discernable in the grey light creeping in from the
east. Waves tumble and roll through the portal, bringing in
the open sea. Something is there, stealing along with the
incoming tide. Two gulls resting on a wooden piling lift off
soundlessly. Rigging creaks. A dinghy scrapes ominously
along the side of a yacht, and the Japanese lanterns sway back
and forth.
A bell-buoy tolls softly as the Shark slides unnoticed into
the harbor.
CUT TO
74 AMITY SHORES CONSTRUCTION SITE - DAY 74
Construction progressing...gardeners planting saplings near
the pool. Walking toward the parking lot are Peterson and
six very worried townsmen -- Mayor Vaughan and the five Select-
men: Mr. Santini, Mrs. Nichols, Joan Taft, Mr. Kaiser and
Mr. Sansom.
SANTINI
Yeah -- who got bit? Who got ate?
The odds it happens again is
astronomical!
VAUGHAN
Surely he'll see that himself in
a week or two and straighten out.
MRS. TAFT
Look how he's acting. You can't find
him when you need him -- he's always
up in that tower. Maybe we should
get somebody who will take care of
the town!
VAUGHAN
I think you're jumping the gun.
MRS. TAFT
Oh, Larry...
PETERSON
(getting in his car)
Your loyalty's touching, Larry, but
I think you'd better start looking
for a new Police Chief.
Gestures "it's up to you" and goes. They watch him, then
avoiding each others' eyes drift toward their cars.
MR. KAISER
I'll make some calls, see who's
available...just as a precaution.
MRS. NICHOLS
We're forgetting what the man did
for us.
SANSOM
But he's not the same man.
CUT TO
75 EXT. DOCK AREA - DAY 75
Mike Brody, his friend Andy and little Sean Brody come out
of a nautical supply store, their arms loaded with new sails,
and head down the dock for their boat.
ANDY
What'll we do if they don't show
on Saturday?
MIKE
They'll show, don't worry. How
much we got left?
Reeves Vaughan and three of his friends from Andover breeze
by on their ten-speeds...too close and fast for comfort.
ANDY
(spitting)
Three bucks.
MIKE
And we need money for wine too.
(sophisticated)
Angela said they like white.
SEAN
I have three dollars, Mike. You
could have it. You could have my
allowance too, and I could go with
you guys, huh?
MIKE
How many times do I have to tell
you no? NO, N.O.
SEAN
How're ya gonna get wine anyway?
You're not old enough.
ANDY
(to Sean)
Will you go drown or something.
Andy's spitting has not gone unnoticed by Reeves. He's
turned around and come back.
REEVES
Did you spit at us?
ANDY
I? Spit never crossed my lips.
Mike, Andy and Sean continue on their way; the Andover boys
keep pace on their bikes.
ANDOVER #1
Watch it, fat boy!
Mike and Andy try to ignore them, but it's hard considering
Andovers' need for a fight. They reach the boat and busy
themselves sorting out their goods.
ANDOVER #2
The metal in that kid's mouth alone
will sink their little dinghy, huh
Gordon?
ANDOVER #1
More likely the weight of his fat ass.
MIKE
Hey Reeves, why don't you guys knock
it off?
REEVES
(coming up to him)
What did you say -- you conceited
asshole?
MIKE
(touching him)
Just go, ride your bikes.
REEVES
Don't put your hands on me, Brody.
You know, you're not the only one
around here with a boat --
One of the Andover boys is fooling with their sailing gear.
MIKE
(turning)
Hey!
With that Reeves pushes Mike into the water. Mike's cool
vanishes.
MIKE
I'll kill you!
Andy's glasses go flying as he tackles Reeves from behind
throwing him down for a moment of glory, but then Reeves
easily gets the better of him, mashing his face into the
dock. Sean flies to the rescue.
SEAN
(kicking Reeves)
You leave us alone. I'm gonna
tell my father.
REEVES
(picking Sean up)
That nut! He's too busy looking
for sharks.
SEAN
You shut your mouth!
REEVES
He can't help being sick !
ANDOVER #2
Maybe we should help the Chief by
putting out a little bait, huh?
REEVES
A little shark bait.
They hold Sean over the edge of the dock, kicking and scream-
ing.
SEAN
HELP, MIKE! MIKE!
MIKE
I'm warning you!!
Reeves casually drops Sean ---
76 UNDERWATER 76
Through the cloudy water we see a silent splash as Sean
hits the surface with the flat of his back and goes under.
He panics, swallowing water, arms and legs flailing in every
direction.
77 SURFACE - MIKE 77
strokes toward his brother and Andy jumps in.
78 UNDERWATER - SHARK'S POINT OF VIEW 78
Andy breaks the surface with a splash and swims toward Sean.
His velvet hat floats behind him on the surface, its long
feather trailing down like a wounded bird. Mike's arms and
legs chop the surface as we veer toward him...then toward
Sean twisting about wildly. We glide in closer as Mike and
Andy dive down, pulling Sean to the surface, up to their
boat, their legs leaving the water in the nick of time.
79 SURFACE 79
Sean is gasping and crying.
ANDY
Hey, where's my hat?
Nowhere to be seen.
CUT TO
80 BRODY YARD - ELLEN AND KIDS 80
The Kids are getting out of their wet, dirty clothes before
going into the house.
MIKE
Nothin', Ma. Reeves Vaughan is
a creep, that's all.
ELLEN
You mean you didn't do anything to
start it?
MIKE
I told ya, no!
Brody drives in.
SEAN
I'm gonna tell Daddy.
ELLEN
Oh, honey, let's not bother him
with it right now, okay?
SEAN
I have to.
ELLEN
Sean, I don't want you to say
anything about it now. You
understand?
Brody approaches, sizes up the situation.
BRODY
Mike, I know this'll be hard on
you but I'd like you to hold off
on sailing for a while, okay?
MIKE
DAD!! I've got a new boat and
everything! Why?
BRODY
I'm sorry Mike, it's just for a
while...as a favor. Now, you want
to tell what happened at the dock?
MIKE
Nothin'. Reeves is a creep is all.
BRODY
Some people might agree with you.
What's the matter Sean? Sean?
SEAN
Nothing...
(looks at his mother)
Nothing...Daddy...
(bursts into tears)
He called me sharkbait! He said
you're always looking for sharks
cause you're sick. I'm gonna punch
him out! I HATE HIM!
Brody gathers him up in his arms.
BRODY
It's okay Sean, okay...it doesn't
matter what people say, does it....?
Ellen watches, thinking her own thoughts.
DISSOLVE TO
81 WATCHTOWER - SUNSET 81
The tower casts a long shadow across the deserted sand to where
the last bathers are loading their cars. The lights of Amity
are going on...it's dinner time. High in his perch, his form
dark against the sunset, Brody wipes his nose on his sleeve and
continues his vigil.
CUT TO
82 EXT. BRODY HOUSE AND GARAGE - NIGHT 82
Sean watches Mike and Andy unload sails, rudder, and other
equipment from Ed's station wagon.
ED
(holding cushions)
You want these back in plastic or
you think they'll be all right?
ANDY
Plastic. God knows how long it'll
be before we'll use them.
MIKE
(has things under
control)
This won't last long.
ED
You hope. Without your boat it's
kinda hard to make out.
MIKE
The hell it is. I'm gonna pick
Angela up at the ferry tomorrow
and get her to come over here.
ED
In your garage?
MIKE
Yeah.
ED
You hope.
MIKE
These cushions will get used, don't
worry.
SEAN
She only likes you because of your
boat.
MIKE
(loud)
I'm gonna smash you in the mouth,
you know that? Why don't you get
outa here?
ED
(watches Sean
scurry away)
Poor kid lives always at the edge
of physical violence.
Ellen comes to the garage.
ELLEN
Oh, I thought I heard your father
drive in. Good, you brought your
stuff back.
(turns to go
in and stops)
Mike, can I talk to you for a
second?
(he comes to her)
I just want to thank you for being
so understanding lately.
MIKE
I have? That's all right. I know
summer isn't Dad's favorite season.
It's just it is a little hard right
now, this no sailing business --
with the new boat, and everything.
ELLEN
I know. You're a good boy, and
it's appreciated.
(he pretends he
doesn't want to
hear anymore)
I wanted you to know.
She goes in, closing the door quietly behind her.
ED
Your mother's really nice...Built
too.
MIKE
(dry)
Yeah.
DISSOLVE TO
83 AMITY - INLET BRIDGE 83
Dawn comes.
CUT T0
84 WATCHTOWER - EARLY MORNING 84
Brody climbs the tower for another day. It's already getting
hot.
CUT TO
85 BEACH - MORNING
85
Mike and Angela are sprawled out on the sand looking seaward.
She's sulking. It's a perfect day for sailing, and several
boats are already out. A large gray powerboat is passing
offshore with rubber-suited figures on its deck.
ANGELA
What's that?
MIKE
(bitterly)
Skin-diving class.
She turns over on her back and stares up at the clouds. He
moves closer and puts his arm across her. She doesn't move.
He leans over and gently touches her neck with his lips...
she lets him. Good. Now his hands reach out for her breast,
but she pushes him away and sits up.
MIKE
What's the matter?
ANGELA
I don't like to make a public
display of myself.
MIKE
Why don't we go back to my house?
I have the garage to myself.
ANGELA
The garage? How enticing! How
romantic!
MIKE
Mike is embarrassed, searching for something to say.
MIKE
There's always Pine Groves.
ANGELA
And wade through bodies? You just
sit on the ground there, you get
pregnant.
She sighs, turns over on her stomach, brushing him with her
big breasts, and stares out to sea again.
ANGELA
See, I thought we'd go out to some
place where nobody goes. Someplace
special, you know what I mean?
MIKE
Yeah. Winter Island. Nobody there.
ANGELA
We could bring a picnic and a
blanket. And wine...nice and
cool. And you know, like that
...all alone.
She pulls him down on top of her and kisses him full on the
mouth.
ANGELA
(smiling, whispering
in his ear)
I really like you, Mike.
She quickly pushes him away again, but looks at him out of
the corner of her eye. He's beside himself.
MIKE
Yeah. Well, maybe we could. I
mean I can really do what I want
anyway. I just don't like to
upset my father, but I...ah, I
can do what I want.
CUT TO
86 AT SEA 86
The gray dive boat drops anchor, eight rubber-suited divers
aboard.
Tom Andrews (the diving instructor Brody spoke to by the
pool) and Andrews' Assistant are helping the student divers
put on tanks and weight belts. They're a mixed group -- half
adults, half teenagers.
ANDREWS
You won't see much today, not much
visibility -- but don't let that
make you nervous.
One of the boys is a little wide-eyed with excitement.
ASSISTANT
You okay?
(the boy nods)
And how do you tell me that under
the water?
The boy gives the okay sign.
ANDREWS
Right, over you go. Stick with
your buddies.
The class backrolls in one by one.
ASSISTANT
Coming?
ANDREWS
Go ahead. I'm gonna try to get
dinner.
The Assistant backrolls in and joins the scuba divers on the
surface. He signals "Down!"
Andrews picks up a spear gun and giant-steps into the water.
He swims looking down, cocking the spear gun.
87 UNDERWATER 87
from Andrews' point of view: the divers descending, nearly
obscured in the murk. One looks up and waves. Concerned by
the poor visibility, Andrews drops down to join them. He
glides from one pair of buddies to the other, giving and re-
ceiving the okay sign. He can tell from the bubbles that one
woman's breathing is too rapid -- she needs a bit of calming,
so Andrews takes her arm for a moment, exaggeratedly breathing
along with her more slowly...Okay? Okay.
They all descend lower.
CUT TO
88 BRODY GARAGE 88
Mike Brody and Andy are sneaking the sailing equipment out.
A clatter as something is kicked -- "sshh!" -- they head
toward the road. Sean appears.
SEAN
(whispering)
I'm coming with you, right?
MIKE
Get outa here.
SEAN
Please, oh Mike, please!
(but they just
keep moving, so
he turns to go
inside)
Okay, I'm telling Mom.
MIKE
(alarmed)
You are not!
SEAN
Yes I am.
Pause.
MIKE
(giving in)
What the hell....
CUT TO
89 UNDERWATER 89
The diving class explores the murk. Andrews shakes his head,
the visibility is just too poor this far down; he signals to
his Assistant -- take them up to 25 feet and level off...
They obey, Andrews watching them ascend, staying down to ob-
serve how they do it -- glancing for a moment at a school of
mackerel streaking by him at top speed ---
From his point of view, we see the divers 20 feet above him,
and up beyond them, very dimly, on the surface, the hull
of the dive-boat.
90 ANDREWS 90
looks up, then down at his watch and depth gauge. His eyes
widen as he sees something below him: down in the murk, a
big striped bass. He shoots and misses. The lunker bass
takes off and he follows in hot pursuit to deeper water. The
striper easily outswims him. It slows, he takes aim and it
streaks off again, darting back and forth below him. He
shouldn't be doing this, leaving his students for so long,
but this fish is a beauty. He follows it down. For a moment,
he loses it in cloudy water, then his eyes widen with horror
at what he sees below him ---
91 THE GREAT WHITE SHARK 91
looms up out of the darkness with the striper in its mouth.
One side of the Shark's massive head, charred and knotted by
scars, has hardened into hideous armor.
Enraged, blackened from dorsal to mouth, white teeth flashing,
staring up at him, the Shark rises like a mad beast.
Andrews panics...finning backward and tearing at his weight
belt to ditch it, he pulls the inflator cord of his safety
vest. Instantly it swells up and he surges upward, eyes shut
tight, not exhaling. He pumps past the other divers, and
shoots to the surface.
92 THE DIVERS 92
looking up at him...at each other...what's going on?
The Assistant signals: Ascend. As they carefully rise ---
93 SURFACE 93
Andrews unconscious, bleeding from the nose, bobbing on the
surface.
The Assistant and the other divers come up. A boy waves
desperately for the boat to come as the Assistant tries to
pry the mouthpiece from Andrews' teeth.
CUT TO
94 HARBOR 94
Angela arrives to find several sailboats are being made ready.
Brooke is watching Mike and Andy prepare Mike's catamaran.
ANGELA
(to Mike)
You call this alone?
MIKE
No sweat. Once we're out there,
we'll ditch 'em.
ANGELA
(meaning Andy
and Brooke)
What about them?
ANDY
We have our own things to do.
SEAN
(locks his
bike, hovers)
Are we ready to go yet?
MIKE
You know, Sean, I'm worried. I
think someone better stand guard
on that corner.
SEAN
I'll do it!
He dashes off, passing two girls (Kathy and Laura) who are
sliding their sailboat into the water. They look jealously
at Angela, whose windbreaker, jeans and sneakers are all black.
KATHY
Gawd. The Black Dahlia.
LAURA
I'm not bitter. I fell out of love
with Mike a long time ago.
The couple who were caught making it at the lighthouse (Ed
and Tina) board their boat.
95 CORNER - SEAN BRODY 95
sneaking along the wall like an infantryman in combat...reaches
the corner and cautiously peers around.
96 SEAN'S POINT OF VIEW - MAIN STREET 96
People, shoppers, but no Martin Brody.
SEAN
(calling)
All clear!
He runs back to the dock.
SEAN
All clear, Mike.
A thump from one of the boats, followed by giggles and a
"sshh" and we see ---
97 ED AND TINA'S SAILBOAT 97
They aren't visible.
SOMEBODY (o.s.)
Hey! What're you two doin' in
there?
TINA
(head pops up)
None of your business!
98 ANGELA 98
gets in Mike's boat. Her friend Brooke hesitates.
ANDY
(on board)
Come on, Brooke! Mike's gotta get
back.
BROOKE
That's okay, I'm, uh -- goin' with
Polo.
ANDY
Oh, great.
ANGELA
Thanks a lot, Brooke!
They watch her skulk off with the embarrassed Polo to a sleek
little sloop.
ANDY
Another rejection. Spurned even by
scuzz.
ANGELA
(to Mike)
So it's just the three of us, then?
ANDY
Hey, don't worry about me. We get
to the Island, I'll get lost.
SEAN
(still on dock and
getting worried)
Mike, can you pull the boat in
closer for me? Mike?
MIKE
Sorry, but there just isn't
room ---
SEAN
Mike! --
MIKE
-- and I don't like blackmail.
Sean pulls a fit.
SEAN
You promised! You said!
(kicking and
screaming, he
rolls on the dock)
Please! I can't stand it! You're
making me crazy!
MIKE
This won't do you any good.
Kathy and Laura stick up for Sean.
KATHY
Don't be a rat, Mike.
LAURA
You probably did promise him,
didn't you?
ANDY
(a dark look
at Brooke in
Polo's boat)
Promises are made to be broken.
I should know.
Sean watches his brother's catamaran raise sail and begin to
slide away.
LAURA
That's okay, you can come with us.
SEAN
With girls?
LAURA
If you don't want to ---
SEAN
No, I do, I do.
CUT TO
102 EXT. DIVE BOAT AT DOCK - DAY 102
In the boat a Physician kneeling over Andrews, working on
him...no response...Brody and the Assistant close by, the
other divers on the dock, shivering and watching...The
Physician rises.
PHYSICIAN
(to Brody)
I'd say an embolism. Air breaking
through into the bloodstream,
bubbles reaching his brain.
(shrugs helplessly)
The way he came up, without
exhaling ---
BRODY
How could that happen, though?
Tom was an instructor, experi-
enced ---
PHYSICIAN
Any diver can panic. I'm a diver
myself and a good one and I know
that just a sudden sense of being
down there can do it. Or maybe
equipment failure ---
ASSISTANT
(with Andrews'
tank and regulator)
It wasn't that.
(presses the purge
valve: a hiss of
air)
Working perfectly.
Brody examines the mouthpiece: we can see it's been bitten
half through.
PHYSICIAN
Consistent with panic. Biting
down like that, intake of breath,
feeling you have to surface. It's
a kind of claustrophobia.
ASSISTANT
Yeah, I've had it sometimes. Not
as bad as Tom, though....
Brody's own panic is visibly surging as the ambulance arrives.
CUT TO
103 SAILBOATS AT SEA 103
Some boats are already tacking around when Mike's catamaran
and the others get there. An athletic Redhead is alone on
a little Sunfish. Doug is also single-handed in his tiny
inflatable. A brisk wind is blowing, there's a light chop,
and it's clouding up.
DOUG
(calling as Mike's
boat approaches)
Where you going?
ANDY
To the lighthouse!
ANGELA
(to Andy)
What're ya telling them for??!
104 ANGLE OTHER BOATS 104
DOUG
(calling)
Okay! The lighthouse!
REDHEAD
Race you there!
105 MIKE'S CATAMARAN 105
ANGELA
Oh, that's great!
MIKE
We'll lose them.
Music is heard. A Tornado catamaran with a brown sail has a
radio fastened to its mast.
ANGELA
Whose boat is that?
The Tornado turns about, revealing its captain, Reeves Vaughan.
ANDY
Aw, shit.
ANGELA
Who's that?
MIKE
The town idiot.
Reeves is with the boy with spectacular Sideburns.
SIDEBURNS
(calling to
them, trying to
be friendly)
Ya wanna race to the lighthouse?
ANDY
Race to the nuthouse, creeps!
REEVES
(passing close)
What're you doing with such trash,
my pretty?
(calling to
everyone)
To the lighthouse! On your mark!
106 MIKE'S CATAMARAN 106
Mike takes out a whistle, gives a short blast, tosses it to
Andy.
ANDY
(calling to
other boats)
When I blow the whistle, okay?
ANGELA
(laughing)
Is that a police whistle?
MIKE
Naturally.
107 ED AND TINA'S SAILBOAT 107
Ed at the bow, groaning at Tina, who's handling the boat
ineptly.
ED
No, Tina, let me take her.
TINA
All right, Hercules, you got it.
She simply lets go of sail and rudder. The boom whips
around. Ed catches it, gives her a look as they switch
positions.
He's trying to get the boat lined up...a long blast from
the whistle, a cheer, and the others are off. Ed slaps the
hull as if it were the flank of a horse ---
ED
(frustrated)
Come on, come on....
TINA
(smiling inno-
cently at him)
Gee, you're terrific!
108 MIKE'S CATAMARAN 108
Cheers and coyote yelps from racers on either side...Reeves'
Tornado surges ahead
REEVES
(calling to Angela)
You're in the wrong boat, honey.
I'll show you a race.
ANGELA
(showing him a smart
middle finger salute)
Race this!!
109 NINE BOATS 109
racing away in a ragged line.
110 UNDERWATER 110
We see, from the Shark's point of view, all the skimming
hulls, silhouetted on the surface far above.
CUT TO
111 AMITY DOCK - DAY 111
Rear doors of the ambulance slam shut. Brody turns away
as it leaves.
He sees, resting on its side -- Sean's bike. Where's Sean?
Mike's sailboat -- IT'S GONE.
CUT TO
112 BOATS AT SEA 112
The race progressing. Brightly colored sails -- crimson,
brown, lavender, striped -- are strung out along the course.
Boats are widely separated now, on at the rear more so
than others. We hear snatches of music ---
113 REEVES' TORNADO 113
The radio fastened to his mast is blaring away. Reeves and
his friend Sideburns are singing along. They're running first.
In the b.g. Mike Brody's catamaran gains a little on them.
114 MIKE BRODY'S BOAT 114
ANGELA
Come on, come on, I want to be
first!
115 FROM THEIR POINT OF VIEW - THE BOATS BEHIND THEM 115
Spread out over a hundred yards, and beyond them the last boat,
straggling even further behind now.
Right behind Mike:
116 SUNFISH - THE REDHEAD 116
handles her boat smartly, stealing wind from the skiff next
to her.
Behind her:
117 OTHER BOATS AND SLOOP WITH POLO AND BROOKE 117
He's hoisting a black jib. She lifts her face to the wind
like a happy dog in a car window.
Behind them:
118 SAILBOAT WITH TWO GIRLS AND SEAN BRODY 118
Sean's wearing a lifejacket. His mood has changed and he's
having a ball. Kathy edges out to join Laura on the windward
side, harnessing herself so she hangs way out over water.
Even with the two of them there, the pontoon only skims the surface.
Sean starts to join them.
SEAN
I'll help.
KATHY
(it's too dangerous)
No, stay where you are.
Disappointed, Sean trails a finger in the rushing water...
watching its wake...another finger, then the hand...a heavier
wake....
119 ED AND TINA'S SAILBOAT 119
This is the straggler: Tina has taken over again, clumsily
zig-zagging, letting out too much sail. The music from the
boat ahead hardly audible here.
ED
(good humored
about it)
Let me catch up.
TINA
I'm learning!
ED
(reaching for
the rudder)
Not enough, baby ---
TINA
(pushing it
away, playful)
Be a good boy ---
The boat veers.
ED
(laughing)
Hey --
(scuffling
with her)
Gonna let me? Huh?
TINA
(resisting)
Ooh! You dirty thing!!
You're -- too -- competitive ---
Squeals as he tickles her ---
120 UNDERWATER - FROM SHARK'S POINT OF VIEW 120
The veering hull above us, we're rising to it...hearing the
sounds they're making on the hull.
121 ED AND TINA 121
both laughing as they grapple over who's to hold the sail
and tiller -- suddenly Tina, looking past him, freezes ---
122 THE FIN 122
huge, half-blackened, breaking the surface, approaching ---
123 THE BOAT 123
Ed, terrified, shoves Tina away toward the bow. Both have
let go of the sail, and it swings free. Ed seizes the
tiller, he's trying to rudder around...the boat slews
sideways...Ed half rises, grabs for the rigging, staring
at the fin -- and the wind-filled sail comes whizzing back
at him, the boom knocking him overboard...Tina screams.
124 ANGLE - ED 124
gasping the water, lunges for the boat, but it's drawing
away, and the fin is turning towards him...we glimpse the
other boats, they're too far to see or hear a thing. Ed
tries to flail toward the boat. A tremor ripples down the
Shark's marble body. One quick thrust of its tail and it
turns -- we see the hideously mottled side of its massive
head. The giant is homing in...Tina screams ---
125 TINA 125
clutches the boom, eyes widening at what she sees now...she
screams again.
126 THE THREE BOATS AHEAD OF HER 126
sail blithely on as the music wails over the water, the
girls boat in the f.g...Sean looks back for a moment....
127 ANGLE 127
We see from his point of view the floundering sailboat
almost a quarter-mile away...He faces forward with a
patronizing smile.
KATHY
(to Laura)
At it again!
128 THE RACE 128
proceeding -- minus Ed and Tina.
CUT TO
129 DOCK - BRODY'S SQUAD CAR 129
He's on the radio.
BRODY
See anything, Sam?
130 BEACH WATCHTOWER - SAM 130
Scanning the horizon with binoculars. It's become a gray
day. A few sailboats in the distance are disappearing into
haze, leaving only the straggler in sight, too far away to
see what's going on.
SAM
(into walkie-talkie)
No sign of his boat, Martin. Three
little kids throwing sand. Should
I bust 'em?
131 BRODY'S CAR - DOCK 131
He's not amused.
BRODY
Just keep a sharp lookout. You
see my kid's boat, you holler.
He breaks off and just sits for a moment, half-in, half-out
of his car. Nearby, Hendricks is idly swabbing the deck of
the P.D. Boat.
HENDRICKS
Want to go out and get 'em?
Brody hesitates. Is he over-reacting again, should he go out
or not? He can't decide.
132 WATCHTOWER - SAM 132
Something has caught his attention. That sailboat out there,
it is moving kind of funny, turning in circles like that. He
picks up his walkie-talkie.
CUT TO
133 AT SEA - OFF THE LIGHTHOUSE 133
The sailboats are approaching the finish of the race. Reeves'
Tornado is still in the lead. The girls' boat lets out a
violet spinnaker. They're gaining on Mike Brody's catamaran.
LAURA
I want a closer look at the com-
petition.
KATHY
Oh, he's so vain.
SEAN
I think you ought to leave them
alone.
LAURA
No way! We're going wherever they
go today, my friend.
SEAN
(judgmental)
It's up to you.
Neck and neck with Mike's boat, and a little too close,
Kathy and Laura peer evilly over at him, huge grins on their
faces.
ANGELA
What's the matter with them?
MIKE
They want something they can't
have.
ANGELA
What?
ANDY
His flesh!
ANGELA
Who can blame them?
MIKE
Let's get rid of this whole group.
He abruptly presses the tiller over, turning the catamaran
to the right of the lighthouse.
Seeing this, the girls signal to the others to turn to the
right.
KATHY
To the Cape! To the Cape!
Most of the boats follow them.
ANGELA
(appalled)
They're following us!
MIKE
We'll lose them in those islands
over there.
Reeves has just arrived at the lighthouse and turns trium-
phantly to the group.
REEVES
I WIN! Hey! Where you all going??
CUT TO
134 ED AND TINA'S SAILBOAT 134
seems to be sailing itself, a ghost boat rolling with the
swells, its rudder drifting back and forth. Without direction,
the sail billows first one way, the swings completely across
to the other side. The P.D. Boat approaches.
BRODY
Hello?
No answer. Hendricks eases them a little closer. The sailboat
is empty...and eerie, with its sail slapping. They draw the
sailboat toward them with a hook and Brody boards it. At
first, only her arm is visible. Brody kneels and there cowering
in the crawl space under the deck, is Tina.
BRODY
(softly)
What's the matter, honey...huh?
...Come on...
No response. Her eyes stare at him wide with terror.
BRODY
(to Hendricks)
We gotta get her in.
He tries to move her from under the deck. She hangs on. As
gently as he can, he tries to pry her hands loose. She starts
to whimper. He keeps going.
BRODY
It's okay now.
HENDRICKS
(still in the
P.D. Boat)
Jesus, what happened?
BRODY
What happened, Tina, please try and
tell me. What happened -- please -- !
TINA
Ed went over and -- and --
BRODY
Tell me --
(he pulls her out,
shakes her)
What happened?
TINA
I yelled. They couldn't hear ---
Her mouth works soundlessly as he manages to get her on her
feet. She sees the water and screams.
TINA
IS IT THERE?
(crouches back down,
whimpering)
Is it still there?
BRODY
(level, deadly)
It was a shark.
CUT TO
135 ANGLES - SAILBOATS 135
thru
thru
138 They trail after Mike Brody's catamaran. Doug in is high
138
spirits running before the wind in his tiny inflatable. Only
inches from the water, the Redhead maneuvers for position.
The lighthouse disappears behind them, eclipsed by an island.
CUT TO
139 BRODY AND HENDRICKS 139
Hendricks turns the sailboat toward Amity.
HENDRICKS
You know how to work that thing?
BRODY
(in P.D. Boat)
I'll manage.
Which lever? He guesses right and it starts. He sets out
alone to face his enemy. Speeding in the direction of the
lighthouse, he takes out his cyanide bullets and loads the
gun, then places it snugly on the shelf beside him. The
lighthouse looms ahead on the horizon.
CUT TO
140 SAILBOATS AND SLOOP - POLO AND BROOKE 140
Polo efficiently lets out sail, chest hair curling through his
wet T-shirt.
BROOKE
(shouts ahead)
Beep beep!
Doug's inflatable is ahead. They gain on him.
POLO
(to Brooke)
Come on this side. We can pass
him easy.
The two of them extend far out over the water. In his effort
to gain speed without capsizing, his shoulders nearly skim
the surface.
POLO
Yeah! Yeah! Yeah!
141 DOUG 141
shouts as they pass, poking one of his boat's compartments.
DOUG
Got an air leak...slowing me down!!
142 ANGLES - SAILBOATS 142
thru
thru
145 Afternoon sunlight breaks through the clouds. Multi-colored
145
sails stream through shafts of light. Happy kids, flying
with the wind.
CUT TO
146 HARBOR 146
Hendricks guides the sailboat to the dock. Many hands reach
out to help Tina off. A crowd of people has gathered and an
ambulance is waiting. They descend on her with a swarm of
questions, shouts of "Let her through!", mass confusion.
ANDY'S MOTHER
(calling over
the crowd)
Is Andy out there? Is he all right?
A blanket is thrown around Tina as she's rushed through the
crowd toward the ambulance.
ED'S MOTHER
(grabbing at her)
Where's Ed? Tina...where's my boy?
Tina turns a vacant look in her direction, and is hustled on.
SOMEBODY
What happened out there?
VAUGHAN
Everything's going to be all right.
All of you just stay calm now. The
Coast Guard's on the way.
Hendricks helps the orderlies put Tina into the ambulance.
It drives off, revealing --
147 ELLEN BRODY 147
on the other side of it, facing Hendricks. It's happening...
again...
CUT TO
148 AT THE LIGHTHOUSE - BRODY 148
All is silent except for the rollers booming around the rocks.
No sign of the kids.
BRODY
(on radio)
Well, they're not here.
VOICE
That's where she said they'd be.
BRODY
Well, where are they, then? Any
word from the Coast Guard yet?
VOICE
Chief, their chopper went out.
BRODY
Let me know the minute they spot
them. I'm gonna try --
(which way)
-- over towards Woods Hole.
He turns the boat to the left -- the wrong way.
CUT TO
149 SAILBOATS - MIKE BRODY'S CATAMARAN 149
They can't shake the other boats.
ANDY
(to Mike)
Don't you have to be back?
MIKE
No, plenty of time. We're almost
there.
150 REEVES AND SIDEBURNS 150
pass Doug's leaky inflatable.
SIDEBURNS
(calling)
Nice seeing you, see you later.
Ha. Ha.
No comment from Doug. An oncoming helicopter is heard.
Doug looks up ---
151 SUNFISH 151
The Redhead looks up, the chopper louder ---
152 COAST GUARD HELICOPTER 152
Pilot and Spotter in the cockpit. The Spotter lowers his
glasses and says something to the Pilot, who nods and starts
to take her down. We follow, seeing all the boats below.
153 THE BOATS - FAVORING MIKE'S 153
He's looking up along with the others, all with apprehension,
at the chopper swooping down toward them. What's this about?
154 HELICOPTER 154
hovering at 50 feet. The Spotter opens the hatch and calls
through a loud-hailer.
SPOTTER
Return -- to -- port -- immediately.
Return -- to -- port -- immediately.
155 THE BOATS 155
The Kids look at each other in confusion. Should they obey?
Something must have happened.
ANGELA
(wants to go on)
What'll we do?
MIKE
(bitterly)
Better go in...I don't believe this!!
SPOTTER'S VOICE
Return -- to -- port -- immediately.
Mike turns his catamaran about.
156 ANGLES - OTHER BOATS 156
thru
thru
159 Confusion and maneuvering as they turn around. The Redhead
159
turns her Sunfish back into the wind, sail fluttering ---
REDHEAD
(calling to
Mike's boat)
Not so easy in this wind!
SPOTTER'S VOICE
Return -- to -- port -- immediately ---
160 SAILBOATS 160
turning about. Brooke yells up at the chopper.
BROOKE
All right, all right! We heard!
We're returning to port!
161 HELICOPTER 161
The Spotter pauses. From his point of view we see the boats,
all turning now, heading back toward Amity. The chopper
descends a bit and passes over them --
162 SEAN BRODY 162
loves it, it's scary but delicious. The air from the chopper
whips at sails, clothes, hair -- and at the water.
163 UNDERWATER 163
Wind from the blades causes a circular turbulence on the
surface. The thudding of the chopper is vibrating down into
the depths. From the gloom, we see the Great White Shark
approaching.
164 CHOPPER COCKPIT 164
Pilot's on radio --
PILOT
They're heading back. Return to
base. Over.
COMMANDER'S VOICE
Yeah. Over and out.
165 BOATS 165
tacking into the wind as the chopper arcs upward and away.
Sean waves good-bye.
166 FROM THE RISING CHOPPER 166
The boats recede to a small patch of brightly colored sails
in a big dark sea.
CUT TO
167 AMITY DOCK AREA 167
Peterson joins a cluster of worried parents. Mayor Vaughan
is listening to the radio in Brody's squad car. Ellen has
Sean's bike.
ELLEN
(to Peterson)
I think both my boys are out there.
VAUGHAN
(comes out of the car)
So is mine. They're on their way in.
ELLEN
How far out are they?
VAUGHAN
A helicopter just went out. They're
coming in. They're safe.
Ellen takes this in, says nothing. Peterson looks at her in
torment -- how can he find words to tell her how sorry he is...
PETERSON
He was right.
ELLEN
(looking out
to sea)
I just wish he hadn't been.
CUT TO
168 P.D. BOAT - AT SEA 168
between the lighthouse and Woods Hole. Brody is on the radio,
furious.
BRODY
The chopper left them??
COMMANDER'S VOICE
Yeah, they're coming in.
BRODY
They left them??
COMMANDER'S VOICE
We'll go meet them passing the light-
house then, for Christ's sake!
They're coming in, Chief!
Brody breaks contact, there's not time to argue, shoves a
lever -- a loud squeal of too many engine revs. He whirls
the P.D. Boat around in a tight circle -- it's almost out of
control -- and speeds back toward the lighthouse.
CUT TO
169 SAILBOATS 169
tacking into the teeth of the wind. They're going fast but
have made little headway. A thin line of land is visible
behind them.
Mike Brody's catamaran and Reeves' Tornado are neck and neck,
both straining to hold as tight to the wind as they can.
REEVES
(calling to Mike)
Gonna block your wind, sport --
MIKE
Stand by to ram!
Horselaughs from Sideburns and Reeves, ready to ward them
off. Mike deftly angles his boat and bumps them...again....
REEVES
My paint!! Asshole.
Mike cleverly hangs back a moment, then bumps them from
behind...Andy laughs admiringly.
Reeves is livid. He tenderly rubs the spot where Mike has
chipped the paint on his catamaran.
REEVES
(yelling at Mike)
You're paying for this!
Crunch...Mike gives it to him again. Reeves is having a fit.
Screw the paint -- he strikes back ---
170 UNDERWATER - THE TWO CATAMARANS 170
pontoons banging, almost tangling, then banging again ---
171 SURFACE 171
They streak past Doug's inflatable. Attaching his pump to
the valve of his leaky compartment -- it's noticeably softer
now -- he proceeds to stamp away at the foot pump as hard
and fast as he can. Passed by everyone on the way out, now
he's passed again by everyone on the way back.
First, the girls' boat with Sean:
LAURA
(passing)
Haven't I seen you someplace before?
This cracks Sean up. Doug ignores them -- keeps pumping.
Then the Redhead, slowing a little as she passes:
REDHEAD
You need help? Wind's backing
around.
He shakes his head and she goes on. Then Polo's sloop:
POLO
Hey! You look familiar!
172 AHEAD - MIKE AND REEVES 172
turn into their windward tack.
REDHEAD
(calling to them)
We'd do better going the other
way!
MIKE
(it's far)
To the Cape?!
Reeves' Tornado is already turning in that direction.
ANDY
(to Mike)
Easier than beating our way back
to Amity -- be dark before we make
it.
ANGELA
Make it to the Cape easy with this
wind.
MIKE
And then what?
ANGELA
Sleep on the beach -- you chicken?
Mike hesitates, sneaks a look at Andy.
ANDY
Okay with me, but what about your
father?
MIKE
Too late, I've already had it.
Might as well enjoy it. Yeah.
(changing
course, shouts
to those
behind him)
The Cape! To the Cape!
173 UNDERWATER 173
From the Shark's point of view, we see far above us the
shadows of the sailboats -- all turning to run before the
wind again.
174 DOUG'S INFLATABLE 174
In the "lead" once more, he's still stamping away at his pump.
175 UNDERWATER 175
Faint sound of the thudding foot pump from above...and we
see the Shark, moving in a zigzag, excited ---
176 DOUG 176
pumping...the compartment swelling taut ---
177 UNDERWATER 177
Homing in, the Shark circles upward, the thudding louder as
the beast rises toward it...then still louder ending with an
explosive sound ---
178 SURFACE 178
Hoots of laughter at Doug: the compartment has burst and he's
standing up in chagrin; no danger of sinking, he's still water-
tight. And now:
179 THE FIN 179
rears above the surface. He sees it gliding toward him,
tail hissing through the water.
Mike's catamaran is heading straight at him ---
DOUG
Help!! Help!!
Doug's holding onto his mast, watching the fin. It dips,
then comes up right beside him and slices through the other
compartment of his inflatable...air rushing out....
180 TWO BOATS 180
converge as they hurry toward him, collide with each other...
sails flying free...shouts...bumping and pushing....
181 CLOSE - DOUG 181
He's frantically turning to see where Mike is, then he's
whirled up along with his boat through the air ---
182 CLOSE - MIKE AND ANDY 182
appalled at the sight ahead ---
183 THE SHARK 183
has seized the inflatable in its jaws, shaking it like a
terrier with a rat in its mouth. Doug can't hold on. He's
pitched into the water and swims toward Mike's boat for all
he's worth.
184 MIKE'S CATAMARAN 184
heading toward Doug ---
MIKE
(terrified)
Where is it? Where'd it go?
They reach out and grab Doug -- the boat tips...screams...
Mike throws himself across to balance as Doug struggles onto
the catamaran.
The demolished inflatable bobs to the surface.
ANDY
Head away from that.
But which was is safe to go?
MIKE
WHERE IS IT?
ANDY
Hurry! Just go!
The other boats are coming on ---
ANDY
(has Mike's whistle)
Warn them ---
He gives a blast and all at once the catamaran beneath them
is lifted out of the water. The four of them are first
hurled to one side -- Mike bangs his head -- and then, as
their boat capsizes, they're all four pitched into the sea.
185 OVERTURNED CATAMARAN 185
Three heads bob up, swiveling around to see -- and with
horror they do see ---
186 THE SHARK AT EYE LEVEL 186
weaving around them. Their catamaran is drifting. The
three of them thrash toward it, the fin on the other side
of it now, coming back. They claw at the hull. Doug
scrambles up and reaches back for Angela. Andy wallows
onto the canvas stretched between the pontoons.
The three of them gasp for breath, looking around wildly ---
ANDY
Where's Mike??
He's floating half-conscious back where they turned over.
187 POLO'S SLOOP 187
tacking swiftly toward him, Polo leaning out to grab him,
scared, looking for the fin ---
188 OTHER BOATS 188
maneuver in confusion. One is getting away.
The girls with Sean are terror-stricken. Turning to flee
the scene, they cut across the path of boats going to help.
A near collision with one -- and they plow straight into
the side of another, almost impaling its occupant.
189 THE SHARK 189
is circling. A skiff veers too sharply into the wind and
turns over, tumbling two boys into the sea.
190 POLO'S SLOOP 190
is running for it with Mike aboard. Coming to, Mike looks
around -- where are the rest of them?
MIKE
(yelling)
SEAN!!?
(to Polo)
We gotta go back.
Polo keeps going.
191 TWO BOYS 191
are climbing onto the hull of their overturned skiff. The
Shark angles toward them with short lashes of its crescent
tail. They draw their legs up, cringing...a jarring impact
as the giant snout bashes their hull.
192 REEVES' TORNADO 192
appears, swinging in between the overturned boats. He's
holding a coil of rope, not sure where to throw it. He flings
it toward the skiff, then staggers backward as the fin slices
by a few feet in front of him, nearly as tall as he is.
The girls with Sean are kicking the splintered dinghy, trying
to free it from their bow.
Andy flings a line to them.
ANDY
Pull all the boats togeth...
Another butting charge by the Shark knocks him to his knees.
A scream of pain as Angela is thrown into a center board.
ANDY
(to everyone)
Pull in --- pull in ---
193 BOATS CONVERGING 193
Reeves sails his Tornado up onto the half-submerged frame of
the catamaran.
ANDY
Pull in -- throw that line over
there ---
The boats all draw together: Reeves pulls in the capsized
skiff. The girls haul in. The Redhead's Sunfish is the
last boat in.
ANDY
(to Redhead)
Lash that to your mast!
(she hesitates)
We have to tie them up! All of
them!!
REDHEAD
No -- !
ANDY
Alone nobody has a chance!!
Two boys leap onto her Sunfish, tip it on its side, and
lash her mast to theirs, making a barrier.
Panicky disorder. Sails rip, rigging tangles. Boats are
hauled on top of other boats and lashed haphazardly together.
A hopefully protective little island.
SEAN
(to Angela)
You're bleeding.
She looks down. The slash isn't deep.
SEAN
(softly to Andy)
Where's Mike?
ANDY
He's okay.
ANGELA
They got away.
She looks into the boy's terrified eyes...at the fearful
faces of the others watching for the next attack...what have
they gotten into? Screams as the Shark, unseen below, butts
the raft of boats.
Andy lifts himself up to the top of the heap.
ANDY
Here! Everybody up here!
Angela helps Sean up -- the others are scurrying up now too.
Clinging to the pile of boats: six boys and four girls, cold
wet, shivering, the full extent of their predicament hitting
them. Angela scans the ocean, and we see from her point of
view the two escaping boats, distant now, making for Winter
Island. One of them is Polo's sloop, its back sail gliding
through the haze like the fin of a shark.
CUT TO
193-A P.D. BOAT - CLOSE SHOT - MAP 193-A
Brody traces the anticipated course of the sailboats from
where the chopper intercepted them to the lighthouse.
194 OFF THE LIGHTHOUSE - P.D. BOAT 194
Brody desperately searches the horizon. Haze, no sails.
Where are his kids? They should be here! The sun is sinking!
Which way should he go?
195 BESIEGED SAILBOATS - HAZY SUNSET 195
A splintering crash again rocks the floating island. Kids grab
onto anything they can. The Redhead slips down into the water
between boats. The Shark hits the sailboats again, pinning her
legs, grinding them between gunnels, the blow jolting Sean down
into a swamped dinghy where Reeves is trying to detach the mast.
Before Sean can get back up, the Shark hits again...and again...
the battering coming too fast for anyone to hold on. They fall,
clutching at anything, shouting, slipping...And then it stops.
The Redhead is gone. A dark cloud billows up in the water be-
tween the boats where she disappeared. Silence. The "raft"
rocks gently.
SOMEONE
Oh my God, Oh God ---
Someone's weeping, someone's reciting The Lord's Prayer, and
terror among them is reaching unbearable proportions.
REEVES
(to Sideburns)
Give me a hand.
They pull up on the mast -- it sticks in its socket.
SIDEBURNS
That won't keep it off anyway.
But they go on working at it, chipping at the corrosion that's
frozen it in place.
ANDY
(re-lashing things
together)
A few more times and all of us --
It's battering us to pieces.
ANGELA
It can get us any time it really
wants to.
Clouds are gathering as the light fades. A foggy haze hangs
over darkening water. They're cold and wet. Sean crawls over
to Andy -- he's trembling, crying.
SEAN
(whispering)
I peed my pants --
Andy puts his arm around him.
CUT TO
196 P.D. BOAT - BRODY 196
Behind him, the revolving beam of the lighthouse is disap-
pearing in fog. Where are they, for God's sake? He puts
his running lights on.
CUT TO
197 BESIEGED SAILBOATS - ANDY AND SEAN 197
ANDY
When we're not back, they'll send
that helicopter out again.
SEAN
(thinks)
But how will they see us? It's
getting dark...
ANDY
(moving away)
Then they'll find us in the morning.
BOY
(as Andy
joins him)
-- If we can keep this thing to-
gether that long.
ANDY
Maybe it's had enough.
ANGELA
What if they don't ever have
enough?
She looks toward Winter Island. It's farther away now --
only a line of the horizon, disappearing in the dusk.
BOY
We're drifting -- !
ANGELA
I'm sure they went to get help.
BOY
If they made it.
ANGELA
Somebody'll spot them...
Sean is shivering. Angela takes off her windbreaker and
puts it around him. She's wearing a halter top. Something
is hanging out of it.
SEAN
What's that?
She looks down to see, trailing from under her left breast, a
nylon stocking. Gasping, she stuffs it back in, but it's too
late. They've seen. Everyone knows her secret...falsies.
Reeves wears a stupid grin.
ANGELA
So what? Big deal.
REEVES
No. Small deal.
The rigging creaks with a gentle shifting of the "raft."
ANDY
It's back!
They brace themselves. A long scraping from below and then,
very slowly, as the Shark runs its body against submerged
areas, the "raft" begins to rotate. A flapping sail starts
to tear along a seam. And then, as they turn away from the
wind, all the booms swing violently across at once. They're
turning in a circle.
ANGELA
(softly)
What's it DOING?
For a moment, nothing. Then, thirty yards away, the fin
appears.
BOY
(to Reeves)
HURRY!
They wrench the mast free. Reeves carries it to the edge
of the raft, looking to his right --
ANDY
No, this side! This side!
Reeves turns toward it, bracing himself. Behind him, the others
watch as he holds the mast out over the water like a lance,
following the movement of the fin. The raft is still turning
enough to make it hard for him. The Shark speeds in. Reeves
stumbles to the best footing he can find, aims the mast, dips
it below the surface -- and shudderingly connects. It hardly
checks the Shark's momentum. Reeves is barely able to main-
tain his grip on the mast as the whole floating conglomeration
is shoved through the water for a few seconds.
Reeves lowers the mast, wincing in pain.
REEVES
My ribs --
Andy takes the mast as the Shark circles again. Andy braces.
He's scared. And here it comes.
Andy lowers the mast, but this charge is even more ferocious.
The impact drives the mast back through his hands and arms,
friction-burning. He nearly drops it. The castaways perched
above him cling on through the impact, watching the battle,
still frightened, but feeling less like sitting ducks since
some opposition is being offered.
And now the Shark comes in for the third time. Again Andy
aims the mast -- but this time, the Shark seizes it in its
jaws, biting down with an awful crunch. He holds on as the
Shark jerks the mast from side to side sending up showers of
spray. He's nearly pulled overboard, then hurled back stunned,
the bent mast yanked out of his grasp and sent flying high in
the air.
He gingerly climbs to join the huddled group...watching and
waiting. There's nothing they can do...but keep their eyes
riveted on the relentlessly circling fin....
CUT TO
198 AT SEA - BRODY 198
The P.D. Boat reduces speed as it nears Winter Island. Hauled
up out of the rocky surf are the two escaped sailboats. Faint
shouts. Brody can barely make out the form of the Kids in
the dusk.
BRODY
(peering tensely,
calling)
MIKE?! SEAN?
More clearly now, he can see five figures of equal size, no
Sean. Three boys and two girls, yelling and waving their arms.
MIKE
(calling)
Yeah, Dad!
BRODY
(shouting ahead)
Mike! Where's Sean?
The Kids are yelling but he can't hear them over the motor
and the waves crashing on the rocks.
BRODY
What? Where are the others?
They start to splash out to him, but Brody signals them to stay
where they are.
He carefully threads his way closer to shore. He's within
hearing range now and can make out what they're saying.
MIKE
They're between here and the Cape!
Get out there quick, Dad! There's
a shark...
BRODY
(grabs the radio-
phone)
MAYDAY! MAYDAY! MAYDAY!
199 LONG SHOT - THE P.D. BOAT 199
is broadside to the Kids, slowly turning as they climb aboard.
Brody's on the radio, his words lost in the surf. The boat's
getting closer to the rocks.
200 CLOSE - BRODY 200
does his best to hold the boat where it is ---
BRODY
(on radio)
Somewhere between here and the Cape!
Send your chopper out and tell me
where, I'll get to them -- over.
(starting to turn
the boat around,
he calls to Mike)
Is Sean all right?
MIKE
I don't know, I didn't see!
Hurry, Dad!
A grinding from below. The boat's on the rocks. He reverses,
rips back across, tries forward again -- stops. He's aground.
CUT TO
201 THE SAILBOATS 201
The whole heap is violently rocking -- the Shark is bashing
from below now, unseen, as the fear-numbed castaways regroup
themselves, getting up as high on the flotsam as they can.
ANDY
(trying to encourage)
We're getting closer to it ---
A sand bar is a quarter-mile away.
DOUG
(bitterly)
No, we're going to pass it ---
ANDY
Maybe the wind will change ---
Suddenly, the sound of a helicopter...they all look up.
202 FROM THEIR POINT OF VIEW - HELICOPTER 202
coming in through thickening fog.
203 THE BOATS 203
all waving and yelling ---
204 HELICOPTER COCKPIT 204
Spotter looking down, aghast...as Pilot reports on radio.
PILOT
Position is six point three miles
-- zero four one degrees of
Queepecket Light ---
205 FROM CHOPPER'S POINT OF VIEW 205
The castaways on the piled-up boats and the fin.
SPOTTER
My God!
206 COCKPIT 206
SPOTTER
(to Pilot)
Better get 'em to that sand bar ---
PILOT
(nods)
Proceeding to assist ---
207 HELICOPTER AND BOATS 207
The chopper swoops down toward them. They're cheering. It
descends to 20 feet directly above them, but the down rush
of buffeting air from the rotor is clearly a danger as the
precarious structure rocks and tips. The Kids scream, and
the chopper skitters a short distance away. It touches down,
rotor still turning. The Spotter opens the hatch.
SPOTTER
(over loud-
hailer)
Okay, we'll put you on the sand
bar, two at a time. First two
down to the waterline, let's
go.
A moment of indecision on the boats, then ---
SIDEBURNS
(to two girls)
Move it.
They make their way to the edge of the floating heap,
anxiously scanning the surface around them. The chopper
begins to approach. Then Sideburns spots it, the fin,
surfacing on the far side of the chopper, coming toward it ---
SIDEBURNS
(shrieking and
pointing)
Look out! Look out!
The Spotter can't hear over the chopper's noise. He
glances around confused. Then he sees it, head on, breaking
the surface ---
SPOTTER
(to Pilot)
Lift off!
But before the Pilot can gain any height, the charging Shark
fastens onto the chopper's substructure. Engine shrilling,
metal squealing, the chopper heaves and yaws, the upward
thrust of its rotor fighting the pull of the Shark -- and
suddenly this sends it flipping over, upside down into the sea.
The Spotter, thrown clear, comes choking to the surface.
208 UNDERWATER 208
Bent askew but still turning, the rotor chews its way into
the body of the helicopter like some prehistoric creature
destroying itself. The glass bubble of the cockpit
begins to fill with water. Upside down and half-conscious,
the Pilot struggles with his seat belt. The whirling blades
bite through the metal...dark fuel rises in an oily cloud
and spreads toward the surface.
209 HIGH ANGLE 209
The rotary action causes the thing to crawl in an arc. It
lodges in a tangle of superstructure and spars against the
"raft" of sailboats. The blades stop. A wisp of smoke
trails up from the belly.
The Spotter swims through smudges of fuel which are rapidly
extending themselves across the surface of the water.
210 UNDERWATER - SHARK'S POINT OF VIEW 210
The Spotter strokes toward the sailboats, but the Shark slides
toward him faster than he moves toward safety.
211 SAILBOATS 211
The Kids desperately cheer him on. He's getting close.
212 THE SPOTTER 212
is raised half out of the water by a terrible force, flung
from side to side bellowing with terror, then suddenly released.
He hangs for a moment in the water, gasping for breath.
He's injured, but there's nothing to do but keep swimming...
a stroke...another...then it happens again.
The fuel has reached the sailboats and the partly submerged
decks of some of them are slippery with it. Half wading,
splashing, slipping, the Kids try to hold out a boom, some
rigging anything for the Spotter to grab...but he's too far
away and anyway, he's no longer swimming...just kind of rest-
in the water as if he's thinking hard about something
or other.
213 UNDERWATER 213
The glass bubble fills with water and smoke too rapidly for
the dazed Pilot to free himself. He fights for consciousness.
Hanging upside down, he sees through the glass an indistinguish-
able form. At first shadowy and veiled, materializing as it
approaches, mouth working as if gasping for breath, the Great
White comes right up to the glass and hangs there, gills rip-
pling. A tiny sucker fish holds fast to the unburned side of
the slack, grinning jaw. The Shark's black, deadly eye is
riveted on the Pilot as he breathes in water.
214 SAILBOATS 214
Andy goes in after the wounded Spotter. He swims toward him
cautiously...closer and still no Shark...he swims harder, a
little splashing...careful...closer, he almost has him...
he reaches....
And suddenly, the Spotter lunges, grabbing the boy in the death
hug of a drowning, dying full-grown man.
A half-second later, the Shark hits full force and Andy's alone
in bloody water...A shower of flaming chunks of metal descends
as the helicopter's belly erupts in a volcano of exploding
fuel.
The fire spreads across the water in jagged leaps.
The raft of sailboats is on fire. Slick places in the water
smolder. By the time he makes it back to the boats, Andy's
shoulders have been singed.
The Kids have nothing adequate to hold water to fling on the
flames that are consuming the helicopter and rapidly spreading
through the tangled rigging and sails of their "raft."
The heat is unbearable at such close quarters. The surrounding
fog glows an angry hot pink.
ANGELA
I can't stand this -- I'm going in.
GIRL
No --
ANGELA
I'm not gonna burn to death.
She goes in. They wait for the attack, but nothing happens.
It gets hotter by the second.
REEVES
I'm going in too.
He slips in and hangs onto the raft, looking about terrified.
No shark. Oily smoke twists up from flaming nautical plastics.
Some of the Kids try breathing through wet clothing wrapped
across their faces. The unbearable heat forces them all into
the water. Their "raft" is riding lower. Crying and scared,
Sean is held tight by one of the girls.
215 UNDERWATER 215
The Kids hang on the surface like parasites around the rim of
the glowing "raft."
CUT TO
216 OFF WINTER ISLAND - THE P.D. BOAT 216
is still on the rocks. The Kids are in the water, working to
free it. Brody is on the radiophone.
BRODY
Why -- what's wrong?
COAST GUARD (v.o.)
We don't know. The chopper's just
not answering. It went dead.
In agonizing frustration, Brody stares off. In the distance,
the sky is lit with a pink glow. The Kids stop working --
SOMEONE (v.o.)
What's that?
CUT TO
217 THE "RAFT" OF SAILBOATS 217
is still on fire, the castaways hanging off it. Doug and Andy
grab lungsfull of air, and dive.
218 UNDERWATER - THEIR POINT OF VIEW 218
Great dark forms of the broken boats hang beneath the surface,
the sail billowing downward in the current. No sign of the
Shark. The boys swim as fast as they can under the "raft."
They come up in a pocket of air trapped beneath the overturned
catamaran, groping blindly in maddening little compartments
until they find what they came for, a fire extinguisher. The
body of the Pilot hangs upside down, head nodding in the water-
filled glass bubble. Gasping, Doug and Andy speed to the surface.
219 LONG SHOT 219
The glow in the fog diminishes as they get the fire under
control.
220 CLOSER 220
Wisps of smoke trail from charred rigging. One by one, the
Kids pull themselves back onto the raft, watching, always
watching the water. Cold and wet, there is still a glimmer
of hope as they huddle together in the night air.
ANDY
I think it's gone.
SOMEONE
Maybe the explosion scared it off.
CUT TO
221 OFF WINTER ISLAND - THE P.D. BOAT 221
Mike and the others are in the water rocking the boat -- it
grates off the rocks and floats free. Brody starts the engine
immediately, and turns the boat around, Mike climbing aboard...
BRODY
No, stay here.
MIKE
But I have to help you...I shouldn't
have taken the boat out...I'm respon...
BRODY
(hugs him)
That doesn't matter, Mike. You stay
here. At least I know you're safe.
MIKE
(near tears, looks
at his father)
But I don't want you to go, Dad.
I'm afraid for you...
BRODY
I'll pick you up. On the way back.
Okay?
(Mike nods)
222 MIKE 222
jumps down and makes his way to shore, Brody keeping his
searchlight on him until he reaches land...Mike turns a
worried face to him and waves. They look at each other.
They may never see each other again...
CUT TO
223 RAFT OF SAILBOATS - NIGHT 223
Still no sign of the Shark. Just black water, wind in the
rigging, the terror and mystery of the sea at night. The
Kids are still...a few asleep or trying to...everything's
quiet, except for Reeves' labored breathing. Sean is looking
at him. He hasn't forgotten the older boy threw him in the
water. Reeves meets his eyes, and for a long inscrutable
moment, their gazes lock...nothing is said.
CUT TO
224 AT SEA - P.D. BOAT - BRODY 224
sees something ahead, slows down. Seagulls are sleeping on
the water, but there's something else there, drifting...a
shapeless object. Fearing the worst, he cuts his motor and
turns his spotlight on it. Doug's demolished inflatable.
He snags it with a boathook and lifts the thing a little. In
the beam of light: a great jagged curve where the Shark has
bitten through. Brody is frozen. It's not a dream, he's
coming closer, closer to the real thing, closer to death. In
the water, there's a soft lapping, a slapping sound. He turns
his beam...around the inflatable, a small shark...another...
another...
He spears down at them impotently with the pole. Suddenly, a
rush of wings as all around him the sleeping gulls lift off,
whirring in confusion through the beam of his light and scream-
ing off into the night.
Silence again. Then, all at once, the little sharks disappear.
It's here. Brody knows it's here...
He carefully reaches for his gun...eases the safety off. For
an eternity, nothing happens. Brody is ready. The boat lifts
gently with a passing swell -- the dragging rake creaks in its
brace. He drifts and waits...poised...
He turns the lights off. In the darkness, the sound of water
lapping, the wind, and a soft metallic click: his gun is
cocked.
He stirs the water with the boathook...nothing happens. Draw-
ing a deep breath, he reaches carefully down with his hand and
brushes the surface with his fingers. Gaining courage, he
gives a tentative pat, then more...he slaps at the surface.
His gun ready, he puts his hand all the way in and flutters
it like a wounded fish. He turns the searchlight on and
shines it in the water...nothing there but his hand, stone-
white, enlarged, and dead-looking in the water.
Maybe he's wrong. Maybe it's not here and he's losing valuable
time...he'd better get the Kids. He goes to start the boat --
and there's a low scraping sound against the hull. Scanning
the water, he sees nothing. Again the pulling beneath him,
stronger this time. Brody raises the gun, and throws the
motor on. There...a glimpse of the fin in the spotlight! Two
quick shots smack the water and the Shark is gone.
225 CHASE 225
Brody pursues the ghostly form through the fog. It glides
before him like a reflection of the moon racing across the
water, leading him as much as fleeing, a dark mirage that he
follows with a strange elation, curving after it first one
way, then another, never quite getting a shot...becoming hope-
lessly turned around.
Pushing the throttle hard, aiming his gun, he closes in on the
Shark, but it sounds, disappearing like an apparition. He
races ahead, turns back, turns around in every direction look-
ing for the Shark, fighting to control the wheel, the gun held
loosely in his hand --
226 A BUTTING CHARGE 226
by the Shark lifts the bow off the water, throws Brody against
the rail --
227 THE GUN 227
flies up into the air and spirals down with an irretrievable
plop into the water.
He can't believe it...beats at the boat with his fists.
BRODY
(roaring)
You son of a bitch!
He looks around. Out of sight of everything, completely turned
around...he's lost. He cuts the motor and drifts in silence.
He reaches for the radio. And then he hears it...very faint,
in the distance...a whistle, a police whistle, faint but
unmistakable. Brody listens...peers out into the fog...
listens again.
CUT TO
228 RAFT OF SAILBOATS 228
Andy is blowing the whistle. About to give another blast, he
breaks off --
ANDY
Lights.
Rigid and silent, the gaze out to sea. There through the fog,
a glowing aura from the lights of the oncoming P.D. Boat.
It's turning toward them --
SOMEONE
They see us!!
Shouts and cheers. From somewhere in the wreckage there's an
ominous creak. They stiffen, looking down --
SOMEONE
It's underneath us -- !
SIDEBURNS
(pauses, listening)
No, something shifted.
229 P.D. BOAT AND SAILBOATS 229
Brody sees silhouetted against the fog, the group on the
floating wreckage, twenty yards ahead. They're calling
to him to hurry. His eyes strain to see if his son is
there --
BRODY
(calling)
Are you all right?
SEAN
Daddy! Help, Daddy! Help!
Brody sees him now, standing up, smaller than the others...He
looks okay. Brody almost weeps with relief.
BRODY
Are you all right?
SEAN
Yes! But I'm scared -- get me off
of here!!
BRODY
Okay Sean, don't worry, I'll get
you! Is everybody safe?
ANDY
No.
230 UNDERWATER - THE "RAFT" 230
The downward sail sways in the current. A boom swings. The
burned helicopter still hangs there. High above us, Brody's
hull comes alongside the jagged wreckage.
231 SURFACE 231
Too many Kids try to get off at once. They rush toward the
edge, cling as the raft tips almost vertical for a moment.
They regroup, balancing. Brody draws in for another try.
BRODY
Two at a time...easy...be careful...
SIDEBURNS
It's okay, it's gone.
They look around, guessing how their weight is distributed.
ANDY
(pointing to Reeves
and Sideburns)
You two better go first.
Very gingerly, they start to get down. Reeves is pale.
Every breath hurts his broken ribs...maybe he's dizzy...
Perilously unsteady on his feet for such a delicate opera-
tion. He and Sideburns step out on the canvas framework
stretched between the pontoons of the half-submerged
catamaran -- a tentative step, another, the whole framework
tipping gently as they work their way out. Reeves slides
a little -- Sideburns steadies him. They're wading knee-
deep. Another step...another...a few more and they'll be
to the P.D. Boat...another...
231-A BRODY 231-A
reaches for them ---
232 THE HUGE BURNED HEAD 232
come up right through the canvas, ripping the heavy fabric
-- hangs up there straining for the boys -- and crashes
heavily down, shearing the metal framework and pitching the
boys back onto the "raft."
233 BRODY 233
circles and comes in for another try...a shower of spray as
the Shark's tail lashes the boat. And almost immediately,
another swipe jars the wreckage...screams....
234 THE SHARK 234
wheels back and forth between his boat and the sailboats.
For a moment, Brody is transfixed by his first good look at
the thing. Its pale head half-shrouded in scar tissue,
brushing the sailboats.
Some of the kids are getting desperate.
SOMEONE
Please -- please -- get us off ---
235 BRODY 235
comes in fast. Two are ready on the belly of the chopper,
he's almost got them when the Shark rams into his boat with
such driving impact that everyone is stunned. It's as if it
has been waiting for this moment to unleash its full power.
Brody snatches up a lifesaver attached to a coil of line and
flings it toward the wreckage with all his might -- maybe
he can tow them -- the ring falls short ---
236 UNDERWATER 236
The line smacks the surface and lies there like a snake.
A few yards from the ring, water washes over a half-submerged
pontoon. Sideburns' feet wade out on it. From the depths,
the Shark is rising.
A pole enters the water...trying to snag the ring ---
237 SURFACE 237
Sideburns hooks it and pulls it closer...now he can reach it
with his hands....
The Shark bursts up only a few feet away. He jerks the ring over
his head...the Shark mustn't get that line.
SIDEBURNS
Take it -- get it up high -- !
Andy hauls the line up, stretching it between them and the
P.D. Boat. As the line goes taut, the Shark wheels under it
and back again, as if daring them to proceed.
ANDY
(calling
to Brody)
The sandbar -- over there ---
Brody turns the searchlight to a shallow criss-cross of tiny
waves washing over a sandbar. About a hundred yards away.
It couldn't be more than ankle-deep.
238 BRODY 238
tries to tow the "raft." He revs his engine. A shifting,
a grinding as the wreckage realigns itself to this new
force. Screams of "no" and "stop"...He eases off a
little but continues cautiously to pull it toward the sandbar.
The Shark dips and twists, its rhythm more agitated, whipping
back and forth under the tow-line.
239 SEVENTY-FIVE YARDS 239
The Kids are all clumped close together now, up high, prayer-
fully measuring the distance to the sandbar. Another shift.
A wire halyard strains taut and snaps, whistling like a whip
past their ears.
240 FIFTY YARDS 240
Crash, the Shark hits the sailboats hard -- and circles to
come in again ---
241 FORTY YARDS 241
They're drawing closer now --- a thump and heavier spray.
242 THIRTY YARDS 242
a terrible grinding -- the "raft" scrapes bottom. Hanging
far down underneath, like an iceberg, it stops -- twenty-five
yards from the sandbar. Brody strains his engine. A
tearing. The whole precarious heap is beginning to come apart.
He can't get them any closer. He doesn't know what to do.
243 THE KIDS 243
have reached the breaking point...so close to safety...
BOY
Come on! Pull us in!
GIRL
(screaming)
Please -- please -- take us ---
244 BRODY 244
lowers himself over the side of the boat.
BRODY
When I say go, you GO!
245 SEAN 245
is appalled, nearly biting through his lip. His father hangs
there dangling his body in the water. What's he doing? Brody
kicks and splashes. The Shark turns from the raft and cruises
in Brody's direction.
BRODY
GO!!!
246 THE KIDS 246
They must go in the water. They hesitate.
247 BRODY 247
churning the water, watching the Shark arc toward him.
BRODY
Go, Godammit, GO! NOW!
248 KIDS 248
Three of them slip into the water and swim as silently as
possible for the sandbar. Angela, Laura and Doug.
Shivering in anticipation, the Shark comes straight as Brody.
He pulls himself up, feet slipping, just as the Shark drives
its mouth into the side of the boat where he was hanging.
The Kids are halfway to the sandbar, swimming hard.
The Shark comes at the boat again, in a rage, battering the
transom, splintering it -- Then it suddenly stops --
The swimmers are splashing toward shore. It's heard them...
it's turning --
BRODY
Look out -- it's coming!
249 THE SWIMMERS 249
splash and scream, swimming blindly toward the sandbar.
Angela is expecting it any second. Laura is like a rabbit,
caught, watching the fin come closer. Doug grabs her by
the hair and hauls her up on the sandbar. Angela crawls up
on her hands and knees, crying.
The first three are safe.
250 P.D. BOAT - BRODY 250
plunges his whole body up and down in the water. The Shark
turns back toward him, coming fast --
BRODY
GO!
251 FIVE MORE KIDS 251
hit the water and make for the sandbar.
252 THE SHARK 252
goes under.
253 BRODY 253
twisting, looking for the Shark, making as much disturbance
in the water as he can.
254 UNDERWATER 254
On the surface high above us, the small forms of the five
swimmers, arms and legs thrashing through the water...The
Shark rising ---
255 BRODY SPLASHING 255
A scream -- he sees --
256 THE FIN 256
appearing in the water behind the swimmers.
KATHY
Oh God, Oh God! Oh, GOD....!
REEVES
IT TOUCHED ME!
The Kids on the raft are frantic...Pulling himself back up
on his boat, Brody staggers toward the controls.
257 UNDERWATER 257
Reeves is swimming madly, the Shark nosing his legs. It
nuzzles the scarred side of its head along his torso,
scraping it raw. It turns and brushes Kathy with the entire
length of its sandpaper back.
258 SURFACE - KATHY 258
her face deadly white, shrieks in panic and pain.
259 UNDERWATER - THE SHARK 259
comes up beneath them for another pass. It presses its giant
snout deep into Reeves' belly, testing his soft vital organs,
smelling, savoring --
260 REEVES 260
screams as if he's dying. Another pass by the Shark, a
glimpse of Kathy's raw chest, and Brody rams the Shark with
the prow of his boat, driving right up onto its back. A flick
of its tail and it's gone.
261 THE SANDBAR 261
The boys pull Kathy and Reeves up, raw, but intact. Eight
are safe. Brody turns his spotlight ---
262 THE "RAFT" 262
Three remain: Sideburns, Andy -- and Sean, whimpering with
fear, rocking now with each blow as the enraged Shark,
returning to finish off the "raft," is battering, ripping,
breaking it apart. The boys hang on as the much-reduced
wreckage is destroyed from under them. The monster heaves
upward through it, pitching Sideburns into a jagged pipe-end
of the catamaran's framework, and shearing off two boats.
263 BRODY - P.D. BOAT 263
heading toward them.
264 THE THREE 264
Sideburns is bleeding. Very little holds them now -- and
with another blow, they're thrown into the water.
Brody has Sean, he's hauling him onto the boat, hugging him...
Andy is swimming for the sandbar...
265 SIDEBURNS 265
is in the water. Brody hurls him a lifesaver ring...Sideburns
swims for all he's worth, reaching for it -- and suddenly, he's
being propelled toward it.
SIDEBURNS
(staring at Brody)
BRODY -- !
One arm waving, hanging onto the life-line with the other,
still being propelled, he's being shaken. He twists the line
around his arm.
SIDEBURNS
(hoarsely)
PULL UP -- PULL UP!!
Brody pulls against a great opposing force. He's not able to
pull him in...then something gives ---
His mouth open with horror, Brody continues to pull Sideburns
up...but only half of him. His torso, severed at the waist,
is pouring blood into the water. And right behind him,
following the stream of blood --
266 THE HUGE BURNED HEAD 266
open-jawed. black eyes catching the spotlight, worse than
any dream, it rises up in Brody's face. Bloody spray flies.
Brody goes wild. The dragging rake. He grabs it. Out of
control now, beyond reason, he brings the metal rake crashing
down. It glances off the marble skin. The Shark hits the
gunnel a sledge-hammer thud. Water pours in. Brody chops at
the Shark, again, it bounces off. In a blinding rage, he hurls
the rake with all his strength at the Shark's head...and
catches it in the eye.
Brody is ecstatic as the giant struggles to get free of the
"hook," then to his horror finds the boat's being pulled along
swiftly in the water, stripping line from the winch.
267 THE SHARK 267
is fleeing with the rake embedded in its head. It twists and
shakes, but the metal claw sinks deeper.
268 BRODY AND SEAN 268
drawn along behind, their boat taking water as it careens
through the waves. Sean clings to something and it suddenly
inflates around him, mashing him into the transom. The rubber
Res-Q-Raft.
269 THE SHARK 269
rises into the air, shakes to free itself of the thing...and
sounds. Black waves cover its going.
270 THE P.D. BOAT 270
stops. The line goes slack. The Shark doesn't come up.
SEAN
Where is it? Is it gone?
The fog is lifting. In the distance, the lights of Amity
twinkle like stars.
271 BRODY 271
operates the winch. It comes up slowly...something very
heavy on it. Dead weight...the Shark is dead, it must be
that. Coming...coming up...it's pulling the boat down. The
water's over Brody's knees now. Sean clings to the rubber
raft. It's almost up...now it's surfacing, pulling the
already swamped boat down further.
Brody swivels the searchlight, leans out to see what's coming
up, holding his breath...to his alarm, it's the electrical
cable caught in the teeth of the rake. It's pulling the boat
under! He tries to stop the winch, but he can't. It strains
and burns with the weight of its load.
He forces the controls, they jam and strip, the winch goes
into high, spinning the cable up out of the water, whirling
the rake at the top, snagging there, and stopping --
272 THE P.D. BOAT 272
is level with the waves, the six-inch high-powered electric
cable from the mainland draped like an enormous snake over the
back of the boat. Brody tries to lift it off. And there, a
a distance from the boat --
273 THE SHARK SURFACES 273
The boat is settling deeper in the water. The searchlight
shorts out. Darkness. The Shark moves slowly toward them.
No need to hurry.
274 BRODY 274
hammers at the cable, can't get it off. He splashes the
cockpit -- a few cylinders cough to life, he jams a lever,
the boat strains against the cable, engine noises rise to a
shriek, and stop. They're caught.
275 THE GREAT WHITE 275
swims slowly in a wide circle.
The boat is level with the water, and the rubber raft drifts
away from it, attached by only a rope. Sean splashes toward
it and climbs in. Brody's mind is racing.
A flick of its tail and the Shark turns in.
Too frightened to scream, Sean watches the white body slide
languorously through the water toward them.
276 THE FIN 276
crosses in front of Sean...so close...in front of his face...
higher than the raft...enormous. Brody screams...he would
kill the thing with his hands...it hits the boat with the
force of a comet, and with a great lunge, hurls itself onto
the sinking deck, mouth open, its bloody eye a lurid pit. A
terrible grinding snap as the teeth just miss Brody's legs ---
he falls back gasping, eyes riveted. Beating its tail, the
Shark comes across the boat after him. Brody splashes madly
for the rubber raft.
277 THE SHARK 277
plunges into the water and disappears.
278 BRODY'S HANDS 278
tear at the rope holding the rubber raft...the knot's too
tight. Sean screams. Twenty yards away, the fin surfaces and
slips like a blade through the black waves toward them.
279 BRODY 279
jumps into the rubber raft with Sean...they're trapped! Now,
picking up speed, the Shark beats its way in for the kill.
280 BRODY 280
on an impulse, grabs the cable with both hands and pulls the
raft behind it.
281 THE CABLE 281
is the only thing between them and death. Beyond it, its
frenzy peaking, the ravenous beast devours everything in its
path...only the cable stands between it and the thing it wants.
BRODY
(a flash of
realization)
Come on -- come on --
282 THE JAWS OPEN WIDE 282
reach and strain for Brody -- and close like a great steel
gate on the cable, biting deep --
283 THE GREAT WHITE 283
rises up on its tail, thrashing and vibrating as 60,000 volts
tear through it.
284 THE CABLE 284
twists and whips as spasms wrack the creature. Sheets of
electrical fire roll down its enormous body.
285 BRODY AND SEAN 285
cleave to each other safe in their rubber raft, as sparks
shower around them.
286 THE SHARK 286
Aglow, brilliantly lit against the night sky, dancing on its
tail. In the distance, the lights of Amity dim, and die.
287 UNDERWATER 287
The Great White drifts silently down into the darkness.
288 A STAR 288
streaks across the sky, hangs like a jewel for a moment, and
fades over --
289 THE RUBBER RAFT 289
Sean weeps in his father's arms. Then, smiling to himself,
Brody reaches for the oar, and slowly begins to paddle toward
the sandbar. The Kids are cheering. Sean, tears streaming
down his face, gallantly waves to them.
BRODY
Finally got your brother to take
you sailing, didn't you?
SEAN
They made me come.
THE END